maillo tsuru

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Indeed, what a long strange trip it's been...
















































































the Oblivious token – press release – May, 2007

Sometimes something simple and powerful happens when the world of rock and rolls converges with the world of the mystic arts. One such event happened when Jerry Garcia of the Grateful Dead met me, Maillo Postelwait, in his hotel room December, 1971. That special night I took hand print impressions of Jerry Garcia, one of which became one of the most recognized hand print images of the century. Millions of copies of that hand print that has been reproduced and circled the globe over thirty seven years. This was a fortune coincidence of timing and wisdom that brought me as a young palmist into rhythm with Jerry Garcia. Unfortunately no one within the various companies that have used and profitted from its use, seems to think that I should be acknowledged or rewarded, so I've begun my own campaign to awaken the planet to this odd oversite.




Of course as the reader you might wonder what proof I have to support this claim. Good question and here's a brief answer. Since Mr. Garica's death, I've contacted Grateful Dead Mechandising, the former Estate of Jerry Garcia and now Rhino Records in search of an answer why I can not be honored, paid or mentioned for my contribution. The original artwork I gave Jerry Garcia in 1971 with his hand print image appears to have disappeared from within their organization and it appears I owned the only original hand images that have the DNA that will serve as scientific evidence of my claim. Carbon dating will show that the images are thirty five years and if the original artwork used to create their trademarked version should reappear, the paper and ink used will be an exact match to the paper and ink I hold in my collection.




As a palmist I have over two thousand hand prints in my collection starting with the art students at Boston University and from people I met at various social events I attended in Boston. At the time of initial and subsequent meetings with Mr. Garcia, I also took prints of the road manager, the groupies, road and stage crew and other member of the GD and New Riders of the Purple Sage, more evidence of my presense at the time as an active practising palmist. A written log of all of the people printed by me includes their name, occupation, birthdate, place and time serves also as a record of my connection to the hand prints and the people I encountered.




I have in the past filed claims with the US Copyright Department through attorneys in Minneappolis and been denied my claim basically because they state the handprint isn't considered artwork despite the continued commercial success of this handprint image. Obviously there has to be a way that I can be protected and honored for my very specific role in this artwork's creation, though it seems impossible for the users to recognize my contribution. I hope through public art exhibitions and education a different understanding will come to bear on matter. The Museum of Contemporary Art of Chicago included the Garcia print in their "Sympathy for the Devil Art and Rock and Roll since 1967" show from September 29, 2007 to January 6, 2008,