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An exceptional selection of outfits and costumes, including several of Klaus Nomi's and Joey Arias' career-defining pieces.

Klaus Nomi's wigRodney Gordon[New York]: Rodney Gordon, ca early 1980s. Wig stored on wooden headform with hair line drawn on. Approx. 12 x 6 in.After performing on SNL to acclaim and notoriety, Klaus Nomi and Joey Arias continued to refine their show before they decided Nomi ought to cut a record. Arias says that after months of getting jerked around by labels, with deals almost coming through before falling apart, Nomi entered a fit of rage. Declaring, "I can't look at myself anymore!" he shaved his head right there in front of Arias. But just days later, his manager called to say that he thought he'd secured a record deal with RCA France, and that they wanted to meet him in ten days. Upon learning that Nomi had impulsively shaved his head, his manager insisted that he could not show up like that. So, he and Arias quickly had a wig made, which Nomi wore to the meeting — and every single day until his signature hair grew back (though he would soon have less and less of it). The wig was designed by milliner Rodney Gordon, who went on to design hats, masks, and headpieces for Broadway and other theatrical productions.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Klaus Nomi's wig: the hilarious hairpiece that secured Nomi's first record deal

Thierry Mugler, 1979. Red dress with matching leggings. Worn once by Joey Arias and stored securely since. Some minor wear commensurate with age and stage-use.Thierry Mugler dress and leggings worn by drag performer and artist Joey Arias in his appearance with Klaus Nomi in David Bowie's landmark performance on SNL. The groundbreaking, avant-garde 1979 performance opened with Arias and Nomi carrying Bowie to the microphone in a stiff, oversized plastic tuxedo to sing “The Man Who Sold the World” before taking their positions behind him.After opening his Paris boutique in 1978, French fashion designer Thierry Mugler became an international sensation in the 1980s and 90s, known for producing theatrical runway shows and designing garments for celebrity clients. While this outfit was purchased by Arias off the rack, Mugler would go on to design custom pieces for some of his most high-profile appearances, including the music video for George Michael’s “Too Funky,” Cirque du Soleil’s "Zumanity," "Arias with a Twist," and more. Arias became one of Mugler’s muses after the two met in the 1980s.Not only a stage-worn piece from a legendary, one-off performance from one of the greatest rock stars of all time, this outfit is an important artifact of fashion history and its intersection with queer performance.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Joey Arias' dress worn on stage with David Bowie on SNL

Keith Haring and David Spada[New York]: Keith Haring and David Spada, ca. mid-1980s. Circular chain link dress, black rubber circles and aluminum spirals.David Spada, a renowned jewelry and costume designer, was a close friend and frequent collaborator with Keith Haring. Together, the duo designed several pieces for supermodel and performer Grace Jones. Joey Arias, whom this dress comes from the collection of, reports that it was first made for Jones, before she gave it to International Chrysis (pictured here) — who then passed it to him. International Chrysis was a now legendary Bronx-born trans performer, a protege of Salvador Dali, and a close friend of both Haring's and Spada's. Jones herself was photographed by Robert Mapplethorpe in several unique Spada / Haring pieces and appeared in them on stage.Not only an entirely unique Keith Haring work and a piece by a legendary downtown NYC designer, the dress is also an intimate connection to the genius of the generation of queer East Village artists lost to the AIDS crisis. A remarkable piece with exceptional provenance.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

One-of-a-kind Keith Haring and David Spada dress

Klaus Nomi's final, hand-made and stage-worn costumeJimmy Meyer[New York]: Jimmy Meyer, ca. 1982. Red and black velvet costume made by Jimmy Meyer for Klaus Nomi. Includes top, bloomers, cape, and ruff collar.Klaus Nomi’s iconic, one-of-a-kind, red and black Elizabethan-inspired costume, fabricated from Nomi’s own design by costumer Jimmy Meyer. Nomi frequently wore this outfit for performances, press photos, and public appearances. It was also the last costume Nomi ever performed in on stage, wearing it at his final live show in Munich in 1982. This is a singular, legendary piece, and an intimate connection to a now-bygone world of the East Village's queer performance art world.&nbsp;Nomi is perhaps most famously recognized as one of the&nbsp;singers — with Joey Arias — in David Bowie's landmark performance on Saturday Night Live.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Klaus Nomi's final stage-worn costume

Thierry MuglerBillie Holiday-inspired design for Joey Arias at Wigstock[New York]: Thierry Mugler, ca. 1992. Grey sequin gown with flower details, designed by Mugler, stage-worn by Joey Arias.This Billie Holiday-inspired gown was designed by Thierry Mugler for Joey Arias' performance at the 1992 Wigstock, New York’s annual outdoor drag festival. In his cabaret-style act, Arias channeled the vocal style and powerful stage presence of the classic American jazz singer.After opening his Paris boutique in 1978, French fashion designer Thierry Mugler became an international sensation in the 1980s and '90s, known for producing theatrical runway shows and designing garments for celebrity clients. Arias became one of Mugler’s muses after the two met in the 1980s, and Mugler would go on to design custom pieces for some of his most high-profile appearances, including the music video for George Michael’s “Too Funky,” Cirque du Soleil’s "Zumanity," "Arias with a Twist," and more.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Thierry Mugler's Billie Holiday-inspired design for Joey Arias, stage-worn at Wigstock

Stage-worn lightning bolt bubble suit, designed by Klaus Nomi[New York]: Klaus Nomi, ca. 1982. Bubble wrap and red tape, designed and fabricated by Klaus Nomi.Stage costume made of bubble wrap and trimmed with red tape, worn at New York’s Pyramid Club in the early-1980s. An excellent example of Nomi’s cutting-edge aesthetic sensibility, which epitomized the downtown New Wave scene.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Stage-worn lightning bolt bubble suit, designed by Klaus Nomi

[New York]: np, ca 1978. Transparent plastic cape costume stage-worn by Klaus Nomi.Sculptural plastic cape worn by Klaus Nomi over a skin-tight spacesuit during his 1978 debut performance in Club 57’s “New Wave Vaudeville” revue at Irving Plaza.This was a defining moment in Nomi’s career. That night he premiered his Nomi persona, performing his rendition of the aria “Mon cœur s’ouvre à ta voix” from Camille Saint-Saëns’ 1877 opera Samson and Delilah in his avant-garde guise. He ended the performance abruptly amid a crash of smoke bombs, strobe lights, and harsh sound effects.A remarkable and defining piece of Klaus Nomi's career.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Klaus Nomi's plastic cape costume, worn during his New York stage debut

Klaus Nomi's logo wandPage Wood[New York]: Page Wood, ca. early-1980s. Wand made of wooden board affixed to wooden rod with gaffer tape. 32 ¼ x 13 ¾ in. Bumping at points; some surface scratches; tape on verso partially separating from surface.An iconic, one-of-a-kind Klaus Nomi accessory: his wand in the shape of a simplified silhouette of his head, designed by Nomi collaborator, Page Wood.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Klaus Nomi's wand

Costumes from the Collection of Joey Arias

Fifteen of our long out-of-print publications, a number of which were issued when we were still a gallery and several years before we started digging away in bankers boxes.

Julian Beck / Judith MalinaPoemsNew York: Boo-Hooray, [2013]. Black cassette in Norelco case, printed insert with photographic illustration after Ira Cohen.Long out of print, this cassette features a November 1983 poetry reading by Living Theatre co-founders Julian Beck and Judith Malina. The tape is a reproduction of a cassette in The Living Theatre Archive, the original now held at Yale University's Beinecke Library. Liner notes read: "Imbued with a sense of entering the world, the work of these most ingenious theatre artists inspires us to action and provides us with language which confirms that transgression across the line which separates the theatre from the world. Theirs is not merely an anti-theatre but a reaffirmation of worldliness, of collective action, and of the real deal concerning non-violence." Recorded live by Kush/Cloud House Recording.

Julian Beck / Judith Malina — Poems

Johan Kugelberg and Gabriel MckeeBardo MatrixNew York: Boo-Hooray, 2014. Offset. Saddle-stapled in illustrated wraps. 24 pp. 8 1/2 x 5 1/4 in. Four illustrations reproducing cover art from Bardo Matrix.A bibliography of Ira Cohen and Anglus MacLiese's legendary Bardo Matrix Press. Issued by Boo-Hooray on the occasion of our 2014 exhibition held at The Grolier Club, "Bardo Matrix: A Kathmandu Beat Poetry Press." Along with the bibliography, the text includes a forward by Johan Kugelberg, a reprint of Ira Cohen's history of the press which in part first appeared in New Observations Magazine, and Cohen's "Kathmandu Dream Piece."

Bardo Matrix: A Bibliography

William GibsonSkip Spence's JeansNew York: Boo-Hooray, 2012. Saddle-stapled inkjet zine in oversized offset, French-fold wraps. 8 pp on 8 leaves, leaves unopened, with illustrations on the versos. With CD in paper sleeve and facsimile demo review. Originally appearing in Ugly Things magazine in 2003, this piece recounts a chance encounter between two cultural icons: science-fiction and foundational cyberpunk author William Gibson, and the musician Skip Spence, co-founder of Moby Grape, and the writer of the legendary 60's psych-rock Oar. Here, Gibson tells of the enigmatic encounter and the expansion of his mind upon encountering, well, Skip Spence's jeans. This edition includes a CD with Spence's two-song demo, submitted to and rejected by John Cale. Included is a facsimile reproduction of Cale's rejection memo which, despite calling the vocal &amp; instrumental performance as "OK," writes: "POOR, NO TUNES"

William Gibson — Skip Spence's Jeans

[The Living Theatre]Flyers for Boo-Hooray's "A Living Collage" exhibition, signed by Ben Morea, Spencer Sweeney, and Lizzi Bougatsos[New York: Boo-Hooray, 2015]. Photomechanical reproductions, three of which after calligraphy by Ben Morea and Lizzi Bougatsos. One on red paper, two on grey, one on white. Three flyers 15 x 11 in, one 8 1/2 x 11 in. Larger flyers signed, respectively, by Ben Morea, Spencer Sweeney, and Lizzi Bougatsos. With printed press release.Boo-Hooray processed and The Living Theatre Archive of Primary Materials, placing the extensive archive at Yale University's Beinecke Library. During this process, co-founder Judith Malina passed away, and Johan Kugelberg, Lizzi Bougatsos, and Spencer Sweeney sought to stage a memorial exhibition: “When Judith Malina passed away in April, we immediately started discussing what we could do as a community gathering celebrating not only her wild, anarchistic, beautiful life, but also how to best showcase the enormous amounts of unseen visually arresting materials that had been gathered, after some thought we came to the conclusion that a living collage for the living theatre was our best bet. I immediately called Lizzi and Spencer who were game!”Musician Lizzi Bougatsos and artist Ben Morea, of Black Mask / Up Against the Wall Motherfuckers!, executed the lettering which these flyers reproduce.

