Legendary impresario Bill Graham began in January 1966 to commission posters to promote the concerts he was putting on at San Franciscos Fillmore auditorium. The poster artists followed the revolutionary mandate of the sixties consciousness; creating vivid; irreverent banners that reflected their own sense of poetics; style; and wit. What resulted were signature juxtapositions of design; lettering; and color that spawned a brand new art form. Their muse was the cosmic synergy that then abounded; fueled in part by LSD. These posters have since come to occupy a place in art history while surviving priceless artifacts of rock archeology. Published in cooperation with Bill Graham Presents; this is an intoxicating compendium of the funkiest posters of the century. Highlighted in this unique; lavishly printed full-color volume are the original numbered and unnumbered series created exclusively for the San Francisco and New York Fillmore dance concerts. The more than 400 hand-drawn posters; handbills; tickets; and photographs feature art by Wes Wilson; Bonnie MacLean; Stanley Mouse; Alton Kelley; Rick Griffin; Lee Conklin; Greg Irons; Randy Tuten; David Byrd; David Singer; and Norman Orr.
#1561940 in eBooks 2004-08-01 2004-08-01File Name: B003Z0BNS0
Review
0 of 0 people found the following review helpful. Pinter -- without the pauses and oblique menace.By Steven AxelrodFascinating. wide-ranging conversations rather than formal interviews -- even Pinter said that. surprised at how easy and effortless talking with Gussow turned out to be. An excellent companion piece to Pinters collected works and Antonia Frasers memoir.0 of 0 people found the following review helpful. Very interestingBy Susan BrashearFound this book a very quick read. Loved having it on my Kindle where I could pick up in the conversation at any point. Great for Pinter lovers.13 of 13 people found the following review helpful. Illuminating contextualizationBy Stephen O. MurrayIn a series of interviews between 1971 and 1993 Gussow (longtime _New York Times_ drama critic. who also coaxed a fascinating set of comments from Tom Stoppard) got Pinter to talk about how he works. Pinter refuses to comment on what his work "means." but is eager to clear the air about misperceptions about himself (such as being in a chronic state of outrage). Pinter comes across as generous as well as politically committed. suspicious of audiences. but grateful to (fellow) actors. And he clearly has a sense of humor (too rarely appreciated in his plays).
