Mime Troupe Appeal II Dance-Concert Flyer – 1st Bill Graham Fillmore Show

A historic, genuine S.F. Mime Troupe Appeal II Dance-Concert handbill from December 1965, featuring the up & coming Jefferson Airplane.

This piece is notable because it was Bill Graham’s first-ever show at the famed Fillmore Auditorium, which would go on to become a shrine of the S.F. rock scene for years to come.

This S.F. Mime Troupe Appeal II Dance-Concert leaflet is no great shakes design-wise, not even featuring a bit of calligraphy. It’s all straight type-set lettering.

But it gets the point across, and besides, most of the message here was about the dryness of politics, and “continued artistic freedom in the parks.” You didn’t really need to say that in fancy lettering.

This S.F. Mime Troupe Appeal II Dance-Concert showbill was printed with brown ink on light beige paper, so at least it’s not straight black & white. That has a bit of eye appeal to it.

But there was a larger poster made to advertise this event, complete with photos of the musicians, and I’ve already recorded and posted a video blog on that.

This S.F. Mime Troupe Appeal II Dance-Concert herald is presented for you by Peter Howard, who is – yes, me! I’m a longtime music collector and historian. If you’d like to chat about this piece, and in fact if you have one maybe for sale, please drop me a line or give a holler – I pay the BEST PRICES in the hobby for this stuff, and I still need this piece. pete@postercentral.com or (805) 540-0020.

Thanks very much for your time and interest, and please drop by again soon! …Pete

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Sonny & Cher Concert Poster Board 1965 Honolulu, Hawaii

A charming, early Sonny and Cher window card for their show in Honolulu, HI on December 3, 1965.

This was the year the duo rocketed to folk-rock and pop-culture icon status with several hits, including the evergreen “I Got You Babe.”

This Sonny & Cher placard was printed in two colors – orange and a brown sepia-tone. The orange color placement is used quite effectively to bring attention to the most important elements (at least in the eyes of the radio station).

No printer’s credit or union bug is present at the bottom, but one can be sure that it was printed in the islands, not the mainland.

The one thing I find missing from KPOI’s Sonny and Cher tour poster is song titles. It would’ve been so cool to have “I Got You Babe” somewhere on there.

Besides that hit, in ’65 they also had hits with “Baby Don’t Go” and “Laugh at Me,” and to a lesser degree, “Just You” and “But You’re Mine.” All were present on the charts before this December show.

It’s funny the way ticket prices aren’t found on this Sonny & Cher broadside, either. There was plenty of room down at the bottom.

Instead, it just says, “All Seats Reserved – Tickets At H.I.C. Box Office.” I guess they weren’t sold at any other location in town? What about throughout the islands?

You have to chuckle at the ‘opening act’ on this Sonny and Cher window display: the “Miss K-Poi Pageant.” Hey, this was the naïve sixties… what’s wrong with a beauty contest?

And the radio station made sure you knew about it, too… it’s the only words in bright orange besides the headliners! (And their own call letters up top.)

It’s cute how the first two words on this particular Sonny & Cher show placard are “Boss Radio.” That was a common radio-station term of the era, and was also used by 93 KHJ Boss Radio in Los Angeles.

But Mr. & Mrs. Bono probably felt right at home, because L.A. is where they lived and heralded from. This gig was probably as much a vacation for the duo as a working trip.

An unusual photo adorns this Sonny and Cher telephone-pole poster. Instead of the standard, posed studio publicity still, it shows the pair laughing candidly, anything but posed.

They’re certainly in their trademark clothes… Sonny in his furry vest, large belt buckle and tennis shoes; Cher with her bell-bottoms and typical purse of the day.

And their canoodling pose is not the only romantic element of this Sonny & Cher window poster; notice the two hearts present… one between their names, the other down below “Honolulu International Center.”

They had been married for two years at this point. She was only 19, and he had reached the then-terrifying age of 30.

Since Cher was such a beauty, it’s sort of surprising that this Sonny and Cher concert sign didn’t use a more straight-on photo of her face, along with that of the charismatic Sonny’s.

But oftentimes, the promoter had no say in what photo was used… that image-making was likely dictated by their management company back in Hollywood, which in turn took direction from the artists themselves.

Notice how this Sonny & Cher street poster touts “One Show Only.” If you lived on the islands, it was this performance or nothing. Back on the mainland, you often had second or third choices.

Even though the start time is given as 7:30 PM, I imagine the duo didn’t hit the stage until 9:00. Maybe there was even a local band playing as an opening act, too.

A lot of pop-culture collectors might covet this Sonny and Cher cardboard poster because folk-rock was experiencing a boom this year; Bob Dylan had gone electric, and The Byrds had exploded on the scene with a cover of his “Mr. Tambourine Man.”