[The Living Theatre] — A Living Collage flyers, signed

A True Recital of the Procedure of the third Banquet held by the Corvine Society[New York: Boo-Hooray, 2013]. Printed in red and black. Saddle-stapled in printed wraps. 16 pp. 10 x 7 in. Photographic frontispiece mounted opposite members' list. Corners lightly bumped.Limited edition of 50 hand-numbered copies, this copy produced hors commerce. The report delivered during the third meeting of the Corine Society, a society "founded early in the last century to honour the memory of Frederick Rolfe Baron Corvo, to recommend his writings, and to explain away his life." An eccentric English writer, photographer, and Catholic priest manqué, Corvo has remained an obscure figure in the history of modernist literature; his work received a wider audience through the A.J.A. Symon's seminal biography, The Quest for Corvo.A tongue-in-cheek report, the speaker Roert Scoble, notes, "Ours is an exclusive club, which wields quite disproportionate power in this country and in several others, partly because of the stratospheric eminence of its Members but principally because of its immense wealth. Of course, we exhibit no trace of vulgarity about this."Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

A True Recital of the Procedure of the third Banquet held by the Corvine Society

Paul InsectArtist's proof, signed by Afrika Bambaataa and InsectNew York: Boo-Hooray, 2014. Silkscreen. 12 x 12 in. Signed in pencil on print, hand-numbered at lower margin. Stored in a record sleeve. Immaculate.Artist's proof, number 49 of 50 hand-numbered copies, signed by both Paul Insect and Afrika Bambaataa. The trade edition of the print was limited to only 150 copies, and was produced for our touring exhibition "Born in the Bronx: Afrika Bambaataa, Buddy Esquire, Charlie Ahearn's Wild Style, and Joe Conzo — A Visual Record of the Early Days of Hip Hop."Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Paul Insect — Artist's proof, signed by Afrika Bambaataa and Insect

Lizzi Bougatsos; Amanda Keeley and Johan Kugelberg, eds.Her Perfume TearsNew York: Boo-Hooray and EXILE Books, 2014. Offset. Photographically illustrated wraps in newsprint dustjacket, folded to produce a pocket, containing saddle-stapled 32 pp pamphlet. [198] pp. 11 x 8 1/2 in. Signed by Bougatsos on the half-title. A very fine copy.One of an edition of 300 trade copies, of a total edition of 325 —&nbsp;this copy signed by the artist. Lizzi Bougatsos, musician, artist and activist has compiled a collection of never before seen personal photographs, artworks, poems, lyrics, notes and ephemera for this book.Each copy comes inside a origami-folded pocketed newsprint dust jacket containing a zine of Bougatsos' poetry and song writing process titled Enchanted by Her Squalor.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Lizzi Bougatsos — Her Perfume Tears, signed

Ed SandersHymn to the Mimeograph RevolutionNew York: Printed by the Brother in Elysium for Boo-Hooray, 2012. Risograph broadside printed in red and black, lower edge uncut. 14 x 9 in. Signed by Ed Sanders. A clean, bright copy.One of only 50 copies, signed by Sanders. In this poem written on the occasion of his exhibition at Boo-Hooray, Ed Sanders celebrates the technology that made possible his self-published poetry journal, Fuck You / A Magazine for the Arts.The mimeograph, a non-industrial printing machine, and the direct predecessor to the photocopier, was invented in the late 19th century by Thomas Edison, but it took five decades to make its way to the hands of the artists and poets who used it to produce and distribute their "un-publishable" works. In this broadside, Sanders speaks not only about the mimeograph, but his publishers-in-arms, his band The Fugs, and the revolutionary climate of the 1960's.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Ed Sanders — Hymn to the Mimeograph Revolution

CrassIn All Our Decadence People DieNew York: Boo-Hooray, 2011. Offset. Side-stapled in black spray-painted wraps. [100] pp. 16 1/2 x 11 in. Signed on the title-page. Wraps with short closed tear to spine, stray inkstain.Published on the occasion of Boo-Hooray's exhibition "In All Our Decadence People Die," this catalog showcases images from fanzines and ephemera collected at Dial House, home to the English anarchist punk band Crass, active from 1977-1984. Culled from approximately 3000 fanzines, broadsides, pamphlets and flyers, these materials were sent or given to the group Crass from fans all over the world. With almost 100 illustrations, the artists featured in the pages of In All Our Decadence People Die, are largely unknown, often working under pseudonyms or collectively, showcasing the momentum and power of the grassroots activist punk movement."A short history of the Fanzines and their presence amongst us: Unlike Mr. Penny Rimbaud, I dislike throwing anything away. Placed in a cupboard at Dial House where no one ever looked, the fanzines survived Guy Fawkes night for nearly 30 years, taking a short break in a friends attic when the cupboard was, for some reason, requisitioned for party hats, old suitcases and toys. Finally brought home again, they went back into the cupboard, away from the attention of Rimbaud and his persistent chanting of "let's just bung it all on the fire." Now, having finally left home for good, the collection parades itself brazenly and proudly before you and in very safe hands." - Gee Vaucher, editor"The public and private political stance of Crass was without peer or compromise. Their influence on the lives of misfits, belongers, winners, losers, straights and visionaries across the globe reverberates to this day." - Johan Kugelberg, editorCondition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Crass — In All Our Decadence People Die, signed by Gee Vaucher

Jonas MekasPrint of Judith Malina, signedNew York: Boo-Hooray, 2016. Halftone print. 13 3/4 x 10 in. Signed by Jonas Mekas and captioned "Times Square, 1965" in Mekas hand. Bright and clean copy.This signed print was included in our Living Theatre Archive In A Box. We think we made 200 of them. The Archive In A Box was produced in an edition of 200, so I guess we made a couple more. Or hopefully none got separated and lost from their boxes.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Jonas Mekas — Print of Judith Malina, signed

Neil Hamburger [Gregg Turkington]Alive (With Pleasure) At Taylor Brigode's Bachelor PartyNew York: Boo-Hooray, 2012. 7'' EP in illustrated sleeve.Lo-fi bootleg recording of Gregg Turkington as Neil Hamburger, who was performed and roasted one Taylor Brigode at the his bachelor party. Turkington once said, "I was hired to entertain a bachelor party in the back room at a very good pizza parlor, and someone was recording the show. And then it ended up as a record. I never heard the record, but I did see a copy, and was surprised. I guess anything can happen, and you can’t stop it."According to the back of the sleeve, we produced 25,000 copies in a "limited and numbered edition," but none were ever numbered. How many did we make again?Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Neil Hamburger [Gregg Turkington] — Alive (With Pleasure) At Taylor Brigode's Bachelor Party

Stef MitchellNew Wive TalesNew York: Boo-Hooray, 2014. Offset. Illustrated white wraps, signed and numbered on rear wrapper. 114 illustrations. 7 x 4 3/4 in. Sealed.Limited edition, number 2 of 114 hand-numbered copies signed by the artist. Printed on the occasion of Stef Mitchell's one-day exhibition of drawings produced on Milk Studios notepads. Produced while she was working as a photographer's assistant, Mitchell said, "... almost all the jobs we did were at Milk. I guess I was a pretty bad photo assistant as I was fired in December because of the drawings." She would pick up the Milk notepads that were in plentiful supply throughout the building, and during the fleeting moments of calm in the storm of her day, she’d vent on paper with a marker or a ballpoint.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Stef Mitchell — New Wives Tales

Penny Rimbaud and Louise ElliottNot Us / Not ThemNew York: Boo-Hooray and Existencil Press, 2011. 7'' EP in illustrated sleeve, with printed lyrics sheet.Not Us / Not Them is a recording of two poems read by Crass co-founder Penny Rimbaud, accompanied on the saxophone with former Laughing Clown’s Louise Elliott. Evoking the general atmosphere of the Beat poets with the combination of jazz and spoken word, Rimbaud’s "Oh America" reads as a personal response to (or continuation of) Allen Ginsberg’s "Howl," while "Not They" is a weary challenge towards political indifference.Published jointly by Boo-Hooray and Exitstencil Press in an edition of 500 copies, on the occasion of Boo-Hooray's exhibition "In All Our Decadence People Die."Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Penny Rimbaud and Louise Elliott — Not Us / Not Them

Ed WoodEd Wood's Sleaze Paperbacks, prints portfolioNew York: Boo-Hooray, 2011. Four offset prints, each embossed with an early Boo-Hooray logo. 14 1/2 x 11 in. With a printed limitation card and housed in a printed folder.One of only 113 copies. A portfolio of prints published to commemorate the opening of Boo-Hooray's "Ed Wood's Sleaze Paperbacks" exhibition in 2011. The prints reproduce illustrations and pages from For Love or Money, Side-show Tren, and Diary of a Transvestite Hooker.Following this exhibition Boo-Hooray placed the Ed Wood Jr. Sleaze Paperbacks Collection, the largest known holdings of Ed Wood’s pornographic material, at Cornell University's Human Sexuality Collection.Wood Jr.’s career as an author of pornographic pulp fiction is even more complicated and unusual than his career as a film director. By the early 1960s, having run out of the funding needed to continue making his own movies, he began writing pornographic literature for quick money (as well as working, when he could, on porn films – softcore in the 60s, hardcore by the 70s). Using a variety of pseudonyms as well as his own name, he published and republished books under different titles, for the sort of publishers whose books were non-traditionally distributed, where more than one author shared the same name, which rarely kept records, or paid royalties.Wood’s sleaze fiction is as strange, idiosyncratic and out of step with his times and mores as his infamous movies. In the 1960s his quickie pulp narratives are spliced with lengthy philosophical, sociological and psychological discourse, often told in first person, many times dealing with the life of a transvestite in the buttoned-up America of the 1950s. His inner psyche is as much on display, both deliberately and accidentally, in these novels as it is in his films. As Wood descended further into alcoholism and poverty, and as his opportunities to make even hardcore porn films vanished, his writing showed ever-fewer flourishes of his eccentric personality, until finally there were nearly none at all. He died in 1978 of an alcohol-induced heart attack.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Ed Wood — Ed Wood's Sleaze Paperbacks, prints portfolio

[Afrika Bambaataa]Renegades of Funk slipmatsNew York: Boo-Hooray, 2013. Two 12'' slipmats.Slipmat produced for and exclusively sold at our exhibition of the Afrika Bambaataa record collection 2013, reproducing original labels.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

[Afrika Bambaataa] — Renegades of Funk slipmats

15 at $15 from Boo-Hooray

A nice little crate, with a few real rarities in excellent condition, along with Impulse! art proofs, and a signed copy of Milton Glaser's famous Dylan poster.

