It is well known that Tuli Kupferberg named the Fugs after Norman Mailer's substitution of fug for fuck in The Naked and the Dead. This lack of courage on Mailer's part reveals much about the enfant terrible of post-WWII American Literature. Enemy of The Hays Code, Tallulah Bankhead famously put Mailer and his timidness down. As a result, the name of the band has become as legendary and mythic as the band itself.
I am researching a presentation on Fuck You Press and the Fugs right now and when you dig deep into something you see connections everywhere. Maybe I am paranoid but I see a connection to Heidegger in the band's name. The link is Heidegger's use of the word Fug, as joint or a joining, as the joining-enjoining order (or disorder in Un-Fug). In fact, Heidegger used the term Fug to describe his own thought: Fuge as philosophy.
The handbills above show the literary and political concerns of the Fugs and how they intersect. Like Bankhead, the Fugs fought against censorship and puritanism and waged a total assault on the culture. The Fugs were more than a rock and roll band. Their performances on stage and off were a counterculture form of the Socratic Method presenting a way of thinking about and acting in the world. Like Warhol's Exploding Plastic Inevitable, the Fugs presented a fully developed philosophy. The EPI seems to me more of a philosophy of art whereas the Fugs presented a complete world view: political, artistic, economic, sexual, etc. The Fugs came together at the same time that Peace Eye Bookstore opened. The Fugs, Peace Eye, and Fuck You, a magazine of the arts were the weapons of an alternative culture, the means for establishing a new social order. The use of mimeo fits in well here, as it is an alternative form of literary production outside of corporate publishing. These publications were distributed through an separate economy of exchange centered on independent bookstores, mail order, barter, and outright gifts. Drug use and fucking in the streets filled out this philosophy. Fug as joint comes into play here in obvious ways to say nothing of how the Fugs joined literature and rock and roll into a revolutionary hybrid form.
On Friday January 22, there will be a benefit concert for Tuli Kupferberg who suffered a stroke last year. http://www.brooklynvegan.com/archives/2010/01/fugs_tuli_kupfe.html
JB



MIMEO MIMEO #8: CURATORS' CHOICE features 16 bibliophiles on 6 highlights from their personal or institutional collections. Contributors include Steve Clay, Wendy Burk, Tony White, Brian Cassidy, Thurston Moore, J.A. Lee, Michelle Strizever, Adam Davis, Michael Basinski, Joseph Newland, Alastair Johnston, Tate Shaw, Michael Kasper, Steve Woodall, Molly Schwartzberg, Nancy Kuhl, James Maynard, and the Utah posse (Becky Thomas, Marnie Powers-Torrey, Craig Dworkin, Emily Tipps, Luise Poulton, & David Wolske)
MIMEO MIMEO #7: THE LEWIS WARSH ISSUE is the first magazine ever devoted in its entirety to poet, novelist, publisher, teacher, and collage artist Lewis Warsh. Warsh was born in 1944 in the Bronx, co-founded Angel Hair Magazine and Books with Anne Waldman in 1966, and went on to co-found United Artists Magazine and Books with Bernadette Mayer in 1977. He is the author of over thirty books of poetry, fiction and autobiography, the Director of the MFA program in Creative Writing at Long Island University in Brooklyn, and as you’ll soon discover, so much more. Includes an introduction by Daniel Kane, an interview conducted by Steve Clay, 10 new stories, 5 new poems, dozens of photographs and collages, and an anecdotal bibliography.
OUT OF PRINT
MIMEO MIMEO #6: THE POETRY ISSUE is devoted to new work by eight poets who have consistently composed quality writing that has influenced and inspired generations since the golden era of the mimeo revolution. Contributors include Bill Berkson, John Godfrey, Ted Greenwald, Joanne Kyger, Kit Robinson, Rosmarie Waldrop, Lewis Warsh, and Geoffrey Young. Cover art by George Schneeman.
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MIMEO MIMEO #3: THE DANNY SNELSON ISSUE examines the relationship between structuralism and the poetries of the mimeo era by presenting a detailed analysis of Form (a Cambridge-UK magazine published in 1966) and Alcheringa (a journal published by Boston University in 1975), two exemplary gatherings that illuminate the historical, material and social circumstances under which theory informed art (and vice versa) in the early works of some of today's most celebrated experimental writers. Also includes a special insert, The Infernal Method, written, designed and printed by Aaron Cohick (NewLights Press).
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MIMEO MIMEO #2: features Emily McVarish on her artist's book Flicker; James Maynard on poet Robert Duncan's early experiences as an editor and typesetter; Derek Beaulieu on the relationship between the influential Canadian poetry journal Tish and Black Mountain College; and an extensive interview with Australian poet and typographer Alan Loney conducted by Kyle Schlesinger. Cover is by Emily McVarish.
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