The peacock shows up in Bonnie MacLean's artwork as a Yardbird reference in this dual offering poster: the Yardbirds performed three days, the Doors performed three days, and all six shows featured the James Cotton Blues Band and Richie Havens. The serene visage of this maiden was a clear reference to the detached spirituality of the era.
During the early days of the Fillmore, MacLean was the most "present" member of the staff. She collected tickets, passed out handbills, blew up balloons and counted money for Fillmore productions. Impressed with her lettering skill on the upcoming attractions chalkboards, Bill Graham surprised her with an easel and art supplies for Christmas, 1967, and MacLean's poster artist career was launched. Untrained in graphic arts, MacLean's early style evolved into ornate, Medieval-Gothic designs. Faces in her posters wore trance-like stares, steady and serene, and evoke the detached spirituality of the sixties.