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Adventures in Red Zone[New York]: Red Zone, [1989]. Offset. 22 1/2 x 28 3/4 in. Light cockling, discoloration, and bumping at edges.Two-sided poster promoting a board game-themed party in Red Zone, the house and disco nightclub in New York of the late 1980s and early 1990s.Red Zone was a renowned underground nightclub at 440 W 54th St. in New York, often featuring parties of house and hip-hop music that drew large crowds. The club was also known for attracting classic NYC nighttime violence—shootings, stabbings, drug feuds, rap wars, et al.This party featured 26 parties inside the venue, with the striking poster functioning as a board game-style map to navigate them, complete with instructions to cut out a section of the poster for use as a comp ticket.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.

[New York Disco] — Adventures in Red Zone

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

Army of Lovers: A Controversial Account of Gay Liberation Struggles in the U.S.&nbsp;[San Francisco]: Other Cinema, 1979. Offset. 16 7/8 x 24 in. Very good.&nbsp;Poster promoting an Army of Lovers, a 1979 film by Rosa von Praunheim. Mostly shot in San Francisco, the film documents the wave of gay activism in the United States after the Stonewall riots in 1969 and before the onset of the AIDS epidemic.&nbsp;The film famously concerns the internal politics and fractures of the gay liberation movement, at first strengthened in a united front against the widespread homophobic Anita-Bryant-style hysteria, and then fractured into factions, self-interest groups, gay rights groups, anti-promiscuity activists, and so on.&nbsp;The film was distributed in the US by Other Cinema, an experimental film institution in San Francisco.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.

Army of Lovers: A Controversial Account of Gay Liberation Struggles in the U.S.

Night People&nbsp;New York: The Saint, 1987. Offset. 22 1/4 in. x 17 in. Lines from folding into eighths; otherwise, a very clean copy.&nbsp;Poster for a live performance by famed gay porn star Jeff Stryker at The Saint. In addition to his work as a porn star — John Waters called him “the Cary Grant of porno” — Stryker was a presence in the gay underground filmmaking scene, starring in German cult filmmaker Rosa von Praunheim’s Can I Be Your Bratwurst, Please? This performance was co-presented with Catalina Video, one of the premiere gay porn distributors.&nbsp;Located at 105 Second Avenue, the former premises of the Fillmore East, the club operated from 1980 to 1988. The first fully above-ground gay megaclub in New York, The Saint was at the confluence of several historical currents: the decadent maximalism of 1980s New York, the new gilded era wealth of the decade, and the shifting norms and discourses around gay sex and promiscuity caused by the AIDS crisis.&nbsp;The club commanded higher door and membership prices catering to an emerging affluent gay social class. At the same time, the government-sanctioned mass death event of the AIDS crisis devastated the club’s membership through the 1980s and the club instituted and enforced safe sex rules. The club's perforated planetarium dome above the dancefloor and 500-speaker, 26,000 watt Graebar sound system additionally made it one of the most cataclysmic A/V situations in the history of New York nightlife. Its closure in 1988, a year after Studio 54 and Paradise Garage, marked the end of an era of huge maximalist clubs in New York, built with the heaps of excess capital sloshing around and transforming the city in the 1980s.&nbsp;As the first fully above-ground, public gay and disco mega club, The Saint attracted public and official scrutiny. The owner of The Saint, Bruce Mailman, also owned the New St. Marks Baths, which, at the urging of Larry Kramer and other conservative elements, was closed by the city Health Department in 1985. The Saint closed in 1988 and Mailman died of an AIDS-related illness in 1994; the club and its promoters continued throwing parties under the name “The Saint at Large” into the present day.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.

