On Telegraph Avenue in Berkeley, a small club called the Jabberwock was quietly becoming the home base for one of the Bay Area's most politically charged bands. Country Joe and the Fish — Joe McDonald's acid-folk-protest outfit — played the Jabberwock regularly throughout 1966, developing the sound that would make them fixtures of the antiwar movement.

The Jabberwock had started as a jazz club in the early sixties before owner Bill "Jolly Blue" Ehlert converted it to psychedelic bookings in 1965. It was intimate — maybe a hundred people in the room on a good night — and that intimacy let bands work out material they'd never risk at the Fillmore or the Avalon. Country Joe and the Fish used it as a laboratory.

The poster for this run — AOR-2.282, designed by Beck — features a cartoonish dinosaur in what became known as the "Country Joe & the Dinosaur" handbill. It's a world apart from the ornate Art Nouveau style of the Fillmore posters. Where Wes Wilson and Victor Moscoso were painting in flowing forms and psychedelic color, Beck drew something that looked like it belonged on a flyer stapled to a telephone pole. And that was the point. The Berkeley scene had a different aesthetic — more DIY, more political, less polished. The poster is the proof.