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Jefferson Airplane Handbill

from May 3, 1968 - May 4, 1968

 - FME006-A-HB

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Description

May, 1968 was the best of times and the worst of times. The Fillmore East was the de facto East Coast home of not-the-Lennon Sisters psychedelic rock, anti-Viet Nam sentiment ran high in the intelligentsia, and Columbia University was home to intelligentsia nascent and established, real and faux.

Jefferson Airplane and the beautiful Grace Slick, darlings of the experimental set, were booked at the Fillmore East in early May. David Byrd took the design idea for his modern interpretation of an Egyptian frieze from an art class assignment at Carnegie Tech, and he gave Slick an electric guitar in lieu of a lute. Slick didn't play guitar, but the artist thought, "... It looked nice so I gave her one."

By April, 1968, deep-thinking students and academics at Columbia had proceeded precipitously from dissatisfaction with race relations, the war machine and other issues to classroom occupation. Student radio station WKCR valiantly reported the inner workings and thoughts of the occupiers, using the network of underground tunnels to scoop the major networks. The strike and the station's handling of it would mark the turn in WKCR's programming from college-life and courses to community, world-vision outreach.

The back of FME006 notes a relationship between the band, the times and the University. It's hard to know if the marketing ploy worked: did the station give away tickets? Was the promo even announced? The handbill is quite rare, its provenance from Bill Graham's Fillmore East concerts impeccable, and it notes a period in modern American history and music when Left was Right, one could be righteous and relaxed at the same time and disagreement was still rather civil.

The handbill was printed once prior to the concert. It bears the poster image on the front, but on the reverse is a radio station promotion blurb offering a winner free tickets to the show. The handbill measures 4 3/8" x 6 3/4".

Concert promoters created handbill versions of many of their posters and used them as sidewalk handouts and dashboard fliers to promote upcoming shows. Many of the handbills are double-sided, with poster art on one side and a calendar of upcoming shows on the other. These handbills represent an important element of rock concert history because they were hands-on marketing tools that united promoter and patron.

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