Jeff Stryker — Night People promotional poster [first major gay nightclub]

Agenda A 3-Day Event&nbsp;[Dallas]: One, [1995]. Offset. 18 1/8 x 23 1/2 in. Bumping to top extremities, else a very clean copy.&nbsp;Poster promoting a three-day event at Club One in Dallas, Texas, celebrating the club’s 4-year anniversary, the second annual King &amp; Queen of the Scene 1995, and Lahoma Van Zandt’s White Trash Backyard BBQ.&nbsp;The King &amp; Queen of the Scene event was hosted by NYC club kids Richie Rich, Keda, Jennytalia, James St. James, Kabuki, Astro, Lahoma, Sacred, and, finally, Michael Alig, who two years later would shockingly kill fellow club kid Angel Melendez and dismember his body. Ronnie Bruno and Larry Tee were DJs for the evening.&nbsp;The next evening was a BBQ hosted by the famous drag queen Lahoma, billed as “barefoot &amp; pregnant again,” making this a remarkable document of the Texas drag scene in the 1990s.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.

[Club Kids] — Agenda A 3-Day Event

Rolling Rock and 1-800-CUERVO present Style Summit 1993New York: Disco 2000, 1993. Offset. 18 x 24 in. Bumping to edges, minor ships to extremities on the bottom edges.Poster promoting an annual fashion show hosted by New York City’s infamous club kids, featuring “NY’s best up &amp; coming designers,” including Carlos Pistol, Revamping Retro, Kanae &amp; Onyx, Alpina Bawa, Cherry Halo, Patricia Field, Body Worship, Lisa Shaub, Sean Lee, Ronald Rentas, David Darlymple, John Xavier, Rafael Antonia, 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.

[Club Kids] — Rolling Rock and 1-800-CUERVO present Style Summit 1993

Rites of Autumn Harvest Feast featuring the pagan sounds of Pulsallama[John Sex, designer][New York]: [The Cavern], [1981]. Screenprint. 17 1/4 x 22 1/2 in. Bumping to corners, an approx. 1 in. closed tear on the top edge, else very clean image and text.Poster promoting a performance by Pulsallama, an “all-girl percussive orchestra” founded by Club 57 manager, Ann Magnuson, at the Rites of Autumn Harvest Feast at the Cavern in New York.Pulsallama was a rhythmic post-punk band and fixture of the New York No Wave scene. In the 1980s they played downtown clubs like Danceteria, and even opened for the Clash at some of the US shows on their Combat Rock tour.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.

Pulsallama — Rites of Autumn Harvest Feast

A Gallery 124 East 4th Street [matted poster][New York]: A Gallery, [ca. 1980s]. Offset. 13 x 9 1/2 in. Stylistically torn at edges, as issued.Poster promoting A Gallery, a downtown art gallery in the East Village in the 1980s. Documentation of this gallery, located on 124 East 4th Street, is basically nonexistent. Due to the quality of the paper and the style of the artwork, we have dated this poster to the 1980s, making it a record of the massive proliferation of art galleries in the East Village at the time. Many of these galleries were short-lived and artist-run, and disappeared with the acceleration of the AIDS crisis.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 Gallery 124 East 4th Street [matted poster]

The Disneyland Memorial Orgy[Wallace Wood]; [Paul Krassner][New York]: [Paul Krassner] [1969]. Lithographic print with fluorescent inks. 26 1/2 x 21 in. Bumping to edges and corners, with inexpert tape repair on verso over 9 in. closed tear.1969 blacklight poster of the "Disneyland Memorial Orgy," originally printed as a black-and-white Wallace Wood illustration for Paul Krassner's 1967 essay, "The Cynic Route from Crazy SANE to Loving Haight—or, Walt Disney Is Alive in Disneyland," in issue 74 of The Realist.The painting depicts an orgy in Disneyland, accompanying a hilarious essay by Krassner describing a time he sneaked into Disneyland, using it as a metonym for late 1960s commodification: "The Beatles wouldn't be permitted to enter Disneyland—unless they were performing there. Jesus Christ wouldn't be permitted to enter Disneyland—unless he was performing there."The Realist was a magazine of social-political-religious criticism and satire, founded in 1958, intended a hybrid of of a grown-ups version of Mad and Lyle Stuart's anti-censorship monthly The Independent.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 Wood]; [Paul Krassner] — The Disneyland Memorial Orgy

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."

[New York Disco] — Adventures in Red Zone

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