“They were all licensed and legit after that.” “They closed down those clubs after that,” Armstrong adds. “It had no liquor license, yet they took out full-page ads in the Village Voice. “It opened at 10 and stayed open until 9 a.m., and everything was illegal,” Ivers recollects. Armstrong and Ivers reached a high point in their career as punk videographers when they opened the Video Lounge inside Danceteria. If CBGB was a comfort zone in the scene, the original Danceteria, where both women worked in its earlier days, was the outlaws’ lair. He was the first to help anyone with a problem.” “He would let any band play they just had to play original music. Nothing was gender-specific.”Ĭourtesy of the Andrew Krivine Collection “Hilly was like our dad,” Ivers adds. Everyone slept with everyone, and there was a lot of fluid sexuality going on.” Women were equal doers in the scene, she notes: “They managed bands, booked clubs. “It was hetero it was actually very open. “People always think of punk as being male-dominated, but in New York, the scene was non-sexist,” Ivers recalls. During that time, they shot performances by the Dead Boys, Richard Hell and the Voidoids, Johnny Thunders and the Heartbreakers, the Bush Tetras and the Bad Brains, to name a few. And in New York in the ’70s, it was not seen as unusual work for women. Their glory days as underground videographers lasted from about 1976 to 1981.

Ivers chimes in: “We were on the bleeding edge.” Back then, it was the only opportunity to get video exposure, or for bands to have a copy of a performance,” Armstrong continues. “We started the TV show Nightclubbing on Channel 10 cable. They had access to equipment, which strengthened their niche and allowed them to make better-than average video documentation of bands, with sound mixed separately for a better presentation. Its formation depended a lot on the weak economy: Rents were low, especially when you had roommates. New York’s punk/new wave scene, they agree, was less fashion-oriented and belligerent and sexist than London’s, and more of a community of creative people who lived cheaply, touched by the Manhattan avant-garde. See these exhibitions at Emmanuel Gallery side by side and you’ll have an idea where Armstrong and Ivers will be taking you during their film screening. Rather than selling pieces off, he wanted to use the trove educationally through exhibitions at universities, allowing new generations to appreciate what he calls “the last golden era of graphic design in the twentieth century.” Today, the fully catalogued collection has peaked at 7,000 pieces.

But his real goal wasn’t to have his trove stored in a repository and only occasionally pulled out for an exhibition. “MoMA acquired a number of pieces,” he adds. In 2011, his first show opened at the Steven Kashler Gallery in Chelsea. “I started cold-calling galleries,” Krivine recalls.

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