Joy de Vivre [Crass]Our Wedding [Two Crass records, black and white editions][London]: Creative Recording and Sound Services, 1981. Two 7" flexi discs. 7 1/8 x 7 1/2 in. Used condition.Both black and white editions of Crass' prank 7" "Our Wedding," released under the name Joy de Vivre in the magazine Loving, a publication aimed at teenage girls of a romantic bent.The song "Our Wedding" was Crass' reworking of their song "Lipstick On Your Penis," which was to be the closer of their album Penis Envy. Lipstick, however, was so heavily based on the old standard "Lipstick On Your Collar," that they needed to rework it completely. The result was "Our Wedding," a parody song that sung so purely and banally about marriage that the teenage love magazine welcomed it with open arms.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Joy de Vivre [Crass] – Our Wedding

Patti Smith Group“Gloria / My Generation” 7'' singles collectionNew York/Italy/France: Arista Records, 1976. Four 7-in. vinyl records in sleeves, two signed in marker in the hand of Patti Smith. 7 x 7 in. Records and sleeves in used condition.Four copies of Patti Smith’s 7-inch single “Gloria” b/w “My Generation,” including two signed on the sleeve by Smith. Includes two US releases (both signed), one French release, and one Italian release.This single off Smith’s debut album Horses was released by Arista Records in 1976 with “Gloria” on the A-side and a cover of The Who’s “My Generation,” recorded live in Cleveland, on the B-side.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Patti Smith – Gloria / My Generation 7'' collection

Bob Dylan. Milton GlaserBob Dylan Greatest Hits LP, with an original, signed copy of the Glaser posterNew York: Columbia Records, [1967]. 12-in vinyl record in sleeve; includes original poster as issued, here signed in multi-colored crayon by Milton Glaser. Record: 12 x 12 in. Poster: 33 x 22 in., folded as issued with a small closed tear at bottom edge repaired with tape on verso.The first compilation album of songs by Bob Dylan, including original “psychedelic Dylan” poster designed by Milton Glaser.Endlessly reproduced, Glaser’s poster of a silhouetted Dylan with a mop of wavy, rainbow hair, is one of the most famous rock ‘n roll posters of all time. This copy is signed by Glaser in multi-colored crayon, mimicking the musician’s colorful locks as depicted in the image. While the poster is ubiquitous, signed copies are extremely rare.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Bob Dylan, Milton Glaser — Greatest Hits, with an original, signed copy of the Glaser poster

[Coleman Hawkins]Desafinado LP cover art proofNew York: Impulse!, [1962]. Offset. 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.LP cover art proof for Coleman Hawkins' record Desafinado, his first and only Bossa Nova album. The cover was designed by Robert Flynn, and featured a photograph by Jack Bradley, Louis Armstrong's personal photographer. The LP was recorded at a pivotal point for Impulse!, as Bob Thiele had just replaced its founder, Creed Taylor. In 1962, as the label began attracting the new jazz revolutionaries, they still recorded old masters like Hawkins.

[Coleman Hawkins] — Desafinado LP cover art proof

[Archie Shepp]Four for Trane LP cover art proofNew York: Impulse!, [1965]. Offset. One sheet, 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.Art proof for Archie Shepp's first record with Impulse!, Four for Trane. The saxophonist spent months trying to contact Impulse! producer Bob Thiele, but it was ultimately through Coltrane's intervention that the record got made. Shepp said of the recording: "When we did the Four for Trane date, it went down almost take by take, because we had rehearsed nightly for months. After the third song, Bob, who had been really terribly rude at the beginning, smoking his pipe like a chimney, he brightened up a bit, sat down and said, 'I've got to call John and tell him this stuff is great.' He said, 'John, you got to come out and hear this!' Well, Coltrane already knew. He had been listening to this stuff for the last couple of years because the avant-garde was all around New York... John was very gracious. He drove out from his home in Long Island to Englewood, at about eleven o'clock at night. I assumed he got out of his bed, because when we took that photo they put on the album cover [he was] with no socks, you know."

[Archie Shepp] — Four for Trane LP cover art proof

Ornette ColemanChange of the Century LP [signed]London: London Atlantic, 1961. 12-in. vinyl record in sleeve, signed in green marker by Ornette Coleman and Don Cherry. 12 x 12 in. Record and sleeve in used condition.Jazz saxophonist Ornette Coleman’s fourth studio album, Change of the Century, helped establish the genre of free jazz. Copy signed by Coleman and trumpeter Don Cherry, who performed on the album.Cherry began playing with Coleman’s quartet in the late 1950s. His cornet and pocket trumpet performances can be heard on some of Coleman’s most influential early recordings, including this album as well as 1959’s The Shape of Jazz to Come and the genre-defining 1961 album Free Jazz.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Ornette Coleman – Change of the Century, signed

Bo DiddleyBo Diddley LP, mono UK pressing, signedLondon: Chess Records, 1963. 12-in vinyl record in front-laminated sleeve, signed in blue ink by Bo Diddley and band members Jerome Green, Duchess (Norma-Jean Wofford), and others. 12 x 12 in. Record and sleeve in used condition.UK mono pressing of American blues guitarist Bo Diddley’s eighth studio album, signed by Diddley and others, including percussionist Jerome Green and guitarist Norma-Jean Wofford, who both performed on the record. Paper inner sleeve includes handwritten time stamps for Sides 1 &amp; 2 of the record.This second self-titled album of Bo Diddley’s (not to be confused with his 1958 album of the same name) reached #11 on the UK Album Chart. Its commercial success led many British acts to record their own versions of songs from the album.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Bo Diddley — Signed 1968 self-titled, UK mono pressing

Alan VegaSaturn Strip [signed promotional copy]Los Angeles: Elektra/Asylum Records, 1983. 12-in vinyl record in sleeve, signed in black pen by Vega; promo stamp on rear of sleeve. 12 x 12 in. Record and sleeve in used condition.Promotional copy of Alan Vega’s 1983 album, Saturn Strip, signed by Vega. Vega was half of the legendary electro-punk duo Suicide, and his solo career continued from the 1980s until his death. His third album, Saturn Strip was a departure from his earlier music, and his first flirtation with a more mainstream synth sound.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Alan Vega — Saturn Strip, signed

Professor Griff and the Last Asiatic DisciplesPawns in the Game, promotional copy, signedLiberty City, Florida: Skyywalker Records, 1990. 12-in vinyl record in sleeve, inscribed “To Matt …” and signed in blue marker by Professor Griff. 12 x 12 in. Record and sleeve in used condition.Signed promotional copy of Professor Griff and the Last Asiatic Disciples’ only studio album. Griff formed the Disciples following his departure from Public Enemy.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Professor Griff – Pawns in the Game, signed promo copy

Little RichardThe Rill Thing LP, signedAustralia: Reprise Records, 1970. 12-in. vinyl record in sleeve, signed in blue pen in the hand of Little Richard; 12 x 12 in. Record and sleeve in used condition.Signed copy of rock ‘n roll pioneer Little Richard’s 1970 album The Rill Thing (RS 6406). The signature on the front of the sleeve reads, “To you, with love, Little Richard.”Released more than a decade after Little Richard burst onto the music scene with lively hits like “Tutti Frutti” and “Long Tall Sally,” The Rill Thing is considered something of a comeback album for the artist. Recorded at Muscle Shoals in Alabama, The Rill Thing featured two charting tracks—“Freedom Blues” and “Greenwood, Mississippi”—as well as Beatles and Hank Williams covers and a whooping 10 minute 20 second funk jam recorded in a single take.“Freedom Blues” and “Dew Drop Inn” were cowritten by Esquerita, a lesser-known R&amp;B singer, songwriter, and pianist who was the primary influence on Little Richard’s music, performance style, and self-fashioning. Born Eskew Reeder, Jr., Esquerita was a self-taught pianist who began performing rock ‘n roll music at local nightclubs in his late teens. His wild performances, which saw him wailing lyrics strewn with innuendo and pounding the piano keys, had a profound impact on Little Richard. In addition to making Esquerita’s over-the-top performance style his own, Little Richard also adopted his signature pencil-thin mustache, caked on makeup, and pompadour hairdo.Like many early rock ‘n roll pioneers whose contributions to the genre are still under-recognized, Esquerita was a gay African American. While he never had a chart-topping hit of his own, his influence on Little Richard and other R&amp;B musicians secured his place in the history of American music. Esquerita died in 1986 of an AIDS-related illness.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Little Richard – The Rill Thing, signed

Tony SchwartzThe New York Taxi Driver LP[New York]: Columbia Special Projects, [1959]. 12-in. vinyl record in sleeve, signed in black marker in the hand of Tony Schwartz; white sleeve blank on rear. 12 x 12 in. Record and sleeve in used condition.A limited-edition compilation of excerpts from the A and B sides of the commercial release of The New York Taxi Driver, featuring snippets of candid conversations with NYC cabbies. One-sided. Run time, approx. 14 mins, 30 seconds. Signed by Tony Schwartz to Michael Richman.Narrated by veteran radio announcer, Dwight Weist, The New York Taxi Driver sets Schwartz’s field recordings of conversations with outspoken taxi drivers about politics, the police, traffic, women, and the meaning of life against the urban soundscape of New York City.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Tony Schwartz – The New York Taxi Diver, signed

[Lawrence Brown's All-Stars with Johnny Hodges]Inspired Abandon LP cover art proofNew York: Impulse!, [1965]. Offset. 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.Cover art proof for Lawrence Brown and Johnny Hodges' record Inspired Abandon. Designed by Robert Flynn, who designed nearly all of Impulse's records between 1960 and 1969, with a photograph by Chuck Stewart, prolific jazz photographer.

[Lawrence Brown's All-Stars with Johnny Hodges] — Inspired Abandon LP cover art proof

[Coleman Hawkins]Wrapped Tight LP cover art proofNew York: Impulse!, [1965]. Offset. One sheet, 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.Cover art proof for Coleman Hawkins' record Wrapped Tight. The album was recorded at the tail end of Hawkins' nearly 40-year career, and was his penultimate record.

[Coleman Hawkins] — Wrapped Tight LP cover art proof

[Yusuf Lateef]1984 LP cover art proofNew York: Impulse!, [1965]. Offset. One sheet, 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.Cover art proof for Yusuf Lateef's 1965 record, 1984. Features a full-bleed photograph of Lateef with his saxophone, and the label's characteristic white and orange lettering.

[Yusuf Lateef] — 1984 LP cover art proof

[Ben Webster]See You at the Fair LP cover art proofNew York: Impulse!, [1964]. Offset. 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.The cover shows Webster with his saxophone in front of the Unisphere, the globe sculpture designed for the 1964 World's Fair, the same year of the record's release. For most of the 1960s, Impulse! featured its logo in a white circle with its name in black and orange lettering, as seen here, before switching to a more simplified logo in 1968.

[Ben Webster] — See You at the Fair LP cover art proof

[Freddie Hubbard]The Body and the Soul LP cover art proofNew York: Impulse!, [1964]. Offset. 12 x 12 in. Matted, framed, and glazed to 17 x 17 in.Cover art proof for Freddie Hubbard's record, The Body and the Soul, Hubbard's last release on the Impulse! label. Produced by Bob Thiele. Features a full-bleed, close-up photograph of Hubbard with his trumpet.

[Freddie Hubbard] — The Body and the Soul LP cover art proof

Bebop Jazz [Art by Wally Berman aka Wallace Berman][Los Angeles]: Dial Records, [1946]. DIAL D-1. 10" vinyl 78 RPM album on three discs and cardboard sleeve. 10 1/4 x 12 in. Used condition.Three disc set of 78 RPM records with six tracks featuring jazz legends including Charlie Parker, Miles Davis, Sonny Berman, and more with original sleeve.&nbsp;Wallace Berman’s drawings for the cover of the two-volume anthology Bebop Jazz from 1947 and 1948 are generally believed to be his first published works. The collage-like illustration evokes the sound and energy of jazz music. Berman was a lover of jazz, and the genre’s emphasis on experimentation and improvisation would help shape his artistic oeuvre.&nbsp;Disc 1 catalog number: 1006Disc 2 catalog number: 1007Disc 3 catalog number: 1008Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

[Art by Wallace Berman] — Bebop Jazz

Records (and More)

Good stuff that almost disappeared (or may as well have).

