Classic Posters - Biography of Gary Grimshaw

Total Page:16

File Type:pdf, Size:1020Kb

Classic Posters - Biography of Gary Grimshaw Classic Posters - Biography of Gary Grimshaw Classic Posters - Biography of Gary tour of duty, Grimshaw's ship was sent Grimshaw to San Francisco for service. It was by Michael Erlewine during this time, in 1966, that he was first exposed to the music and the [email protected] political and cultural scene that was just Gary Michael Grimshaw, born February then emerging in the Bay Area. He was 25, 1946 in Detroit, Michigan, was the immediately drawn into the scene, first major poster artist outside of the participating in marches and political San Francisco scene to attain national rallies. The account of his discovery of status. Although he now lives in the Bay the San Francisco scene is well worth Area, we Michigan residents claim him reading. It is given in the excellent book, as one of our own. For those of us in the "High Art: A History of the Psychedelic Detroit area, Grimshaw's work was our Poster," by Ted Owen and Denise introduction to the psychedelic era. He Dickson. was the principle poster and light show From 1966 to 1970, Grimshaw traveled artist for the Grande Ballroom in Detroit, frequently between the Detroit area and which for many years was the most the San Francisco scene, sometimes important psychedelic rock venue east staying for long periods in either place. of the Rocky Mountains. Grimshaw's He was a frequent contributor to West work graced not only that dance-hall Coast underground press publications venue, but could be found throughout like the San Francisco Oracle (he did 13 the Detroit/Ann Arbor area from the mid issues) and the Berkeley Tribe. Back in '60s through the mid '70s. Michigan, he worked with underground Grimshaw comes from a family of papers like the "Fifth Estate." graphic artists. As a student in the In August of 1966, Grimshaw returned Lincoln Park area, he worked in his to Detroit, where he roomed with his old uncle's print shop in Dearborn, friend Rob Tyner. Through Tyner, Michigan, where he was introduced to Grimshaw was introduced to Russ Gibb, the printing process. He was drawing all the promoter of the Grande Ballroom. the time. In high school, he was involved Gibb had just returned from a pilgrimage in graphic projects, including designing to San Francisco, where he had T-shirts with his friend Rob Tyner, who experienced the dance-hall scene in its was to become the lead singer for the early stages. He was determined to notorious band, the MC5. Grimshaw create a similar scene in Detroit via the went on to be the principal artist for that Grande Ballroom. group. Grimshaw became the first and primary After graduating high school in 1963, artist for Detroit's Grande Ballroom, from Grimshaw took in some college courses its inception in late 1966 until and worked for a year in a steel mill. He somewhere around May of 1969. Over then saw a tour of duty in Vietnam in the the years, he contributed dozens of navy from 1964 to 1966, where he designs for the Grande, designs that served on the U.S.S. Coral Sea, an appeared as posters, handbills, flyers, aircraft carrier. He spent seven months and cards. Grimshaw also did the light in the war zone on the South China Sea. show at the Grande, in the early years. As luck would have it, at the close of his Classic Posters - Biography of Gary Grimshaw In May of 1968, after a warrant was Grimshaw had increasingly become issued for his arrest for a minor drug more involved in political activism, violation, Grimshaw, who did not have working diligently in the anti-war the money to defend himself, left movement, and his art frequently could Michigan for two years. He was forced be found in underground newspapers to turn his Grande Ballroom art chores throughout the Detroit/Ann Arbor area, over to Carl Lundgren, who went on to as well as in Berkeley. He eventually create some fine work. Grimshaw first was appointed Minister of Art for the traveled to Boston, where he studied somewhat-radical White Panther Party, macrobiotics, and then, late in 1968, he working with its chairman John Sinclair moved to the West Coast. He remained at their center at 1510/1520 Hill Street in in the San Francisco area until early in Ann Arbor, Michigan. Grimshaw was a 1970, at which point he returned to the strong advocate of Native American Detroit area. rights, and his work appeared Back in Michigan, Grimshaw's life took a consistently in the party publications, different direction when friend John Sun/Dance and The Sun, a weekly. Sinclair, poet and White Panther Party In the early 1970s, Grimshaw produced leader, was arrested for the possession a number of full-sized posters for music of two joints