Key West Chamber Events

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“When the music’s finally finished and the crowd is all long gone, ….
within the poster lies the memories that linger and live on” Professor Poster

cjune 7th

We start out on this “Poster From The Past” with a full frontal nude (naturally) of a woman with butterfly wings. A spider covers her pubic area. A long butterfly tongue emerges from her mouth to form the lettering. The bottom of the image is made up of folded green velvet cloth. This poster is another visual pun on the names of the bands performing at the concert, Iron Butterfly, Velvet Underground and Chrome Syrcus. It is unfortunate that this image seen here can not show the silver chrome effect that is seen in the wings, it is really quite stunning. Although women have appeared as butterflies in art for centuries, the eerie quality of the tongue and the spider as well as the psychedelic coloring make this an interesting and original poster which was quite popular in the 1960’s and continues in demand today. This is Family Dog poster number #122 entitled just “Iron Butterfly”. This piece was created by the very talented rock poster artist Bob Schnepf. It was printed only once.

Going back 47 years ago on this day in June of 1968, The Iron Butterfly, The Velvet Underground and Chrome Syrcus, played their music and sets for a ready and willing audience at the Avalon Ballroom right her in our City by the Bay… San Francisco. Totally wondrous light show of course, provided by the Retina Circus.

pref posterShare this glittering piece with a friend!
Approved with a flutter-by Professor Poster

 

 



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Iron Butterfly

Artist Biography by Steve Huey

The heavy, psychedelic acid rock of Iron Butterfly may seem dated to some today, but the group was one of the first hard rock bands to receive extensive radio airplay, and their best-known song, the 17-minute epic “In-A-Gadda-Da-Vida,” established that more extended compositions were viable entries in the radio marketplace, paving the way for progressive AOR. The track was written by vocalist, organist, and bandleader Doug Ingle, who formed the first incarnation of Iron Butterfly in 1966 in San Diego with drummer Ron Bushy. After the group moved to Los Angeles and played the club scene, it secured a recording contract and got national exposure through tours with the Doors and Jefferson Airplane. Following the release of their 1968 debut album, Heavy, original members Jerry Penrod (bass), Darryl DeLoach (vocals), and Danny Weis (guitar) left the band and were replaced by guitarist Erik Braunn and bassist Lee Dorman. Weiswent on to join Rhinoceros. The new lineup recorded In-A-Gadda-Da-Vida later that year, which sold four million copies and spent over a year in the Top Ten. (The title has been translated as “In the Garden of Eden” or “In the Garden of Life.”) A shortened version of the title track, which contained extended instrumental passages with loud guitars and classical/Eastern-influenced organ, plus a two-and-a-half-minute drum solo, reached number 30 on the singles charts. The follow-up, Ball, showed greater musical variety and went gold, but it also marked the beginning of the band’s decline. Braunnleft the group and was replaced by guitarists Mike Pinera and Larry “Rhino” Reinhardt, but the group’s success was largely over. Iron Butterfly broke up in 1971; Braunn and Bushy re-formed the group in the mid-’70s without success.

The Velvet Underground

Velvet Underground

Artist Biography by Richie Unterberger

Few rock groups can claim to have broken so much new territory, and maintain such consistent brilliance on record, as the Velvet Underground during their brief lifespan. It was the group’s lot to be ahead of, or at least out of step with, their time. The mid- to late ’60s was an era of explosive growth and experimentation in rock, but the Velvets‘ innovations — which blended the energy of rock with the sonic adventurism of the avant-garde, and introduced a new degree of social realism and sexual kinkiness into rock lyrics — were too abrasive for the mainstream to handle. During their time, the group experienced little commercial success; though they were hugely appreciated by a cult audience and some critics, the larger public treated them with indifference or, occasionally, scorn. The Velvets‘ music was too important to languish in obscurity, though; their cult only grew larger and larger in the years following their demise, and continued to mushroom through the years. By the 1980s, they were acknowledged not just as one of the most important rock bands of the ’60s, but one of the best of all time, and one whose immense significance cannot be measured by their relatively modest sales. read more…


 

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Chrome Syrcus

Lee Graham (vocals/bass/flute); John Garborit (lead guitar), Ted Sheffler (keyboards), Dick Powell (harmonica) and Rod Pilloud (drums) made up this enigmatic ‘progressive’ San Francisco group. Their lone album, The Love Cycle, featured an ambitious, extended title-track in which the musicians attempted to compress much of the city’s experimental musical styles. Although not wholly convincing, Chrome Syrcus were applauded for their ambition and in 1969 won a Bay Area songwriting award. However, the group dissolved soon afterwards.