Block 1087 of the NAMES Project AIDS Memorial Quilt is a quilt block that memorializes the staff members, DJs, and associates of the New York City Saint disco club.
According to Janece Shaffer, the Communications Director at the NAMES Project AIDS Memorial Quilt, the size of the Saint disco club’s singular memorial panel is much larger than the average panel submitted to the quilt. Typically, panels are 3×6 feet (0.9×1.8 meter); however, the size of this quilt is that of an entire 12×12 foot (3.7×3.7 meter) “block” (“AIDS Memorial Quilt”). Blocks are usually composed of eight individual 3×6 foot (0.9×1.8 meter) panels, yet this block is its own individual dedication (“FAQs”).
The primary colors featured in the quilt are black, burgundy, and silver, though there are exceptions; the quilt’s inky colors evoke a funereal quiet. Many of the objects on the block have been stitched onto an expanse of either black or burgundy felt material, which raises them from the quilt’s flat surface. Three prominent features of block 1087 are its moon-like mirror ball, its expanse of golden five-pointed stars, and its colorful light structure (read more about this block).
In this essay, I intend to address how disco clubs liberated the gay and queer community in New York City by offering a historical account of the disco movement as well as a narrative of its seeming culmination in the creation of the Saint dance club. This paper will examine the effect of AIDS on the gay disco generation by honing in on remembrances and discussions of the Saint and other disco clubs in New York City.
My position on this topic will address the complexity of the influence of erotic social scenes, such as the Saint or founder Bruce Mailman’s other creation, the St. Marks Baths, on the spread of AIDS. I will attempt to answer the question that dominates Bruce Mailman’s controversy: did he condone the spread of AIDS through his refusal to close down his businesses? Was Mailman really a “merciless profiteer” who continued to ruthlessly benefit from the sex that took place in his establishments, despite growing awareness that HIV/AIDS was sexually transmitted (Peters, 82)? Neither a ruthless villain nor a sinless business owner, Bruce Mailman is a man who believed that he was protecting and affirming the civil rights of his customers.
My essay will first begin with a description of Bruce Mailman’s biography as well as a discussion of his philosophy towards gay male identity. Then, I will detail Bruce Mailman’s inspirations for the Saint dance club and examine the evolution of the extraordinary discotheque. I will conclude with an analysis of the impact of Mailman’s creation, as well as reactions to the onslaught of AIDS in the gay community and what that meant for the reputation of the Saint.
By describing the lifetime of the Saint, I will expand upon the current general knowledge of the disco era and make the details of disco’s presence in the 80s known. I will display the interaction between the gay community and the disco community by demonstrating the formation of the gay community around gay clubs that embraced the sexual liberation of the disco era (“Chapter 4: The Era”). As discos became cultural emblems of the gay community, their musical, physical, and emotional embrace liberated both young men and women by providing the space for their self-determination and youthful exploration (“Chapter 3: The Trip”).
I hope to increase awareness of the different ways that AIDS destroyed disco culture and the continuation of gay history. Once the disease disseminated throughout disco clubs and the larger gay community, AIDS ruptured the vitality of gay oral history. Death, sickness, and the isolation of the epidemic’s survivors disrupted the narrative of the gay disco generation (Peters, 143). Block 1087 captures only a fragment of the Saint’s significance.