Cafe Society Menu [first racially integrated nightclub in New York City]New York: np, [ca. 1940s]. Saddle stapled, with one missing staple and another loose staple, with tasseled blue string adorning the spine. Offset. 8pp. 11 ¾ x 8 ½ in. Toning and foxing on wraps, interiors clean; clean example.Dinner and drink menu for the first racially integrated nightclub in New York City, perhaps the country. Advertised as “the wrong place for the right people,” the nightclub opened in 1938 and featured performances by Sarah Vaughan, Big Joe Turner, Albert Ammons, Lena Horne, Ruth Brown, Pearl Bailey, and Billie Holiday, who first performed “Strange Fruit” there.Holiday’s performance was oddly and intensely shaped by the well-meaning owner, manager, and founder Barney Josephson, who insisted the set end with “Strange Fruit,” without an encore or restaurant service following it, so that the audience could “sit and think with it.” This was emblematic of his intentions for the club: a vexed affront on rich society, mocking the racist socialites who frequented segregated nightclubs such as the Cotton Club, by way of murals done by Anton Refregier and other Village artists with political, ironic, and experimental proclivities. By 1948, Josephson’s brother was subpoenaed by the House of Un-American Committee. Anti-communist harassment and suppression would eventually bring New York’s first integrated nightclub to close bringing attacks on the nightclub to close.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Cafe Society Menu [first racially integrated nightclub in New York City]

Imprimerie des GondolesAu Debut de Chaque Mois: Le Monde Libertaire posterParis: Fédération Anarchiste, ca. 1950s. Screenprint. 22 ¾ x 25 ¼ in. Subtle lines from folding into eights; tears (approx. 1 in.) at center of top and bottom edge along fold lines; toning commensurate with age.Poster advertising the organ of the French Anarchist Federation, Le Monde Libertaire [The Libertarian World], featuring anarchist symbols like the black flag and raised fist. The text reads, “At the beginning of each month / The Libertarian World / on sale at all kiosks / or 3, rue Ternaux - Paris (XI).”Printed by Imprimerie des Gondoles, a printshop in the Parisian suburb of Choisy-le-Roi founded by Spanish anarchists in exile and members of the Spanish CNT (Confederación Nacional del Trabajo [National Confederation of Labor]).Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Au Debut de Chaque Mois: Le Monde Libertaire poster

John WatersNational Peep: Is This ‘Woman’ The Filthiest Person Alive? [Pink Flamingos Parody Tabloid Paper][Baltimore]: Saliva Films, ca. 1972. Offset on newsprint. One large folio, folded to produce 4 pp. 11 ½ x 17 ½ in. Line from folding and wear around the edges.Created to advertise the release of John Waters’ cult-classic exercise in poor taste, Pink Flamingos, this parody tabloid newspaper features Divine on the cover, asking the question on everyone’s lips: “Is this ‘woman’ the filthiest person alive?”These papers, a clever transposition of an item and plot point from John Water’s cinematic universe onto this so-called reality, were originally distributed to lucky cinema goers at early screenings of Pink Flamingos.Printed inside are press clippings advertising the film, an interview with John Waters, stills from the film, and more.A disgusting document of queer cinema.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

National Peep July [John Waters Pink Flamingos Parody Tabloid Paper]

Two Tomata du Plenty art show flyersLos Angeles: Tomata du Plenty, [1998-1999]. Offset and xerox. 5 1/2 x 4 1/2 in. and 6 1/2 x 3 3/4 in. Bumping to both flyers; light discoloration at the top of Beyond Baroque flyer.Two flyers promoting art shows featuring the work of Tomata du Plenty shortly before his death. The first show at the ""You've Got Bad Taste"" venue in Los Angeles in 1998 was an ""artistic salute to Punk Rock,"" titled ""Punish or be Damned! Reliving the Nightmare."" It featured du Plenty's woodcuts and paintings of punk rock and punk musicians. The second show at Beyond Baroque bookstore in Los Angeles in 1999 featured Tomata's paintings of the Beats and other writers he liked.Du Plenty, born David Xavier Harrigan (1948-2000) fronted the groundbreaking Los Angeles synth-punk band The Screamers in the 1970s and was a member of the counterculture theatre troupes Ze Whiz Kids in Seattle and the Cockettes in San Francisco. A multi-talented performer, actor, and artist, du Plenty greatly influenced the art and music scenes wherever he lived—in Los Angeles, New York, Seattle, New Orleans, or Miami.In 1982, Du Plenty found an old set of paints and brushes in an alley off Hollywood Boulevard and dedicated the rest of his career to painting. His work was classified as folk or outsider art, and he did not mind the distinction, often selling his paintings for only ten to twenty-five dollars each at local bars. He worked with watercolors on found sheets of paper, and later moved almost exclusively to paintings on wood boards. The subjects of his works were often pop culture heroes, artists he admired, local characters, and friends. A cult hero throughout his life and since his death, his paintings still resonate as documentation of the vibrant queer punk counterculture he moved within throughout America, and the cultural references that inspired him.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Tomata du Plenty art show flyers

East Village Eye Benefit: Jayne County, Voodoo Shoes, Student Teachers, and guest Kelly GreenNew York: Squat / East Village Eye, ca. 1980s. Xerox. 8 1/2 x 11 in. Discoloration and bumping throughout; minor tearing at edges and foldlines.Benefit concert for East Village Eye, the influential East Village art &amp; counterculture magazine, featuring performances by Jayne County, Voodoo Shoes, Student Teachers, Kelly Green.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

East Village Eye Benefit [Jayne County]

Steve Reich "Drumming / Music For Mallet Instruments, Voices And Organ / Six Pianos" flyerNew York: Steve Reich, 1974. Offset. 11 x 8 1/2 in.Flyer advertising minimalist composer Steve Reich's 3 LP boxed set, "Drumming / Music For Mallet Instruments, Voices And Organ / Six Pianos."Issued by Deutsche Grammophon in 1974, this box set brought together three of Reich's major works from the early 1970s. The iconic four-part score, "Drumming," was Reich's longest ever composition and represented the final refinement of the phasing process. "Music For Mallet Instruments, Voices And Organ" features a simple pattern played by different instruments in interrelated rhythmic processes inspired by non-Western music that characterized his compositions in this period. "Six Pianos," meanwhile, was envisioned as "a piece for all the pianos in a pianos store," according to Reich.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Steve Reich "Drumming / Music For Mallet Instruments, Voices And Organ / Six Pianos" flyer

The Detroit Contemporary 5 [John Sinclair]Newark / Detroit: The Artists’ Workshop / Detroit &amp; The Jazz Art Music Society, 1966. Mimeograph on tan stock from type and holograph. 7 ½ x 11 in. Mild age toning and edges embrittled.Handbill promoting “The Detroit Contemporary 5, featuring Marion Brown,” a series of concerts in Newark, presented by The Artists’ Workshop from Detroit, and the Jazz Art Music Society from Newark. Ensemble member John Sinclair would go on to found the White Panther Party two years later and play in the celebrated proto-punk band MC5.The Detroit Contemporary 5 (DC5) was a fluid ensemble from Detroit that included John Dana, Ronald Johnson, John Sinclair, and trumpetist Charles Moore. It had grown out of the Detroit Artists’ Workshop, an important meeting ground for musicians and other artists at the height of the Detroit Free Press artistic movement. The concert was part of DC5’s ten day tour of the east coast, and featured the renowned alto player Marion Brown. The politically oriented jazz scene in Newark would soon coalesce with Amiri Baraka’s Jihad Productions.A record of the intersecting networks of avant-garde jazz and radical politics.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual items.

The Detroit Contemporary 5 [John Sinclair]

For The Benefit of LeRoi Jones [Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn]New York: Living Theater, 1963. Offset. 8 x 10 ½ in. Near fine.Flyer for a benefit for the poet, writer, and editor LeRoi Jones (later Amiri Baraka), with readings, concerts, and lectures by Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn, and more.The Living Theatre organized the benefit for LeRoi Jones, who was then seriously ill, along with his wife Hettie Jones. His seminal work of musicology, Blues People, would be published later that year.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual items.

For The Benefit of Leroi Jones [Cecil Taylor, Don Cherry, Frank O’Hara, Paul Blackburn]

Jack SmithFlaming Creatures at the Tivoli TheatreNew York: Tivoli Theatre, [1963]. Offset. 9 x 11 ½ in. Light discoloration; clean example.Flaming Creatures was a film by the underground filmmaker Jack Smith that premiered in 1963 and became the center of a highly publicized obscenity trial. This flyer is for a screening at the Tivoli Theatre in December 1963, just months before the arrests and trial that would make the film a cause célèbre of the underground film community. During its third showing at the Tivoli in March of 1964, the film was seized by the police and Jonas Mekas, Ken Jacobs, and Florence Karpf were arrested for organizing the screening.The flyer also notes that rushes from Normal Love would be screened as part of the program. By 1964, Smith’s ethic of total resistance to codification and commercialization led him to only screen Normal Love as a live performance in which he would recut the filmstrip, feed sections back through the projector, play different records from his collection, and otherwise refuse to ever create a conventionally “finished” film.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Jack Smith – Flaming Creatures at the Tivoli Theatre

The Living TheatreThe Living Theatre Program: I &amp; INew York: The Living Theatre, 1989. Offset. Saddle-stapled. 19 pp. 8 ½ x 5 ½ in. A very clean copy.Scarce playbill for I &amp; I by Jewish German poet and playwright Else Lasker-Schuler, directed by Judith Malina and performed by The Living Theatre. The center of the playbill cover design is a drawing of the ancient Greek prophet, Orpheus, by Jean Cocteau which has been used as a signet for The Living Theatre since 1952. Includes a new foreword by Judith Malina and graphic advertisements of local New York City institutions.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Living Theatre I & I Program

Jean VilarThe Living Theatre – Avignon XXII FestivalAvignon, France: The Living Theatre, 1968. Enclosing program folder in wraps measuring 8 ½ x 11 in. containing 1black &amp; white fold-out poster (6 x 20 ½ in.), double-sided handbill (8 x 10 ¼ in.), 7 pp playbill with text printed in French (8 x 10 ¼ in.), and festival playbill with text printed in French (6 ¾ x 9 in.). All offset. Clean examples, with light bumping to exteriors.Program folder including contents archiving the performances held at the 22nd Avignon Festival in Avignon, France highlighting The Living Theatre’s, Paradise Now, an experimental play performed at Cloitre des Carmes in July and August of 1968. The Living Theatre spent four months in Avignon creating, performing, and engaging with locals and artists from around the world. The program includes a fold-out poster illustrating Paradise Now through a hand drawing of the anatomy of a man and woman with French text beneath reading “This map is the map / the essential journey is the journey of plurality to unity / the plot is revolution."Also includes a black and white photographic handbill of the play Mysteries and smaller pieces, a photographic playbill of Antigone, and a mimeographed concert bill outlining the events of the entire festival. Mimeographed in deep green ink festival logo on folder cover.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Living Theatre – Avignon XXII Festival Folder

