Sunday CALENDAR SECTION only of the Los Angeles Times, Feb. 18, 1990 

* "A Clockwork Orange: 2004" stage adaption
* U2 - Bono - "Achtung Baby" - Anthony Burgess
* Featured article by journalist David Gritten

Often revered as the undisputed "bible" of Hollywood, the Sunday Calendar section occupied a rare space in journalism where a single publication could simultaneously dictate global entertainment trends and govern the inner workings of show business. Today, physical copies are an absolute rarity, largely because they were printed on standard, ephemeral newsprint designed to be devoured and promptly discarded at the end of the week.
Beginning on page is a featured article headed: "Rewinding 'A Clockwork Orange'" with 2 related photos. (see images)  
Provenance note: This issue comes from The Los Angeles Times own archives, part of their in-house collection used to create their digital archive. Rare as such.
I suspect this to be an extremely rare item because their was really no reason to save it at the time.
Complete Calendar section only with all 108 pages, tabloid size, very nice condition.

Background: The intersection of U2, the Royal Shakespeare Company, and Anthony Burgess's stage adaptation, A Clockwork Orange: 2004, in 1990 is highly significant because it represents a crucial, transitional collision between mainstream 1980s rock royalty and avant-garde theatrical culture. For U2, composing the play's dark, synthesizer-driven score served as a vital sonic laboratory where Bono and The Edge began shedding their earnest, americana-roots persona to birth the gritty, industrial, and European electronic textures that would soon define their landmark 1991 album, Achtung Baby. Meanwhile, the production of A Clockwork Orange: 2004 itself laid bare the deep, systemic tensions of late-twentieth-century adaptation; by favoring U2's atmospheric tracks over Burgess’s own classical, brassy compositions, the RSC triggered a public feud with the author that highlighted the clash between a traditional writer's authorial control and a director's desire for contemporary pop-cultural relevance. Ultimately, though the play was deemed a critical failure, this brief alliance stands as a rare monument to a moment when major institutions dared to merge high-concept theater with the experimental bleeding-edge of stadium rock, leaving behind a fascinating "what-if" artifact in modern pop history.