Throughout history there have been specific environments (p
rivate homes, salons, cafes etc.) that have provided a meeting plac
e, a greenhouse for the growth of ideas, ideologies and revolutio
ns. Among them in this century, the salon of Alice B. Toklas and G
ertrude Stein in Paris, The City Lights Bookstore in San Francisco
and The Cedar Tavern in N.Y.C. have already been well publicize
d. Within the last 2 decades, Micky Ruskin's name and conspicuo
us presence has been associated with a number of establishments
that have been unofficial centers for individualsand movements in
the artistic/aesthetic/political arenas. Fo
in friendship a
upper during p
vency. For othe
nd with generosity, he has prov
eriods of creative explorati
rs it was simply a place, an
ome and want
ed. Before current extremism
h had become
fashionable, when the long-ha
u midnight Warhol
visions were either not alloweof given table-near-kitch
en-door-status by other restauranit/bars, it was the 3-piece-suits
that were turned away at the door or ushered upstairs, out of si
ght, by Micky. At Max's, the incredible back-room flower blossom
ed nightly. Undaunted by the arbitrariness of a decade's end, the
past fires and financial failures, Micky's most recent club has ris
en Phoenix-like from its own ashes, pointed towards the eighties
artistic/aesthetic/political