Jack GelberThe ConnectionNew York: The Living Theatre, ca 1959. Flyer. 8 ½ x 11 in. Offset. Clean example with light bumping to corners and edges; small nick to right edge.Directed by Judith Malina, designed by Julian Beck, written by Jack Gelber, and with music by Freddie Red, the Connection followings a theatrical producer and writer as they attempt to stage a play following the lives of various drug addicts and inhabitants of the New York Demi-monde. The play consists of conversations between the characters as they wait around to score. It won three Obie awards in 1959-1960, including best new play, best all-around production, and best actor. An early flyer, though flyers for the first production featured a much more simple design.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Living Theatre — The Connection

Film-Makers' CinemathequeFilm-makers’ Cinematheque December 18, 1965—January 1, 1966 Program [Brian DePalma, Fritz Lang]New York: Filmmaker's Cinematheque, [1965]. 17 x 8 ½ in. Offset. Horizontal crease.Movies featured during this time were four films by Fritz Lang, Quixote by Bruce Baillie, as well as a new year show by Harry Smith that included Early Abstractions, Heaven and Earth Magic, and Late Impositions.The Film-Makers' Cinematheque was started in New York City by Jonas Mekas in 1964 as a space for avant-garde and experimental cinema screenings and community gatherings. Runs at the cinematheque included films by Warhol, Brian DePalma, Fritz Lang, Jack Smith, Kenneth Anger, and more.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Film-makers’ Cinematheque Dec 18, 1965–Jan 1, 1966 Program

Wallace BermanSecond Los Angeles Film-makers FestivalLos Angeles: Los Angeles Filmmaker's Festival, 1963. Offset from collage and manuscript. 12 1⁄2 x 17 1⁄2 in. Lines from folding, light bumping, and toning from age; else clean example.A striking poster designed in Wallace Berman’s singular style, promoting the Second Los Angeles Filmmaker’s Festival at the Cinema Theater on February 12, 1963. In this poster Berman used his signature collaged images to narrative effect, its composition creating a sense of movement reminiscent of a motion picture.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Wallace Berman – Second Los Angeles Film-makers Festival

A Benefit For The "Vancouver Five" with Sonic Youth, Nihilistics, Rat At Rat R, False Prophet, Adrenalin O.D., and Misguided[New York]: Charas New Assembly Hall, [1983]. Offset. 11 x 8 1/2 in. Bumping to bottom left corner; very clean example.Flyer promoting a benefit concert for the Vancouver Five featuring Sonic Youth, Nihilistics, Rat At Rat R, False Prophets, Adrenalin O.D., and Misguided at the Charas New Assembly Hall in the Alphabet City, New York.The Vancouver “Squamish Five” were a group of urban guerillas who called themselves “Direct Action,” responsible for three high-profile acts of bombing and property destruction.Led by anarcho-feminist Ann Hansen, Direct Action was made up of four other members including Gerry Hannah of the hardcore band the Subhumans. Through Hannah, Direct Action made connections with hardcore and underground scenes throughout North America. Their résumé of property destruction is short and explosive like a hardcore song: first, they vandalized the offices of the British Columbia Ministry of Environment; a month later they stole a large cache of dynamite belonging to Department of Highways and used it to blow up an electric hydro station in Vancouver; their next action involved another stolen truck full of dynamite, which they placed outside a factory of American weapons manufacturer Litton Industries. The factory blew up into tar, dust, and smoke, and a national police search began. Before they were caught, the Five incorporated themselves into the larger group, the Wimmin’s Fire Brigade, and managed to fire bomb three franchises of Red Hot Video, a video porn store that had gained notoriety in feminist activism for allegedly distributing child, rape, and snuff porn. When they were finally caught nearly a year after they began their activist campaign, they were handed lengthy prison sentences in a highly publicized trial.A document of the politics of the No Wave and NYHC scene.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

A Benefit For The "Vancouver Five" flyer

Joe DeraWhy Mr. McCartney did not attend the Rock ’n Roll Hall of Fame dinnerNew York: Rogers &amp; Cowan, Inc.: 1988. Xerox. 11 x 8 1/2 in. Bumped; with light discoloration.Moments before the third annual Rock 'n Roll Hall of Fame induction dinner was set to begin, a representative for Paul McCartney circulated a memo stating that the Beatle would not be joining former bandmates George Harrison and Ringo Starr at the ceremony. The stated reason was "business problems" with the band's surviving members and their one-time record company, Apple.McCartney's written statement is a masterclass in petty drama: "I was keen to go to [the Rock 'n Roll Hall of Fame ceremony] and pick up my award, but after twenty years the Beatles still have some business differences which I had hoped would have been settled by now. Unfortunately, they haven’t been, so I would feel like a complete hypocrite waving and smiling with them [George Harrison and Ringo Starr] at a fake reunion.”Many were excitedly anticipating the Beatles' first public appearance together in more than 20 years, including fellow inductee Mike Love of the Beach Boys, who jabbed McCartney and his absence during his acceptance speech.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Why Mr. McCartney did not attend the Rock’n Roll Hall of Fame dinner

John Peel Want ListNp: nd. 8 1⁄2 x 5 1/2 in. Offset on yellow paper with holograph list to verso.A flyer for a performance by US Bombs at The Continental Club. You yawn, but on the verso is a handwritten five-item want list and John Peel’s address. We hope he’s found that Dean Hightower LP by now.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

John Peel — Want List

The Supremes Original 1966 White Bread BagDetroit / Lansing: Hitsville Merchandise / Schafer Bakers, 1966. Thermaprinted on plastic bag. 8 ½ x 19 in. Clean example, with wrinkling from age.Original plastic bread bag for The Supremes “Special Formula” White Bread from 1966.A superb record of the early marketing and commercialization of Motown.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Supremes: Special Formula, White Bread Bag

R. Romero, illustratorMartyr Corps with U-Men at Graven Image hand drawn flyer maquette[Seattle]: Graven Image, [1984]. Hand-drawn by artist in pencil. 13 7/8 x 9 5/8 in. Light discoloration throughout; drawing by the artist on verso.Hand drawn maquette for a flyer promoting a hard-core concert at Graven Image in Seattle, featuring performances by Martyr Corps and U-Men. Drawing on verso.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Graven Image hand-drawn flyer

The Dictators [flyer]Whitestone, NY: Youth Association of Whitestone, [1985]. Xerox. 8 1/2 x 14 in. Lines, tearing, and bumping from folding.Flyer promoting a concert by The Dictators and a special mystery guest in the town of Whitestone, New York, hosted by the Youth Association of Whitestone.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Dictators flyer

Flyers, Handbills, and Ephemera

Featuring the genuinely rare, historically significant, delightfully shocking, and just plain good.

Heaney the Famous Magician In Person[United States]: [Gerald] Heaney, [ca. 1920s]. Offset. 22 x 13 3/4 in. Minor bumping and chipping to edges, not affecting print.Poster promoting The Great Heaney, a famous early 20th century American stage magician.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Gerald Heaney — Heaney: The Famous Magician In Person

The Big Broadcast of 1937Oklahoma City: Leader Press, [1936]. Screenprint. 41 x 28 in. Old horizontal and vertical folds with slight loss where some folds meet, minor soiling.&nbsp;Poster for the release of the 1936 comedy film, The Big Broadcast of 1937.&nbsp;An example of a classic, early Hollywood plot: radio station employees must put on a show that will achieve huge ratings in order for the station to continue operation. Hilarity ensues!&nbsp;For more from Leader Press, see the following lot.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Big Broadcast of 1937

Princess Comes AcrossOklahoma City: Leader Press, [1936]. Screenprint. 41 x 28 in. Old horizontal and vertical folds, slight loss where some folds meet, minor edgewear, pinholes likely from display.&nbsp;Poster for the release of 1936 comedy-cum-mystery film Princess Comes Across, featuring Carole Lombard and Fred MacMurray. Produced by Leader Press in their straightforward style: movie title, stars’ names and faces, and five colors.

The Princess Comes Across

Andy WarholChelsea Girls at York CinemaNew York:&nbsp;York Cinema,&nbsp;[1966]. Offset. 29 ¼ x 22 ½ in. A very nice example, slight wear to edges.&nbsp;Poster for the run of Andy Warhol’s Chelsea Girls at the York Cinema. This run is particularly notable because it was the first time a New York underground film screened at several different New York cinemas outside of the Filmmaker’s Cinematheque.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Andy Warhol — Chelsea Girls at York Cinema

Barbara Rubin; Gordon Ball, co-designerCaterpillar Changes [Filmmaker’s Cinematheque Calendar][New York]: Filmmaker’s Cinematheque, [1967]. Offset. 22 1/8 x 17 in. Light bumping and a few small closed tears on the top edge; image intact.Poster promoting Barbara Rubin's Caterpillar Changes festival at the Filmmaker’s Cinematheque, which featured films, art installations, music performances, and appearances by Andy Warhol, D.A. Pennebaker, Shirley Clarke, Jack Smith, Wee Gee, Gato Barbieri, John Cavanaugh, Harry Smith, Angus MacLise, the Free Spirits, Jonas Mekas and the Velvet Underground.In an article titled "More on the New Sensibilities in Cinema," Jonas Mekas wrote that "this show, to those few who saw it, and really saw it, provided an insight into the farthest out frontiersland of cinema and of vision. Really, the whole cinema as it is (or was) fell to pieces, and was hanging around the auditorium in shreds, like a leaf eaten out by worms. I said it was the product of Rubin’s imagination, but that shouldn’t be misunderstood: Her imagination is only part of our imagination. Rubin acted as an architect who was pulling out from our dreams the primordial shapes, shred by shred, recreating our own dreams in front of and around us. It was a visionary show and one that marks a very important direction in cinema."