of marijuana. The arrest events that were sponsored by the resulted in a 10-year prison sentence on University of Michigan Activities Center, July 28, 1969 for Sinclair. He found a student-run organization. These himself working almost full time during UAC/Daystar events, as they have 1970 and 1971 to help create a broad- come to be called, gave Grimshaw an based coalition to "Free John!," as the opportunity to produce some of his slogan went. In January of 1967, John finest work, a series of posters of great Sinclair and Grimshaw created Trans- quality and beauty. Grimshaw's work Love, a newspaper. from this time is just now beginning to This effort culminated in the historic be fully appreciated. There is no doubt John Sinclair Freedom Rally in these are some of Grimshaw's finest December of 1971, which was attended works of art and some of the best by such notables as John Lennon, Yoko posters of the era. When I pointed out to Ono, Stevie Wonder, Bob Seger, and a Grimshaw that this series of posters host of other musicians, poets, radicals, seemed much more relaxed than a lot of and celebrities, people like Allen the earlier material, his comment was Ginsberg, Jerry Rubin, Bobby Seale, that, unlike the Grande days, with UAC, Phil Ochs, and Archie Shepp. This rally he had more than 24 hours to complete resulted in the Michigan State the design! Grimshaw also did posters Legislature reducing the fine for for other colleges and venues in the marijuana possession from a felony to a area and in neighboring Ohio. misdemeanor and the release of Sinclair In 1972, Grimshaw became the art within a few days. For a while, director for the Ann Arbor Blues and possession of small quantities of Jazz Festival, producing posters for the marijuana was a $5 fine in Ann Arbor, 1972 and 1973 events. Grimshaw Michigan. Even today, it is only $50. created the initial poster when the festival was revived in 1992, as well as Classic Posters - Biography of Gary Grimshaw for the 2000 event. When the White the cover for his 1987 album, "Instinct," Panther Party evolved into the gentler- on A&M Records. sounding Rainbow People's Party, In 1988, Grimshaw was hired by Phil Grimshaw worked with Rainbow Cushway as art director for the then Productions to provide a wide range of fledgling ArtRock poster company, graphics for venues, organizations, and which was being formed in Ann Arbor, the alternative community in general. Michigan. When Cushway decided to In 1974, Grimshaw relocated from the relocate his business to San Francisco, West Coast back to his home town Grimshaw and his wife Laura went too, Detroit, where, for the next fourteen and, for the next several years, years, he provided graphics, posters, Grimshaw created a series of 22 album covers, logos -- you name it -- for remarkable posters for ArtRock. This the music scene. He also became lasted until 1991, at which time Associate Art Director for the prestigious Grimshaw resigned, citing Creem Magazine for the years 1976 to disagreements with the owner. 1984. An interest in the emerging Grimshaw remained in the Bay Area, alternative/punk scene in Detroit found where he supported himself with Grimshaw working as the handbill artists freelance work and produced a series of for two of the primary venues for this reprints of some of his earlier material. new music, Bookie's Club and Traxx. He Over the years, he has created and self- also worked with Ceremony published more than 35 original or Productions, another major promoter of reprinted posters, produced a mail-order alternative rock in the area. catalog, and contributed a number of In 1984, Grimshaw, Frank Bach, and original posters for the Bill Graham John Sinclair formed Music/Media Presents venue. This is in addition to Services Associates (MSA) art agency the many album covers he created. that, while short lived, included clients Grimshaw held three one-man shows in like the Chene Park Riverfront Concert the Detroit area, in 1984, 1987, and Series, The Music Hall Theatre, and the 1996. In addition, he participated in City of Detroit summer festivals, not to group shows at the Detroit Institute of mention a variety of club venues and Arts (1974 and 1980), the Motor City groups. Joint Show (with Stanley Mouse) with In 1986, Paul Grushkin published the Wes Wilson and Mark Arminski in 1993, "Art of Rock: Posters from Presley to at the San Francisco Rock Poster Expo Punk," which contained a number of (1992, 1993, 1994), the Temporary Grimshaw's posters. The effect was to Insanity Show, (San Francisco, 1995), bring to the attention of poster lovers a and the Visual Jams Shows at the fact that the Midwest had long known: opening of the Rock and Roll Hall of Gary Grimshaw was perceived as being Fame (1995).
