Abstract

In this article, we focus on the micro-geography of the relationship between music and place by homing in at two iconic cultural hotspots where innovative artists, notably (pop) musicians, came together in the 1960s. Because of their many famous visitors and residents, both spaces are well documented in (auto)biographies, monographs on art scenes, as well as in newspapers. We contend that the Chelsea Hotel and the Indica Gallery spaces were able to become cultural hotspots because of their location and due to the fact that these were tolerant spaces managed by people close to the artists.

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