Barbara Rubin, Gordon Ball — Caterpillar Changes [Film-Maker's Cinematheque Calendar]

Steven Arnold, designerNocturnal Dream Shows: Midnight Films&nbsp;San Francisco: The Palace Theater, 1970. Offset. 17 x 22 in. Bumping to edges, and a few discoloration marks to the left edge.&nbsp;Poster promoting a series of movie screenings at The Palace Theater in San Francisco, presented by the Nocturnal Dream Shows, featuring classic works such as Hiroshi Teshigahara's Face of Another, Ingmar Bergman's Dreams, Lew Landers' The Mask of Dijon, Paul Leni's Waxworks, the three chapters of Flash Gordon, and Tom de Witt's Atmosfear, among others.&nbsp;The Palace Theatre in San Francisco was a Chinese movie theater that mostly showed Chinese films and opera, but was better known for Miron Miron's midnight "dream shows,” a series of late-night screenings and performances where the Cockettes made their performance debut in 1969. These events were hugely influential for the queer avant-garde performance scene in San Francisco. This poster, designed by Steven Arnold, documents the decadent paper culture that came out of the scene.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Steven Arnold — Nocturnal Dream Shows: Midnight Films [The Palace Theater]

The Decline of Western Civilization original 1981 US poster&nbsp;[Los Angeles]: Np, [1981]. Offset. 39 ½ x 26 ¾ in. Old horizontal and vertical folds, pinholes at corners, some minor wear with rubbing along fold lines.&nbsp;An original promotional poster for Penelope Spheeris’ legendary cult film. The documentary chronicles LA’s punk explosion at the end of the 1970s. Upon its 1981 debut in Los Angeles, the chief of the LAPD penned a letter demanding the film not be shown again in the city.&nbsp;The original US poster is very scarce; Italian posters appear at auction and in the trade much more commonly.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Decline of Western Civilization [original US poster]

Änglar fran HelvetetSmåland: Tryckeri, 1979. Offset. 29 ½ x 37 ½ in. Light wear along edges.&nbsp;Swedish poster for 1968 American biker film Angels from Hell. The American posters were not nearly as vibrantly colored as this neon pink version.&nbsp;Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Änglar fran Helvetet — Swedish poster for the classic biker movie

Alexander KlugeAnita G [Swedish release]Stockholm:&nbsp;EWES,&nbsp;1967. 39 ¼ x 27 ½ in. Offset poster. Some edgewear and wrinkling, creases from folding.Poster promoting the Swedish release of Alexander Kluge's feature film Anita G.Friend of Adorno and former assistant to Fritz Lang, Alexander Kluge was one of the principle members of the New German Cinema scene, along with Rainer Werner Fassbinder, Wim Wenders, and Werner Herzog. A critic, philosopher, film theorist, and filmmaker, he has written widely on cinema and art, and is the author of many works of fiction and intermedia.Anita G., known at times under the film’s original name Abschied von Gestern or its English name Yesterday Girl, is a 1966 film about a woman’s journey immigrating from East to West Germany.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Alexander Kluge — Anita G [Swedish release]

George RomeroDawn of the DeadLos Angeles:&nbsp;Colby Poster Printing Co.,&nbsp;[ca. 1978]. Silkscreen poster on heavy cardboard. 22 x 14 in.This poster, printed on a heavy cardstock, advertises a one week return of Dawn of the Dead, George A. Romero's 1978 groundbreaking film co-written with Dario Argento, in which flesh-eating zombies sew chaos across the world.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

George Romero — Dawn of the Dead

The Cramps — Vampire from the Crypt posterAlain de la MataN.p.:&nbsp;The Cramps,&nbsp;1980. Screenprint. 30 x 22 1/4 in. Mounted on backing measuring 23 3/8 x 31 in.Exceedingly rare promotional poster for the supposed 1980 film, Vampire from the Crypt, written and performed by The Cramps - pioneers of psychobilly, and one of the first American garage punk bands. The film seems to have never been produced and the poster was designed using stills from an earlier horror film-inspired photoshoot.The design by Alain de la Mata collages photographs of the band, speculated to have originated from the band’s "Garbageman" promotional video shoot. The poster, and the accompanying text culled from their lyrics, reveals a fascination with trash Americana and vintage monster movies for which the band is well known. Borrowing from the comic book series, "Tales from the Crypt," The Cramps re-appropriate the ghoulish and fantastical style and reinvigorate it with their own punk aesthetic.A scarce poster for the little-known and never-produced film by the legendary punk band, and a record of the mythology around the group.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Cramps — Vampire from the Crypt

The Great Blondino (with soundtrack by The Grateful Dead)[San Francisco]: Cedar Alley Cinema, 1967. Offset poster. 17 ½ in x 22 ½ in. Light bumping, clean example.A rare print of the poster for the World Premiere of Robert Nelson and William T. Wiley’s 1967 art house film, The Great Blondino. Shot without a script or preconceived narrative, the film follows an anachronistically outfitted protagonist as he explores a world of beauty and cruelty. The soundtrack to the film was provided by the Grateful Dead.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Great Blondino [soundtrack by The Grateful Dead]

Ein Scheiß Leben!, die alptraumfraum film von lothar lambert [Nightmare Woman, a film by Lothar Lambert]&nbsp;[Berlin]: [Lothar Lambert], [1981]. Offset, with holograph inscription in red ink. 17 x 24 in. Pin holes on poster's four corners, very minor discoloration around holes.&nbsp;Poster promoting Die Alptraumfrau [Nightmare Woman], a film by Lothar Lambert about the trials and therapy of a woman plagued since childhood by a disfiguring squint. Masochist sexual fantasies are plentiful and perhaps in bad taste; the latter prompted various discussions of the movie and portrayals of masochism and women’s sexuality, including a critical review of the movie by Barbara Kruger in Artforum.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Ein Scheiß Leben! [Nightmare Woman, a film by Lothar Lambert]

Amelia MuddOut Of The Public Eye&nbsp;&nbsp;New York: The Kitchen, 1984. Offset. 20 x 14 in. Minor bumping.&nbsp;Poster promoting Out Of The Public Eye, a play written and directed by John Malpede, staged at The Kitchen in New York; performed by Ann Magnuson, John Malpede, and Frank South. The play concerns the interview of a famous athlete, played by Malpede, by two TV sportcasters, Magnuson and South. A document of 1980s New York postmodern theater.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Amelia Mudd, [John Malpede] — Out Of The Public Eye

The Living Theatre Presents Man is Man by Bertolt Brecht[New York]: The Living Theatre, [1962]. Screenprint. 18 ¼ x 12 ¼ in.Set in colonial India, Bertolt Brecht’s Man is Man dramatizes the loss of individual identity to an impersonal and soul-crushing system of military order and servility. Originally produced under Brecht's direction in Berlin in 1931 and starring Peter Lorre, the great Austrian actor who starred in such films as Fritz Lang’s M and The Maltese Falcon.This poster from The Living Theatre’s production is evidence of their interest in radical, politically engaged theatre as well as the 60s American theatrical avant-garde’s interest in European experimental theater of an earlier generation.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Living Theatre — Man is Man by Betolt Brecht

Poster and Original Artwork for Six Public Acts to Transmute Violence into Concord [Legacy of Cain][Julian Beck]Pittsburgh: The Living Theatre, [1975]. Pencil on offset printed map of Pittsburgh with four small pieces of tape near right edge; stencil print in black ink on offset printed map of Pittsburgh. Both 36 x 25 ½ in. Very good; heavily creased from folding, some minor tears at fold lines, and toning and bumping at edges.Original hand-drawn poster mock-up and stenciled poster by Living Theatre co-founder Julian Beck for Six Public Acts to Transmute Violence into Concord, part of the Living Theatre’s Legacy of Cain cycle of plays.This mock-up and poster were both produced on roadmaps of Pittsburgh, a reference to the fact that the performances were staged not in a traditional theatrical venue, but in public spaces across the Steel City. Throughout the 1970s, the Living Theatre performed The Legacy of Cain in several nontraditional venues around the world, from a Pittsburgh steel mill to a Brazilian prison and the streets of Palermo, Italy. These plays were designed not only for a variety of venues, but a variety of audiences, especially those who would otherwise have limited access to theater.The printed version of the poster differs slightly from the pencil mock-up. Most notably, Beck has printed his own version of the Industrial Workers of the World (IWW) logo, which, while a feature of the map used for the mock-up, is missing from the map used for the print.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Julian Beck, [The Living Theatre] — Six Public Acts to Transmute Violence into Concord

The Living Theatre in BerkeleyBerkeley: The Living Theatre, 1969. Offset. 24 x 16 1/4 in. Loss to top left corner, substantial bumping, wear, and light tearing to edges; line from folding into halves.Poster promoting the Living Theatre’s February 1969 run of performances at the Berkeley Community Theater and the San Francisco Nourse Auditorium, some of their last appearances in America before embarking on an extensive European tour. The experimental theater troupe performed some of their best-known plays including Paradise Now, Antigone, and Frankenstein during their stay on the west coast.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

The Living Theatre in Berkeley

Piero HeliczerThe Soap OperaLondon: Trigram Press, 1967. Screenprint. 25 ¾ x 20 ¾ in. Minor edgewear and some small closed tears.Promotional poster for Piero Heliczer’s 1967 publication on Trigram Press, The Soap Opera.Printed in 500 copies by Trigram, The Soap Opera featured a selection of poetry by Heliczer accompanied by illustrations by Andy Warhol, Wallace Berman, Jack Smith, Paul Vaughan, Robert Harding Brown, Augusto Genina, Ferro, Jean-Jacques Lebel, and Harold Chapman.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Piero Heliczer — The Soap Opera

Emperor of ChinaTeatro La FedeItaly: Teatro La Fede, 1969. Offset. 25 3/4 x 18 1/2 in. Lines from folding into eights, as well as dents and some small stains to paper throughout. Stamp to the upper right corner.Poster for the staging of Georges Ribemont-Dessaignes dadaist play The Emperor of China, performed by the Teatro la Fede in 1969. The group, influenced by artists associated with Fluxus such as John Cage, as well as classic European dada, fermented their own style of fragmentary kitsch, provocation, and performance. The poster, drawing on their dada influences, features the reproduction of a collage of Max Ernst.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Teatro La Fede — Emperor of China

Two Posters of Wencke Mühleisen [Narcissus: One Woman Show / Performance av Wencke Mühleisen]Stockholm: Liljevalchs / Kulturverkstaden, [1979]. Offset. 15 3/4 x 23 3/4 in. Taped corners, light discoloration on right edge.Stockholm: Liljevalchs / Cirkus I Stan, [1981]. Offset. 16 1/2 x 23 1/2 in. Letter “P” in top left corner and letter “E” in top right corner both rubbed off; light discoloration on bottom right corner; central image clean.Two posters promoting performances by Wencke Mühleisen. Mühleisen was known for her shocking, transgressive performances in which she would bare herself naked on stage, paint her genitals red, and feign intercourse. Her focus was on the politics of the body, sex, and gender.Between 1976 and 1985, Wühleisen was part of the Austrian Friedrichshof collective, a left libertarian radical collective movement that became better known as a cult. Wühleisen left due to its ironically authoritarian demands that every member have sex with each other and that children be separated from their parents. Founder Otto Muehl was eventually accused and imprisoned for the sexual abuse of children.These first poster promotes Narcissus, a one woman show by Wencke Mühleisen at the Liljevalchs gallery in Stockholm under the name Grevinnan Sophink [Countess Sophink]. The poster promotes Mühleisen’s scandalous performances, promising that she returns to Denmark to further damage her reputation.The second poster promotes a performance by Wencke Mühleisen at the Liljevalchs gallery in Stockholm, produced by Cirkus I Stan [Circus in Town], in late May and early June of 1981.“She wants to defeat Logos. She is her sexuality.”Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Two Posters of Wencke Mühleisen [Narcissus: One Woman Show / Performance av Wencke Mühleisen]

Posters

Everything with and without a spine.

