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 handprint 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,