Recommended publications
  • A Cultural Justice Approach to Popular Music Heritage in Deindustrialising Cities
    International Journal of Heritage Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rjhs20 A cultural justice approach to popular music heritage in deindustrialising cities Zelmarie Cantillon , Sarah Baker & Raphaël Nowak To cite this article: Zelmarie Cantillon , Sarah Baker & Raphaël Nowak (2020): A cultural justice approach to popular music heritage in deindustrialising cities, International Journal of Heritage Studies, DOI: 10.1080/13527258.2020.1768579 To link to this article: https://doi.org/10.1080/13527258.2020.1768579 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 27 May 2020. Submit your article to this journal Article views: 736 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rjhs20 INTERNATIONAL JOURNAL OF HERITAGE STUDIES https://doi.org/10.1080/13527258.2020.1768579 A cultural justice approach to popular music heritage in deindustrialising cities Zelmarie Cantillon a,b, Sarah Baker c and Raphaël Nowak b aInstitute for Culture and Society, Western Sydney University, Parramatta, Australia; bGriffith Centre for Social and Cultural Research, Griffith University, Brisbane, Australia; cSchool of Humanities, Languages and Social Science, Griffith University, Gold Coast, Australia ABSTRACT ARTICLE HISTORY Deindustrialisation contributes to significant transformations for local Received 2 April 2020 communities, including rising unemployment, poverty and urban decay. Accepted 10 May 2020 ‘ ’ Following the creative city phenomenon in cultural policy, deindustrialis- KEYWORDS ing cities across the globe have increasingly turned to arts, culture and Cultural justice; popular heritage as strategies for economic diversification and urban renewal.
    [Show full text]
  • And Add To), Provided That Credit Is Given to Michael Erlewine for Any Use of the Data Enclosed Here
    POSTER DATA COMPILED BY MICHAEL ERLEWINE Copyright © 2003-2020 by Michael Erlewine THIS DATA IS FREE TO USE, SHARE, (AND ADD TO), PROVIDED THAT CREDIT IS GIVEN TO MICHAEL ERLEWINE FOR ANY USE OF THE DATA ENCLOSED HERE. There is no guarantee that this data is complete or without errors and typos. This is just a beginning to document this important field of study. [email protected] ------------------------------ P --------- / CP060727 / CP060727 20th Anniversary Notes: The original art, done by Gary Grimshaw for ArtRock Gallery, in San Francisco Benefit: First American Tour 1969 Artist: Gary Grimshaw Promoter: Artrock Items: Original poster / CP060727 / CP060727 (11 x 17) Performers: : Led Zeppelin ------------------------------ GBR-G/G 1966 T-1 --------- 1966 / GBR G/G CP010035 / CS05131 Free Ticket for Grande Ballroom Notes: Grande Free Pass The "Good for One Free Trip at the Grande" pass has more than passing meaning. It was the key to distributing the Grande postcards on the street and in schools. Volunteers, mostly high-school-aged kids, would get a stack of cards to pass out, plus a free pass to the Grande for themselves. Russ Gibb, who ran the Grande Ballroom, says that this was the ticket, so to speak, to bring in the crowds. While posters in Detroit did not have the effect that posters in San Francisco had, and handbills were only somewhat better, the cards turned out to actually work best. These cards are quite rare. Artist: Gary Grimshaw Venue: Grande Ballroom Promoter: Russ Gibb Presents Items: Ticket GBR-G/G Edition 1 / CP010035 / CS05131 Performers: 1966: Grande Ballroom ------------------------------ GBR-G/G P-01 (H-01) 1966-10-07 P-1 -- ------- 1966-10-07 / GBR G/G P-01 (H-01) CP007394 / CP02638 MC5, Chosen Few at Grande Ballroom - Detroit, MI Notes: Not the very rarest (they are at lest 12, perhaps as 15-16 known copies), but this is the first poster in the series, and considered more or less essential.