Patti SmithAutograph manuscript, “Alchemical Roll Call,” mailed to Harry Smith, with annotations in H. Smith's hand[New York]: np, 1970. 48 pieces of paper, composing 12 hand-drawn and autograph manuscript sheets; 3 sets of 12 xeroxed pages; one laser printed sheet. Each piece of the original manuscript roughly measures 5 1/4 x 3 5/8 in, with four of them adding up to a 10 1/2 x 7 1/4 in sheet; xeroxes measure 11 x 8 1/2 in. Annotations in pencil in Harry Smith's hand. Light discoloration to xeroxes; one set of the xeroxes with hand-coloring.Autograph manuscript poem composed by Patti Smith in 1970, "Alchemical Roll Call,” dedicated and mailed to the polymath filmmaker, ethnologist, and Neo-Gnostic bishop Harry Smith; the latter Smith is perhaps best remembered for his masterwork Heaven and Earth Magic, and for his influential Anthology of American Folk Music.Bookseller Philip Smith, who co-curated an exhibition on Harry Smith at Maccarone and contributed to The Whitney's 2023-24 exhibition "Fragments of a Faith Forgotten: The Art of Harry Smith," notes that the elements of the manuscript closely correlate to collaged elements in Heaven and Earth Magic; he further notes that the parenthetical annotations and "(orig)" appear to be in Harry Smith's hand.Written before Patti Smith’s musical career took off, this manuscript features Smith’s surrealist drawings and poems, already exhibiting a proto-punk/stick-figure humor &amp; sensibility alongside accomplished illustrations and turns of phrases. In her memoir Just Kids, Smith writes that "Alchemical Roll Call" “was an illustrated poem encoding the things that Harry and [she] had discussed about alchemy.” After the poem's dedicatee received it, he then, mysteriously, tore the sheets into quarters.Boo-Hooray would like to thank Philip Smith for his assistance in the cataloging of this lot. Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Patti Smith — Autograph manuscript mailed to Harry Smith, the poem's dedicatee, with his annotations

Mikhail BulgakovMaster i Margarita [The Master and Margarita], samizdat edition[USSR]: np, ca. 1980. Dot matrix. Contemporary maroon buckram, pale blue endpapers. 229 pp. 12 x 8 in. A bit shaken, minor soiling to rear board, corners bumped.The Master and Margarita is one of the essential works of Soviet satire. Bulgakov wrote the novel between 1928 and 1940, restarting it many times before his death in 1940. A heavily censored version was first published in Moscow Magazine in 1967. The first official publication of the uncensored text arrived in 1989 and would not have been possible without the distribution of samizdat printings such as this one.While samizdat were initially produced by hand or typewriter, this copy was printed using a computer and captures the fascinating juncture of Soviet dissident practices and digital technology. Beginning in the late 1970s, during the early days of computing, employees at institutions in the Soviet Union managed to print banned texts using line (or drum) printers, usually during night shifts as the use of duplication technology was tightly controlled by the state. By the 1980s, such printers produced text at a rate of several hundred lines per minute. The files containing the texts could be moved from mainframe to mainframe using magnetic tape.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Mikhail Bulgakov — [The Master and Margarita], samizdat edition

Swamp Dogg (PhD., DDT., VD., B.S., R.F.D.) A/K/A Jerry Williams, Jr.If You Can Kill It I Can Cook It (…without salt) [signed twice]Np: S.D.E.G., Jerry Williams Music &amp; Jerry Williams, Jr., 1991. Xerox in blue stiff card covers with metal fasteners. Inscribed to “Bob” and signed by the author in blue pen on the title-page, and initialed by the author in blue pen on front cover. 216 pp. 11 ½ x 9 in.An idiosyncratic cookbook by legendary singer, songwriter, record producer, and avid foodie, Swamp Dogg. A biographical journey into the life of a musical icon, featuring family photos, stories, and recipes for unique dishes such as Baked Rhythm ‘n’ Blues Beans, B.B. King Crown Roast, and Fettuccini Jerry Lee Lewis.Presumably a self-published copy intended as a birthday gift for Bob, with a leaf featuring a typed birthday message unattached from the binding.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Swamp Dogg — If You Can Kill It I Can Cook It (…without salt) [signed twice]

Henning Prins, Leif Varmark, Ole Stig Andersen, Ole Grünbaum, et al, eds.HætsjjCopenhagen: Eks-Skolens Trykkeri, 1968-1970. Offset, silkscreen, one photomechanical reproduction. Most numbers unbound folios; one saddle-stapled in illustrated wraps (#43), one single sheet (#21, in facsimile and presumably incomplete), several “Bulletins” with unbound folios loosely inserted into posters (as issued); one corner-stapled pamphlet, annotated in an unknown hand. More than 100 sheets; most numbers 4 pp on one sheet; #43 with folded poster loosely inserted as issued. Various sizes, but most 12 x 9 in. All numbers in exceptional condition.A near complete run of Hætsjj, the Danish avant-garde artists’ “newspaper” — rarely (if ever) seen at this level of completeness, let alone in this condition. A phonetic spelling of the Danish word “hetz” (“smear” or "slander" campaign), this publication was issued, for a time, almost daily and was sold on the streets amidst the burgeoning avant-garde, collectivist movements. The publication ran from 1968 to 1970 in 48 numbers. Present here are numbers 1-7, 10-11, 13, 15, 17-18, 21 (presumably incomplete and in facsimile), 22-23, 25-30, 32-34, 36, 38, 40-43, two different versions of #45 (issued a day apart), one unnumbered issue, and four unnumbered folios (possibly inserts). Also present are numbers 1-11, 13-15 of the Hætsjj “Bulletins” for different events, performances, and happenings at the Festival 200 of 1969 — each bulletin a stunning work of art in its own right. Additionally, the lot contains four numbers of the Henning Christiansen’s Panel 13 (#1-2, 4-5), a contemporary, similarly produced publication by his press of the same name, including the Panel 13 manifesto. An eight-page pamphlet, excerpted from Ole Grünbaum’s memoir, about the founding of Hætsjj and its context accompanies these.Hætsjj arose from a pivotal moment in Danish experimental art. In 1966, The Experimental School (“Ex-School”), an important avant-garde art school set up as an alternative to the Royal Danish Academy of Fine Arts, moved into a condemned building near Fredrik’s Church in the Indre By. There, the Ex-School powerfully nurtured the vanguard: in their first year in that abandoned building they hosted Nam June Paik and Charlotte Moorman, as well as Joseph Beuys, who gave his first performance with the dead hare there. Next door to this collective live-work experiment “was an equally run-down flat which was used as a headquarters for a loose group among whom was the main organiser of the Danish Provo Movement, inspired by the Dutch Provos” (Ørum, 798). The Danish Provos and their associates were organizing and creating art derived from Situationist and Fluxus aims and aesthetics; indeed, “during the late 1960s they even made similar art objects, such as treated book art and assemblages in the typical style of the underground drug culture” (ibid).The concomitant developments in offset printing techniques made it possible for these artist-organizers to produce their own newspaper for their community cheaply. The leftist politics, art-making, performance pieces, and collectivist experiments in living mixing in these two buildings alone was a potent blend of revolutionary, avant-garde spirit — and the groups collaborated extensively on each other’s publications. Originally founded and edited by Henning Prins and Leif Varmark, their initial goal was to be a mouthpiece of the underground movement, to “incite against the authorities and against those who choose to cooperate with them in any way.” Members of both the Provos and the Ex-School contributed to Hætsjj, but the editorial oversight was eventually handed off predominantly to Ole Stig Andersen and Ole Grünbaum, and the artists at the nearby Gallery 101 (home to Joseph Beuys’ “Eurasia” actions), such as Bjørn Nørgaard and Peter Louis-Jensen.The first issue was published just days after the assassination of Robert Kennedy, and following comments from Denmark’s then-Prime Minister Hilmar Baunsgård, that “violent demonstrations” were “the greatest threat to democracy.” The incendiary publication was issued as direct counterpoint to this pacifying, bourgeois ideology, and was made up of local, underground news, political commentary, parody, pornographic political collage, and critical commentary on art and publishing. It “was not political art, but a political activity which was part of the spectrum of activities ranging from art to everyday life, social events and political activities undertaken by the extended Ex-School circle during the late 1960s” (ibid). The publication comprised the work, thinking, art, and organizing, of innumerable groups with divergent aims and methods — but who were united in their commitment to the counterculture. This heterogeneous mix was in fact part of the publication’s power. Guided by neither a manifesto nor a strict aesthetic program, and published in the form of a newspaper, it offered an image of an alternative world: a self-determined yet collectivist social reality, one governed by freedom of expression, rather than the murderous machinery of capital. Indeed, “Detailed instructions on how to produce an issue of Hætsjj were published in the paper as an encouragement to everyone to contribute or to establish their own newspaper” (ibid).The Bulletins included here were produced for the seminal Festival 200 of 1969. Organized in honor of the 200th anniversary of the Charlottenborg exhibition hall, the festival featured avant-garde artists across Scandinavia. It functioned as an important site of cross-pollination for these groups similarly dedicated to reimagining the social order, collectivist living, and insurgent art.All copies of Hætsjj are extremely rare. Each beautifully made issue is a remarkable work of revolutionary ambition. Not only an important, scarcely seen record of the European vanguard, these are still genuinely inspirational works at the intersections of collectivist thought, political organizing, and anti-commercial expression.Reference: Tania Ørum, "Counterculture," in A Cultural History of the Avant-Garde in the Nordic Countries 1950-1975 (2016).Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

[Joseph Beuys, Ex-School, Danish Provos, Bjørn Nørgaard, Fluxus] — Hætsjj [near complete]

Peter BesteNorwegian Black MetalTokyo: Seiunsha, 2005. Offset. Publisher's cloth, titled in silver on upper board. Japanese translation of the preface by Aaron Aites printed on transparent paper and tipped in. 36 pp. 12 x 8 ½ in.First Japanese edition of documentary photographer Peter Beste’s visual exploration of the chaos and violence of the black metal. Features dramatic portraits of members of the notorious and insular subculture.Printed in a limited edition of 3,000 on the occasion of a presentation of Beste’s work in Tokyo and Osaka. A handsome copy.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Peter Beste — Norwegian Black Metal [first Japanese edition]

Michael Andre, ed.Unmuzzled Ox, #23-26 [signed by Gerard Malanga, Charles Henri Ford, and Ira Cohen]New York: Unmuzzled Ox, 1984 - 1989. Offset on newsprint. Folios in illustrated self-wraps. [24] pp, [37] pp, [35] pp, [49] pp. 17 1/4 x 11 in. Toning, issue 25 with minor foxing, creasing around fold lines.Unmuzzled Ox was a magazine of poetry, art, and politics founded in 1971 by poet Michael Andre and ran until 2001. The magazine frequently featured work by prominent writers and intellectuals including William S. Burroughs, Ezra Pound, Allen Ginsberg, Margaret Atwood, Gregory Corso, and Charles Henri Ford. The four issues collected for this set form the entirety of Vol. 12 (1984-1989), in which poets influenced by Ezra Pound's Cantos wrote their own supplementary cantos. These copies signed by Gerard Malanga, Ira Cohen, and Charles Henri Ford, all influential artists of the era involved in this long-running magazine.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Michael Andre, ed. — Unmuzzled Ox #23-26 [signed]