Actually, I use the term “cardboard” loosely; it’s made of more like a card stock, like a manila folder. You can see its thickness as I handle it in this video.

After the 1960s concluded, you don’t see a lot of Sonny & Cher concert advertisements like this; their TV show catapulted them to superstar status, and they shied away from regular concert tours after that.

And then baby Chastity came along, and you can be sure touring took a further back seat as they raised their child.

You might have found a Sonny and Cher street sign in Las Vegas at that point, when they headlined there, but playing city to city across America just wouldn’t be feasible anymore. That’s for the young & unencumbered!

History will note, of course, that Cher went on to perform in concert for over half-a-century going forward. And Sonny would become quite the politician before losing his life in a skiing accident.

So in summation, if you’re looking for a Sonny & Cher concert poster for your collection, you can’t do much better than this one.

I haven’t seen a lot of them in my travels to begin with, but this one has color, a photograph of them, strong eye appeal and a wildly cool location with the state of Hawaii.

This historic piece of Sonny and Cher concert memorabilia is displayed for you with fondness by myself, Peter Howard, and I live in California’s central coast. You can reach me either through pete@postercentral.com or by calling (805) 540-0020. And please keep in mind that I pay the best prices, period, for cool bits of Sixties-era concert memorabilia, especially the advertising stuff like this, and tickets.

And I’ve gotta plug this other page here on my site for a second: To see more outstanding 1960s pop-music concert posters, just click over one page to this: http://www.postercentral.com/rock.htm

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Trips 196? Grateful Dead Window Card at Longshoremen’s Hall S.F.

An unusual, collectible Trips Grateful Dead 196? cardboard concert poster from April 1966 at Longshoremen’s Hall in San Francisco.

It’s funny the way the designers put a big “196?” in the middle of the action, undoubtedly just a fun, trippy thing to do back when rules were being broken left & right.

But the real centerpiece of the Trips Grateful Dead 196? pole poster is that B&W rectangle holding the psychedelic artwork. Is that a Roman numeral “II” in the middle of it, or just my imagination?

Possibly so, because the organizers were obviously trying to carry forward the magic, three months later, of January’s historic and wildly successful Trips Festival at the same venue.

But notice how the word “Festival,” or any mention of the Merry Pranksters, are nowhere to be found on this Trips Grateful Dead 196? placard. Noticeably absent, I’d say.

So was this a Trips Festival II, or not? I’ll say one thing: there’s very little information to be gleaned about this weekend, today. Almost nothing is written anywhere about it.

I imagine the reason the Pranksters’ name doesn’t appear on the Trips Grateful Dead 196? fence poster is because their leader, Ken Kesey, was in Mexico, running from the law.

But it does say “Trips Regulars,” so that sounds like a safe term that could include stray Pranksters as well as all other hip scene-makers.

Tilghman Press, located right across the bay in Oakland, is the company that made this Trips Grateful Dead 196? billboard.

You don’t see Tilghman involved with very many psychedelic concert posters because they always produced their stuff on cardboard, not paper, and psych concert posters were almost always made of paper.

I love all the venue information that’s worked into this Trips Grateful Dead 196? in-person poster. “Beach and Mason on Fisherman’s Wharf” and “San Francisco” are all worked in there, in addition to the hall’s name in big, vertical letters.

And then the dates run up the other side: Friday April 22, Saturday April 23 and Sunday April 24, 9 p.m. to 1 a.m. So it was a full weekend of Dead music, upon their return from Los Angeles.

One of the key components of Tilghman’s Trips Grateful Dead 196? window poster is the top headline: “DRESS the way YOU are.”

This is a clear reference to the Trips Festival three months prior at the same location. That Trips Fest was legendary for the freestyle and outlandish dress that all the newly minted hippies wore on that night.

I haven’t mentioned “Celebrity Drop In’s” listed on the Trips Grateful Dead 196? psychedelic poster. Hmm, in retrospect that’s a bit weak because it’s so vague… and who would be celebrated more than “Trips Regulars” such as Pranksters?

Maybe other popular bay-area musicians showed up one of the three nights, but that too wouldn’t be unusual at all, and hardly a selling point for a poster.

You gotta love the detailed ticket information down at the bottom of the Trips Grateful Dead 196? show placard. Four locations for tickets are given: two in San Francisco and one each in Oakland and Berkeley.

And oh, those prices, needless to say… two bucks in advance and $2.50 at the door. The term “Pre-Sale” on this poster was highly unusual wording… you almost always saw “In Advance” instead. (I know, tiny point.) (smile)

The designer is not credited on his or her Trips Grateful Dead 196? telephone-pole poster… which is kind of a shame. I wonder if it was a name we’re familiar with today, or just an anonymous laborer at Tilghman.