    [Show full text]
  • Grande Ballroom, The: Detroitrsquo;S Rock Lsquo;Nrsquo; Roll Palace (Landmarks) Online
    6Wgt8 (Download) Grande Ballroom, The: Detroitrsquo;s Rock lsquo;nrsquo; Roll Palace (Landmarks) Online [6Wgt8.ebook] Grande Ballroom, The: Detroitrsquo;s Rock lsquo;nrsquo; Roll Palace (Landmarks) Pdf Free Leo Early *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #367803 in Books 2016-10-03 2016-10-03Original language:English 9.00 x .31 x 6.00l, .4 #File Name: 1626197814240 pages | File size: 70.Mb Leo Early : Grande Ballroom, The: Detroitrsquo;s Rock lsquo;nrsquo; Roll Palace (Landmarks) before purchasing it in order to gage whether or not it would be worth my time, and all praised Grande Ballroom, The: Detroitrsquo;s Rock lsquo;nrsquo; Roll Palace (Landmarks): 4 of 4 people found the following review helpful. An excellent book Detroit classic rockBy Georgia glassI have been reading books on classic rock for almost 20 years now and I found this book just excellent. It has a brief, but interesting introduction to the history of the Grande before it starts discussing it's classic rock roots. The chapters are formatted into brief stories in chronological order that were well written and included quotes from people who were there and pictures interspersed. The formatting of the chapters into these mini stories made the book very easy to read and I did not even use a bookmark. The writing itself is well done and kept my interest the whole week I quickly devoured this book. Overall, I learned a lot I didn't know (how unfortunate about the historical nomination that didn't happen) and would definitely recommend for anyone interested in classic rock, Detroit history or any mix of the two.3 of 3 people found the following review helpful.
    [Show full text]
  • Introduction in Their Thirty Years Together, the Grateful Dead Forever
    Introduction In their thirty years together, the Grateful Dead forever altered the way in which popular music is performed, recorded, heard, marketed, and shared. Founding members Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan, and Bob Weir took the name Grateful Dead in 1965, after incarnations as Mother McCree’s Uptown Jug Champions and The Warlocks. Despite significant changes in the band’s lineup, including the addition of Mickey Hart and the death of Ron McKernan, the band played together until Jerry Garcia’s death in 1995. From the beginning, the Grateful Dead distinguished themselves by their preference for live performance, musical and business creativity, and an unprecedented dedication to their fans. Working musicians rather than rock stars, the Dead developed a distinctive sound while performing as latter-day American troubadours, bringing audio precision to their live performances and the spontaneity of live performances to their studio work. Side-stepping the established rules of the recording industry, the Dead took control of the production and distribution of their music. With a similar business savvy, they introduced strategic marketing innovations that strengthened the bond with their fans. This exhibition, the first extensive presentation of materials from the Grateful Dead Archive housed at the University of California, Santa Cruz, testifies to the enduring impact of the Grateful Dead and provides a glimpse into the social upheavals and awakenings of the late twentieth century—a transformative period that profoundly shaped our present cultural landscape. Amalie R. Rothschild, Fillmore East Marquee, December 1969. Courtesy Amalie R. Rothschild Beginnings The Grateful Dead began their musical journey in the San Francisco Bay Area at a pivotal time in American history, when the sensibilities of the Beat generation coincided with the spirit of the burgeoning hippie movement.