Gregory Corso; Michael Andre, ed.Unmuzzled Ox, Volume Two, #1 &amp; 2 [inscribed by Corso]New York: Unmuzzled Ox / the Print Center, 1973. Offset. Perfect bound. 8 1/4 x 5 3/8 in. [126pp.] Number 35 of 60. Clean example; with light bumping to fore-edge.Trade edition of Unmuzzled Ox, volume two, number one and two [one issue], signed and inscribed with a poem by Gregory Corso. The publication features poems by d.a. levy, Paul Eluard, Rober Kelly, David Ignatow, Marge Piercy, Hugh Seidman, and others.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Gregory Corso; Michael Andre, ed. — Unmuzzled Ox, Volume Two, #1 & 2 [inscribed]

Allen GinsbergCosmopolitan Greetings: Poems 1986-1992 [signed]New York: Harper Collins Publishers, 1994. First edition. Quarter black cloth over black boards, in dustjacket, fore-edge uncut. 9 1/2 x 6 1/4 in. 118 pp. Dustjacket spine sunned as usual, very minor wear at head and tail.Signed first edition of Allen Ginsberg's collected late poems Cosmopolitan Greetings.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Allen Ginsberg — Cosmopolitan Greetings: Poems 1986-1992 [signed]

Allen GinsbergImprovised Poetics [presentation copy]Buffalo: Anonym Books, 1971. First edition. In wraps with photographic portrait of Ginsberg. [iv], 52 pp. 6 3/4 x 5 in. Inscribed on the title-page. Wraps just beginning to separate, otherwise a nice copy.First edition, presentation copy, inscribed to Judith Malina of the Living Theatre, "11/8/86 For Judith" and signed. Limited to 2000 copies, this book is a transcription of a discussion between Allen Ginsberg, Michael Aldrich, Edward Kissam, and Nancy Bleeker at Ginsberg’s farm in Cherry Valley, New York, on November 26, 1968.&nbsp;The text deals with the act of writing, the way poems appear on a page, and the ways that people read poems and speak them in their minds. From the introduction by Mark Robinson, “[the book’s] main prosodic concern centers around the notion that: the line is a measure of thought. It also shows how poetry is mapped and/or charted in Ginsberg’s and his contemporaries’ practice. Which carries the further implication: how to read.” Ginsberg later taught classes on Improvised Poetics at Naropa, and continued to write about and develop this idea so central to his compositional method.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Allen Ginsberg — Improvised Poetics [presentation copy]

Allen Ginsberg; Barry Miles, Ted Berrigan, edsLong Hair, vol. 1. no. 1London and New York:&nbsp;Lovebooks Ltd,&nbsp;1965. First edition. Illustrated wraps with portrait of Ginsberg. 80 pp. 7 7/8 x 6 3/8 in. Wraps lightly toned.&nbsp;A short-lived literary journal published by underground press mainstay Barry Miles, founder of International Times and owner of Indica Books, with Ted Berrigan serving as the New York editor. This first issue includes Allen Ginsberg’s “Ankor Wat,” as well as contributions from Tuli Kupferberg, Michael Horovitz, Gerard Malanga, Lawrence Ferlinghetti, Ron Padgett, free jazz musician Archie Shepp, and others. A nice example of transatlantic counterculture.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Allen Ginsberg; Ted Berrigan, Barry Miles, eds. — Long Hair, vol. 1. no. 1

Ezra PoundThe Cantos of Ezra Pound: CX — CXVI [cover by Joe Brainard]New York: Fuck You Press, 1967. Offset and mimeograph. Side-stapled in pink wraps. 11 x 8 1/2 in. [13] pp. Closed tear to rear wrap, bumping to corners and left edge, and small closed tears to two leaves.Ed Sanders' pirated Fuck You Press edition of The Cantos of Ezra Pound: CX — CXVI, with the cover by Joe Brainard. The publication of this edition forced the official authorized version into publication.According to Joshua Kotin, who in 2014 began to undertake a census of the publication, "The book connected Ezra Pound, the most influential poet of the century, to the world of the mimeograph revolution, a publishing phenomenon that changed the landscape of poetics after the Second World War. But the book, in turn, brought Fuck You Press and [Sanders] both celebrity and revenue. But more important: it allowed a new generation of poets to read Pound in the face of his fascism and anti-Semitism. As Chelsea Jennings writes, 'Sanders’s edition of the Cantos […] is at once an homage to Pound — an affirmation of his continued relevance not just to history but to the present — and a defiant appropriation of his poetry and legacy.'"Copies in pink wraps are very rare, and not accounted for by Gallup (cf A87). Lacks the colophon, as usual for copies in pink wraps.Reference: Kotin, "<a target="_blank" rel="noopener noreferrer nofollow" href="https://realitystudio.org/bibliographic-bunker/fuck-you-press-archive/the-fuck-you-press-cantos-a-census/">The Fuck You Press Cantos: A Census</a>," RealityStudio, 2018Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Ezra Pound — The Cantos of Ezra Pound CX — CXVI [cover by Joe Brainard]

Allen Van NewkirkGuerrilla Volume 1, Number 2Detroit:&nbsp;Guerrilla,&nbsp;1967. Offset on newsprint. 28 pp. 15 ½ x 11 ¼ in. Old horizontal fold with wear along fold to some sheets, extremities chipped, open tear to right outer margin (&lt; ½ in.) and lower outer margin (~ ½ in.), toning.The second and final issue of the extremely rare radical underground newspaper Guerrilla, “a national newspaper of contemporary kulchur,” edited by Allen Van Newkirk and an editorial team at the Detroit Artists’ Workshop Press.A flagship in revolutionary thought, poetry, and news, the newspaper was published during the riots in Detroit during the summer of 1967 and the height of the Detroit Free Press literary movement. Situated squarely in the window of political possibility inaugurated by 1960s riots, the newspaper featured a star-studded roster, with Ellen Phelan serving as Art Editor, and a list of contributing editors that included Sun Ra, Diane di Prima, Michael McClure, Stan Brakhage, John Sinclair, Robert Kelly, Marion Brown, David Meltzer, and Joel Oppenheimer.This issue features poetry by Di Prima and Robert Kelly, an essay by Gilbert Sorrentino on avant-rock, another from John Sinclair on jazz and bebop, alongside a letter on film by Stan Brakhage, and an epistolary poem to George Büchner by Michael McClure. It also features striking cartoons, illustrations, and photography.While Guerrilla billed itself in the first issue as a “monthly” newspaper, this second issue appeared four months late — in the interim, the police had assaulted the editorial offices, then shared with the Artists’ Workshop Press, and arrested the entire editorial staff. By the time the second issue appeared, some of the staff were still pending trial, and co-editor John Sinclair had resigned over an internal dispute about Guerrilla's attitude towards hippies. His editorial displays ambivalent and critical feelings about the middle-class youth movement.Editor Allen Van Newkirk later made news again. In 2005, Newkirk was arrested and shot following a December 12 armed robbery of a Toys R’ Us near Vancouver, British Columbia. He had attempted to flee the toy shop, but crashed into a police car after a short chase. After crashing he opened fire on the cops; shortly after, he was shot and killed. Sources say his commitments to surrealism determined the location of the robbery.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

Allen Van Newkirk — Guerrilla Volume 1, Number 2

A complete run of ta'BOX [avant-garde Danish assemblage publication with cannabis cookies]Copenhagen: Panel 13, 1969-1970. Six issues, encased in plastic bags, five as issued; including the exceedingly rare ta'BOX 2 1/2 and two examples of the first issue. From 13 1/2 x 9 1/2 in to 14 1/2 x 9 3/4 in. Various conditions, but overall, nice examples; one copy of the first issue with perforations to the bag of powder enclosed in the original assemblage.A complete run of the five issues of ta'BOX, the Danish avant-garde assemblage publication that captured the material instability of the 1960s. Containing not only poetry and offset prints, the publication also featured posters, envelopes, documentary material, handbills, issues of other magazines from the left wing or counterculture, spruce cones, gun powder, matches, and the notorious cannabis cookies — two of which are present here.Along with issues 1-4, included here is the exceedingly rare issue ta'BOX 2 1/2, which was the only one not originally enclosed in a plastic bag, but in a brown envelope. Issue 2 1/2 was distributed at Festival 200, an important event in the history of avant-garde in Scandinavia (see the following lot for more information on the festival).ta'BOX was published by Panel 13, the composer Henning Christiansen’s (very) small press, which had published artists’ books by Hans-Jørgen Nielsen, Per Kirkeby and the composer himself in 1965. (For more on Panel 13 and its context, as well as examples of publications, see the following lot). The work was originally to be published by h.m. bergs forlag, but the editors' decision to include cannabis cookies was too much for the traditional publisher. Key contributors included Nielsen, Kirkeby, Peter Jensen, Lene Adler Pedersen, Henning Christiansen, and Hein Heinsen.ta'BOX documents the response of the Danish avant-garde to the student and worker revolts of 1968 — specifically the ruthless criticism of the arts, which were accused of passive, sycophantic support for capitalist society. ta'BOX responded by bridging fine art with everyday life through youthful revolt. This meant that poetry and art prints, the traditional forms of an arts publication, were packaged alongside leftist ephemera, prank items, acorns, collages, the aforementioned cannabis cookies, and more, in a literally deconstructed publication housed in a plastic bag. The ephemera includes a program statement for Slump I, an experimental settlement-cum-temporary-commune that set up artists and activists in tents with the aim of establishing collective art and social projects. ta'BOX makes its debt to Fluxus known by repeatedly printing "Fluxus Zone Nord" in its issues.Given the irregular and purposefully haphazard assemblage of materials, it is not possible to establish "completion" of any issue, as such. We do note, however, that the cannabis cookie from the inaugural issue is absent, likely enjoyed many decades ago. However, perhaps to your consolation, issue no. 1 does include a slightly oversized match, a green stick of wood, and a bag of what appears to be gunpowder. Issue nos. 2 1/2 and 4 do include their psychoactive cookies. The two examples of the first issue included here have, predictably, different contents.An extraordinary document of counter-cultural art. All issues are very scarce, but no. 2 1/2 is extremely rare; we can trace only one other copy in the auction records.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

A complete run of ta'BOX [avant-garde Danish assemblage publication with cannabis cookies]

[Charles Bukowski, Jackson Mac Low]Abyss Magazine, Vol. 3, No. 1Somerville, MA: Abyss Publications, 1971. Offset. Saddle-stapled. 11 x 8 1/2 in. [44] pp. Wrappers with minor discoloration.Abyss Magazine was a literary &amp; surrealistic arts anthology edited by Gerard Dombrowski, published in Massachusetts by Abyss Publications.This issue features three poems by Charles Bukowski ("The Misfit", "Poet in Residence," and "Nobody Wants to Hear Your Troubles"; Debritto B533, pg. 210). These are a surprising inclusion in the magazine, as the majority of the other poems in this issue are experimental concrete poems, and the magazine itself focused mostly on Tibetan codes and mystical elements. Nonetheless, it also features contributions from Jackson Mac Low, Douglas Blazek, and Carl H. Weissner.Condition as described in catalogue note. For further information on the condition of this lot please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:info@boo-hooray.com">info@boo-hooray.com</a>. All lots are sold on an "as is" basis at the time of sale. Images form a part of the condition description for each lot, though images online may represent hues and shades which differ from the actual item.

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