The poster promised Joan Baez. She did not play.

On Saturday, October 8, 1966, an afternoon benefit filled the Mountain Theater on Mount Tamalpais — the stone amphitheater built into the Marin hillside by the Civilian Conservation Corps in the 1930s, looking out over the Bay from two thousand feet up. The cause was the congressional campaign of Phil Drath, an antiwar candidate running as a write-in. The committee's message was blunt and left no room for interpretation: only a write-in vote for Phil Drath could register opposition to Lyndon Johnson's policy in Vietnam. Two speakers were billed alongside the music, Ed Keating of Ramparts and Don Duncan, the Special Forces master sergeant who had resigned and gone public against the war.

Stanley Mouse and Alton Kelley drew the handbill, and what they drew was Pooh and Piglet — A. A. Milne's characters, walking off into a sunset, Pooh with a kilo under one arm and Piglet trailing smoke. It is one of the stranger objects in the catalog: children's-book iconography repurposed for an antiwar fundraiser, drawn by the two artists who were then defining what a San Francisco dance-concert poster looked like.

Joan Baez had top billing, and she was the only name printed in color. Mimi Fariña, her sister, was billed beneath her. Both cancelled.

What played instead was the Grateful Dead, Quicksilver Messenger Service, and Bola Sete — the Brazilian guitarist, then living in the Bay Area, whose presence on a bill with two psychedelic bands says something accurate about how unsettled the category still was in 1966. The substitution is visible in the paper itself: a second state of the poster exists, catalogued separately as AOR 2.327, with Baez and Fariña removed and Bola Sete's name in their place. The collection holds the first state — the version that advertises a lineup that did not entirely happen.

That distinction is the reason this entry exists. A catalog that treated the handbill as a record of the event would report Joan Baez playing a benefit on Mount Tamalpais in October 1966, and it would be wrong. The handbill records an intention. The second state records a correction made in real time, while there was still time to reprint. Between the two sheets of paper is the ordinary friction of booking music — someone cancels, someone else is called, the printer runs it again — preserved by accident because collectors kept both.

The Dead's own archive files the day plainly: an afternoon gig at the Peace Benefit, Mt. Tamalpais, with Bola Sete and Quicksilver. No setlist survives. What survives is two versions of a drawing of Winnie-the-Pooh carrying a kilo of marijuana down a hillside, made to help elect a man who lost.