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This lined notebook features The Yardbirds, 1967, by Bonnie MacLean.
This poster advertised a multi-day show at the Fillmore in 1967 featuring performances by the Yardbirds and the Doors. Richie Havens and the James Cotton Blues Band joined all six shows. The poster's central image is a striking drawing of a woman's face framed by the stylized feathers of a peacock. Widely regarded as one of the best psychedelic era posters, its colors, though not electric or vibrating, are distinctive from earlier poster art, drawing the eye and commanding attention.
A particularly American phenomenon, the psychedelic style (1966–72) emerged on the West Coast and quickly became a signifier of youth counterculture. Inspired by the use of hallucinogens, the designs combine contrasting colors with nearly illegible, swirling text—supposedly best viewed when high. In many cases, the compositions are so complex that some viewers cannot decipher them at first glance, bucking the idea that posters must be instantly and universally comprehensible. Many of the artists also draw on Art Nouveau and Victorian motifs. Contrary to popular myth, all of these posters were printed using photo-offset lithography—the cheapest method of mass printing at the time.
Bonnie MacLean (1939–2020) shaped the visual landscape of the 1960s and 1970s music scene with her psychedelic designs. Born in Philadelphia and raised in Trenton, New Jersey, MacLean's journey led her to San Francisco, where she became a driving force in the vibrant rock music scene. Her vivid, hand-drawn concert posters featuring legendary acts like Jefferson Airplane, Grateful Dead, and The Doors promoted shows and became cultural touchstones of the era. Today, her works are cherished in museum collections worldwide—her distinct style, characterized by elaborate motifs and Art Nouveau influences, became cultural artifacts emblematic of "the Summer of Love."
Printed by Laughing Elephant in Seattle, WA. Paperback, measures 7.25 x 5.5 inches, 24 lined pages. ISBN 9781514916933