    [Show full text]
  • Press Release
    OLYMPIA HAMMERSMITH ROAD LONDON W14 8UX +44 (0)20 7293 5522 WWW.SOTHEBYS.COM PRESS RELEASE Sotheby’s to host an exhibition of the art of Rock Art from Beat to Punk via Psychedelia including the infamous poster of the ‘Flying Eyeball’ measuring six feet high! INSPIRATIONAL TIMES - a major international exhibition tracing the history of one of the most influential periods through the Rock Art poster and graphic design in the 20th Century – will be held at Sotheby’s, Olympia from Sunday, January 5 through to Sunday, January 19, 2003. Based on the collection of fashion impresario Peter Golding, who is credited with creating the first stretch Jean in 1978, it is one of the largest archives of original rock and roll art in existence today. Peter began the collection after picking up a poster from a protest concert in Hyde Park, London in 1967 and has since amassed an extensive collection of original pieces of quintessential work by key artists and designers of the time ranging from sketches and illustrations to paintings, printing plates and first edition posters. Approximately 300 of these will be included in the exhibition. As well as having an impressive art collection, Peter Golding also owned the famous ACE boutique in London’s Kings Road, which during the 1970s and 1980s, catered to an international celebrity clientele of stage, screen and rock and roll stars. He is also an avid SOTHEBY’S: REGISTERED AT 34-35 NEW BOND STREET LONDON W1A 2AA NO. 874867 musician, very much dedicated to Blues and Jazz, and launched his CD “Stretching the Blues” in 1997 to a star studded audience at London’s Café de Paris.
    [Show full text]
  • N1 ROLL and FUCKING in the STREETS! RIGHT ON! WHITE
    FREE NEWSPAPER OF WHITE PANTHER PARTY DOPE, ROCK 'n 1 ROLL 1510 HILL ST., A.A. AND FUCKING IN THE 769-2017 (L.S.D. phone, also) STREETS! RIGHT ON! White Panther News Service WHITE PANTHER NEWS SERVICE July 23, 1969 The pig power structure of this state has finally done what they have been trying to do for the past 3 years. They have put John Sinclair in jail. This morning in Recorder's Court, Judge Colombo sentenced John to 9g to 10 years in a state prison for the possession of less than 2 joints of marijuana. They think with this move, they will have crippled the American Liberation Movement in the medwest, and specifically the White Panther Party. This is where they have made their biggest mistake., just as the pig power structure made the mistake of putting Huey P. Newton in jail. When the California pigs, led by Mickey Mouse Reagan and Dpneld D'icfc Rafferty. put Huey in gail, tftey th'ought they wpuld be destroying the Black Panther Party, or at least reducing it to a level where it would no longer be functional. But their tactics backfired on them and today the Black Panther Party is the most respected of the revolutionary groups in Amerika, and also the most feared by the Pigs. The White Panther Party will grow and become stronger and more together than ever before. John Sinclair had a dream for this world, a dream where mankind could live together as brothers and not want for anything. A world where there was truly "freedom and justice for all," and out of this dream came the community known as Trans-tove, and out of Trans-Love came the White Panthers, and from the White Pantbeps- and all of the other revolutionary groups in this country, this dream will become reality, and the dreams of Jefferson, Thoreau, Mao, Che, Huey, and Eldridge will come to pass also.
