#Grateful dead logo series#

I did the “Captured” album in 1981, and it is a scarab that carries its eggs in a dung bowl. Journey’s seventh studio album spawned four hits, including “Don’t Stop Believin’ ” and “Open Arms.” I was the only kid in school with a new Corvette. I saw that and immediately started doing it in Detroit.

#Grateful dead logo series#

There were a series of artists, like in Mad magazine, who did these monster faces, and a guy called Monty and he was in Los Angeles and had little ads in the back of hot rod magazines and he made these funny stickers. You call this genre “weirdo art.” How did you start down this road? The artist, now 74, spoke with us recently about five specific works in his book. “California Dreams” also includes images of the figurative oil paintings that Miller has worked on in recent years. But the artist’s work stretches from his early ’60s hot-rod-and-monster cartoons to the psychedelic posters pervading San Francisco and, later, iconic album covers for Steve Miller and Journey. Yes, Miller and his collaborator, the late Alton Kelley, did create the famous skeleton and roses logo adopted by the Dead. To be fair, Miller’s new book, “ California Dreams,” is about more than Jerry & Co. But we’re here because this is the 50th anniversary of the Grateful Dead, when products even loosely related to the band are springing up faster than salmon headed for Redfish Lake. Crumb and somehow found himself in a snapshot of John and Yoko during the famous bed-in. The artist Stanley “Mouse” Miller hung out with Janis Joplin, came of age around R.

(Evolutionary Media Group, Mouse Kelley via AP) The famous Grateful Dead “skull and roses” logo designed by Alton Kelley and Stanley “Mouse” Miller.