Not only does the center B&W rectangle feature some creative design, so does the word “Trips” across the top… very stylized lettering, certainly not a font somebody could’ve just pulled.

Tilghman’s full street address and phone number subtly appear at the bottom of their Trips Grateful Dead 196? concert announcement. Zip codes were not in common use yet, so there isn’t one; neither is the phone’s area code given.

And let’s not forget that little union bug found on there, too, directly to the left of the word “Tilghman.” That was an all-important element for the union members toiling away at Tilghman.

Another compelling aspect of Tilghman’s Trips Grateful Dead 196? ticket poster is that it is not your standard 14 x 22-inch window card size; it’s a couple of inches bigger in either direction. That might sound insignificant, but it really makes a difference when it’s alongside other posters.

Of course, that’s still nothing like the other standard size of 22×28 inches, called “jumbos,” which were very common in the business at this time. But Tilghman didn’t make those.

This Trips Grateful Dead 196? concert poster is happily explained and displayed by one Pete Howard, former Rolling Stone magazine Contributing Editor and 19-year publisher of ICE magazine. That would be me talking, and I can be reached via pete@postercentral.com or by ma-belling (805) 540-0020. And call me if you have one of these: I do not, and will pay TOP DOLLAR IN THE HOBBY, PERIOD, for one of these.

And while my Web site is full of boxing-style concert placards, to see some hip, groovy psychedelic show cards of this era, just click on over to this page: http://www.postercentral.com/psychedelic.htm

Posted in **All Posters, **Psychedelic Posters Only, *Grateful Dead, Boxing-Style Concert Posters | Tagged , , , , , | Leave a comment

Bob Dylan Promo Stand-Up Columbia Records 1965 Display Piece

A really fun collectible in the form of a 1965 Nobody Sings Dylan Like Dylan promo display made by Columbia Records.

This was made in small quantities and sent out to record stores throughout America to promote Bob’s latest album.

So you could call this just a Highway 61 Revisited promo in-store display, since it’s his most recent album (at the time) shown.

But really, it was part of an overall marketing campaign by Columbia to draw peoples’ attention to Dylan as a recording artist, not just a songwriter who wrote hits for the likes of Peter, Paul & Mary.

This Nobody Sings Dylan Like Dylan record-store display was made of thick cardboard, and has an easel on the back for propping up on retail countertops.

It’s strikingly similar to Columbia’s Bob Dylan Brings It All Back Home promotional display that they made a few months earlier that year.

In my video, I compare the two pieces for you, using a photograph I took of the earlier one.

The Nobody Sings Dylan Like Dylan in-store display is bigger, has more photos and more words on it.

By comparison, the Bob Dylan Brings It All Back Home window display is flat-out simple, and very subtle… it doesn’t even give you the exact title of the album it’s promoting, Bringing It All Back Home. But Dylan fans think that’s way cool.

As I alluded to earlier, the Nobody Sings Dylan Like Dylan counter display is multi-faceted; it promotes a campaign slogan, it promotes Dylan’s latest LP and it promotes his entire back catalog.

Whereas the Bob Dylan Brings It All Back Home display promotes almost nothing but Dylan himself; you had to know the name of his latest LP, Bringing It All Back Home, to get what the stand-up meant.

Another fascinating aspect of these two pieces is that the Nobody Sings Dylan Like Dylan promo standup did not duplicate the Daniel Kramer photograph used for the earlier piece. The photos were at least a frame or two apart on Kramer’s film roll.

Look at the photo on the Bob Dylan Brings It All Back Home countertop display… his feet are further apart, his mouth is slightly open and his strumming hand is in focus.

Whereas Kramer’s photo used for the Nobody Sings Dylan Like Dylan point-of-purchase display has a blurred strumming hand, a closed mouth and feet (and legs) definitely closer together.

Given the choice, as a collector of early Zimmerman promo stuff, I’d take the Bob Dylan Brings It All Back Home retail display for my collection over the busier one. I just love its understatedness.

Whereas I totally understand that most collectors would prefer the bigger & better Nobody Sings Dylan Like Dylan promo cardboard stand-up. For one thing, it shows Bob’s face seven times, plus a couple of pretty ladies to boot… Suze Rotolo and Sally Grossman!

It also features three famous song titles… “The Times They Are A-Changin’,” “Subterranean Homesick Blues” and “Highway 61 Revisited.” The plain & simple Bob Dylan Brings It All Back Home store display has none… and nary an album cover, either.