    [Show full text]
  • Michigan in Perspective 2015
    Friday, March 13 Best Western Sterling Inn Banquet & Conference Center • 34911 Van Dyke Avenue, Sterling Heights, MI 48312 8 a.m. – 4:45 p.m. Check-In, On-Site Registration, and Exhibits 8 – 9 a.m. Refreshments and Exhibits Break 9 – 10 a.m. Opening Keynote (see below) 10 – 10:15 a.m. Exhibits Break 10:15 – 11:30 a.m. Concurrent Session I (see Breakouts 1 – 5) Opening Keynote - 9 a.m. Belle Isle: People’s Park Alive! • Joel Stone, Detroit Historical Society Often called the crowning jewel of Detroit’s riverfront, Belle Isle has a long and storied history. The island has hosted world-class sporting events, musical performances, and family parties. It has also witnessed massacre, riot, and military incursion. But, if it were not for a few twists of fate, this beloved island could have been a much different place. Come to learn about Belle Isle’s fascinating history and its reawakening. Written in Stone: The Sanilac Petroglyphs Regaining Intellectual Control Dean Anderson, State Historic Preservation Office • Over Your Collections Shannon Martin, Ziibiwing Center of Anishinabe Melissa Luberti & Elizabeth Culture and Lifeways • Stacy Tchorzynski, Michigan Thornburg, Troy Historic Village Historical Center/State Historic Preservation Office In December 2013, the collections The Sanilac Petroglyphs are the largest collection of Native American rock staff at the Troy Historic Village was tasked with carvings known in Michigan. Attendees making improvements to their collections policy will learn about the site through and revamping their artifact storage area. This “how archaeological and tribal perspectives. to” discussion will review the process they used Breakout 4 Breakout 1 The speakers will also reveal the current to accomplish their mission, enabling other small plans to preserve and interpret this museums to do the same.
    [Show full text]
  • Leni Sinclair & Lessons from the 60S/70S
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-18-2014 Leni Sinclair & Lessons from the 60s/70s Era Chelsie Noble Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Noble, Chelsie, "Leni Sinclair & Lessons from the 60s/70s Era" (2014). Honors Theses. 2432. https://scholarworks.wmich.edu/honors_theses/2432 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. 6 Leni Sinclair and the Lessons of the Hippie Generation: Teachings from a Minister of Education Chelsie Noble Lee Honors College Thesis Spring 2014 A Prologue I first met Leni Sinclair during my sophomore year at Western Michigan University. I was enrolled in Scott Friesner’s legendary “Vietnam and Rock” course and didn’t quite know what to expect yet from either the course or Scott. Being a product of the honors college, I showed up to new classes with a tinge of nervousness, but mostly a quiet confidence. A couple of lines from that initial class in Dunbar are forever burned in my mind. Firstly, and most importantly, professors that keep students for the full class on the first day are wankers. Secondly, if we never push ourselves to learn from people that are different from ourselves, we are simply masturbating our way through life.
    [Show full text]
  • FOR IMMEDIATE RELEASE August 27, 2018
    Contact: Amy Schreiber Executive Assistant for Advancement and Administration 260. 422. 6467, ext. 334 [email protected] FOR IMMEDIATE RELEASE August 27, 2018 Solo exhibition by Chuck Sperry, legendary rock poster artist, opens September 15 Including a sister exhibition of work from the psychedelic era opening September 8 [Fort Wayne, IN] ̶ The Fort Wayne Museum of Art is pleased to announce dual exhibitions exploring the intersection of art, music, and journalism, and their influence by the psychedelic era of the 1960s. On September 8, FWMoA will open Litmus Test: Works on Paper from the Psychedelic Era, followed by the opening of All Access: Exploring Humanism in the Art of Chuck Sperry a week later on September 15. The Psychedelic Era was, among many things, a cultural frontier for colors and imagery. Music, politics, and drugs ignited an unprecedented expansion of art revolving around these elements. From Berkeley College to the Grande Ballroom in Detroit, young idealists organized and the art of the era came to fruition. This exhibition will be our bridge to that time, showcasing a psychedelic era works on paper. The poster work and ephemera of Gary Grimshaw and the photography of Leni Sinclair will showcase the art that poured from that time and place. Blotter sheets from Mark Mothersbaugh, H.R. Giger, S. Clay Wilson, Chuck Sperry, and more will represent the creative fuel for many of the artists of the time. Also featured will be the work of the poster artists of the time: Wes Wilson, Victor Moscoso, Stanley Mouse, Rick Griffin, and Alton Kelley.