So why do I like it better? Because it’s earlier and more innocent, more naïve. It’s clear that within the year of 1965, Columbia’s marketing department was growing more sophisticated with each passing season. (Either that or Dylan was simply getting more famous that fast.)

In fact, notice how the Nobody Sings Dylan Like Dylan easel-backed store display gives you the mono and stereo catalog numbers for each of his albums. Now that’s a lot of information!

But again… it’s the bare-bones, stripped-down, simple nature of Columbia’s Bob Dylan Brings It All Back Home standee that so appeals to me. I’ll be sure to blog it the next time I run across one.

But tons of collectors would prefer what they’d call a promotional countertop display for Bob Dylan’s first six albums. They’d say that “six is better than one,” right?

But another appeal of the Bob Dylan Brings It All Back Home promo stand-up is that it was his debut into electrified instruments, which he would use almost exclusively forevermore.

However you regard them, these Bob Dylan promo cardboard retail displays are shown off and discussed in great detail for you by Pete Howard, the California collector. That’s me, I’ve been doing it since the late ’60s, and I can be reached either by calling (805) 540-0020 or writing to pete@postercentral.com. What I want to emphasize here is that these two pieces belong to friends of mine, I don’t have them in my collection, so I’d pay the best price in the hobby, period, for one of these if you happen to be selling.

And to view some fun Bob Dylan collectable concert posters from the same era, just hop yourself on over to this page on this very web site of mine: http://www.postercentral.com/bobdylan.htm. Thanks for your time today!

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Van Morrison Group 1967 Concert Poster – Solo Career Just Starting

A lovely, psychedelic 1967 Van Morrison poster for a concert bill he was on in the fall of that year in Santa Barbara, California.

The headliner here was Quicksilver Messenger Service, and the bill also featured Clear Light and Blue Cheer.

The most striking thing about this Van Morrison Group placard is the bright, brilliant colors it utilizes.

Besides the black and white which are a given, the colors of red, yellow and pink are resplendent in all their Summer-of-Love glory. (This was posted during the summer of love to sell tickets, but the show occurred one week into the fall.)

It’s pretty apparent that Quicksilver Messenger Service’s name was meant to dominate this 1967 Van Morrison show poster. Their name is contained within the woman’s body at the center of the poster’s artwork.

Blue Cheer and Clear Light, both with an awkward “The” before their names, are found just below the scales of justice off to the right. And then Van’s band is rather large down at the bottom.

“Maron Litho Inc. – Oxnard California” is found at the very bottom center of this Van Morrison Group window display.

That’s significant because, as far as I’ve been able to determine, that credit – and printer’s bug / union logo – appears only on first printings of promoter Jim Salzer’s posters.

Speaking of which, this 1967 Van Morrison appearance poster is but one in a series of dozens that Salzer produced from 1966-into the early ’70s.

Salzer would then reproduce most of the posters and sell them to local retail outlets, including his own Jim Salzer’s Music Emporium. I used to buy records & cassettes there in my youth!

No day of the week is given on this Van Morrison Group concert sign, but we know that it’s 1967 from a number of other obvious clues.

That’s unusual, because posters usually would help inform ticket-buyers by giving the weekday, too, such as “Saturday, Sept. 30” – the day of the week on which this show occurred.

I can’t imagine why the graphic poster artist failed to include their name somewhere on their 1967 Van Morrison street poster. For all my looking, I just can’t find it on there.

Perhaps it’s because they weren’t proud of their art, or maybe because Salzer forbade it at this early stage of his concert series – although I pretty much doubt that.

It’s kinda funny the way “Earl Warren” is not mentioned on this particular Van Morrison Group fence poster… it just says, “Jim Salzer Presents: At the Showgrounds.”

But the Earl Warren Showgrounds would get fully credited on most of Salzer’s posters going forward, including those selling tickets for The Doors, the Grateful Dead and Jimi Hendrix.

You can sense the obvious influence that San Francisco’s rock art had on this 1967 Van Morrison concert advertisement. Bill Graham’s and the Avalon Ballroom’s posters up north had been part of the Bay Area scene for a little over a year at this point.

And perhaps this poster artist just felt inferior to the famous guys up there, like Stanley Mouse and Wes Wilson, so they didn’t want to add their name to this poster artwork. Pure conjecture on my part, however.

This Van Morrison Group window card is happily presented today by long-time Van the Man fan Pete Howard. If you’d like to contact me, I can be written to via pete@postercentral.com or dialed up on [805] 540.0020. And please always keep in mind that I pay the very best prices in this hobby for fun, original psych concert posters like this.

Now, to see some more swingin’ psychedelic concert posters from this era of other legends, just mouse on over to this page here on my site:

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