    [Show full text]
  • Paranoia Is Often Described As Ultimate Awareness and So It Was in Lennon's Case
    Paranoia is often described as ultimate awareness and so it was in Lennon's case. His FBI files showed the extent of the surveillance they had him under and, eventually, Governor Nelson Rockefeller sent in Harmless, pot-addled rock stars like never did his songwriting much good. Many of the 1,700 armed officers who rained dum-dum bullets on Donovan, George Harrison and, in this case, sentiments expressed on the album sound at best the rioters, 32 of whom died, many bleeding to death Lennon, who had agreed to plead guilty as long heavy-handed, woodenly tub-thumping, rigid with a from their wounds. Lennon would sport a button, as Yoko was let off. second-hand, improperly digested indignation that "Indict Rockefeller For Murder", and in December The deportation order would inhibit Lennon's only serves to make the songs seem awkward and would perform a benefit for the wives of the victims movement, keep him in New York longer than inelastic rather than piercing and impassioned. of the riot. he might otherwise have stayed, and prevented "Woman Is The Nigger Of The World" was a classic Lennon also took up the cudgels for John Sinclair, him from touring widely. case in point-the rather lame second line, "Yes, she is - Minister of Information for the White Panthers and Paranoia is often described as the ultimate form think about it," is indicative of Lennon's uncertainty as former manager of the MC5, who was serving a of awareness, and so it was in Lennon's case. The to how to proceed with the song, which came under lengthy jail sentence for a marijuana bust.
    [Show full text]
  • 1963 SNCC Benefit
    1963 SNCC benefit 131 San Francisco Examiner, March 20, 1964, San Francisco State College students charged harassment by the FBI for a trip to Cuba in 1963 (Luria Castell is speaking) 132 1965 Jeff erson Airplane and the Hedds (Note the pre-psychedelic lettering) 133 The Movement newspaper front page, October 1966 (Note “Curfew Raid in Haight-Ashbury” subhead in lead story) 134 1967 Straight Theater opening, with a representative sample of the San Francisco music scene at that time 135 1967 Benefit for Berkeley Strike Committee 136 1967 Week of Angry Arts—Spring Mobilization to End the War in Vietnam (Note: Quicksilver, Big Brother, Sopwith Camel, Country Joe and the Fish, Grateful Dead—the same groups that opened the Straight Theater) 137 1967 Vietnam Summer benefit 138 1967 Vietnam Summer benefit 139 1967 Vietnam Summer 140 1967 benefit for Quaker medical relief for North Vietnam 141 1967 Benefit for the Valley Peace Center 142 1967 benefit for Proposition P, a San Francisco initiative stating official opposition to the War in Vietnam (it was voted down). Note: although added too late to be included in the poster, this author’s band, The Threshold, opened this show. 143 1968 Benefit for the Peace and Freedom Party 144 1969 Detroit’s MC5 played the Straight Theater—one of the last shows at the Straight, which closed in 1969 145 Circa 1969 146 1969 147 1970 National Rally to Free Los Siete 148 Black Panther newspaper, August 29, 1970 149 1970 Viva Los Siete 150 Circa 1970 151 Circa 1971 Alcatraz Indian Land poster 152 Circa 1971 Detail of Alcatraz Indian Land poster showing that Creedence Clearwater Revival donated $15,000 to the Alcatraz Indians 153 1971 Revolutionary Intercommunal Day of Solidarity 154 1972 Concert for Angela Davis 155 1972 Farmworkers benefit 156 1972 Justice for Farmworkers 157 1973 Legal Aid Benefit 158 1974 United Farm Workers benefit 159 Above and right: 1974 United Farm Workers benefits featuring major Latin-rock bands characteristic of the era 160 161 1974 benefit for Books Behind Bars 162 Poster credits: P.
    [Show full text]
  • Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
    Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory ..................
    [Show full text]