{"id":87397,"date":"2015-07-07T14:31:28","date_gmt":"2015-07-07T18:31:28","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=87397"},"modified":"2015-07-07T15:32:30","modified_gmt":"2015-07-07T19:32:30","slug":"california-dreamin","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/","title":{"rendered":"California Dreamin\u2019"},"content":{"rendered":"

Stanley Mouse and the sixties psych-rock aesthetic.<\/em><\/p>\n

\"40-41<\/a>

Get Bent.<\/em><\/p><\/div>\n

 <\/p>\n

\n

If I were to pick half a dozen of the definitive 1960\u2019s people, Stanley Mouse would be one of them. \u2014Bill Graham<\/p>\n<\/blockquote>\n

Read any book about the sixties scene in San Francisco and you\u2019ll run into Stanley \u201cMouse\u201d Miller. Born in Fresno and raised in Detroit, Mouse moved to San Francisco in 1965, where he was commissioned by the concert organizer Bill Graham to illustrate the rock posters for which he would become best known. Mouse spent the years around the Summer of Love hocking T-shirts, designing posters for hundred-dollar\u00a0commissions, running a successful hot-rod memorabilia company, and eventually designing album covers for the likes of the Grateful Dead, Journey, Neil Young, and Jimi Hendrix.<\/p>\n

A new book, California Dreams<\/a><\/em>, pays tribute to Mouse\u2019s imagination and colorful, explosive aesthetic. He honed his style on the hot-rod scene in Detroit, where he pinstriped cars, sold T-shirts featuring drag-racing characters, and custom painted dashboards for six-packs of beer, all while still in high school. His early art portrays the speed and metal of American automobiles, but it\u2019s also heavily influenced by the deformed monsters who took center stage in the golden age of TV sci-fi circa the 1950s, a cathartic genre for post\u2013A-bomb Americans and their cold war anxieties. <\/p>\n

Mouse perfected the acid aesthetic before it existed. He was still airbrushing his playfully grotesque, anti\u2013Mickey Mouse hot-rod monsters when the first acid tabs were rolling out of chemistry labs. In San Francisco, he became one of the \u201cbig five<\/a>\u201d designers of psychedelic-rock poster art, finding and manipulating images from the public domain that gave the genre its trademark look. The Grateful Dead\u2019s famous Skull and Roses<\/em> design, for instance, originated from an illustration culled from a library\u2019s old copy of The Rub\u00e1iy\u00e1t of Omar Khayy\u00e1m<\/em>. Heavily influenced by French Art Nouveau, Mouse\u2019s cut-up style helped set the course for our current public-domain plundering. As Blair Jackson notes in the new collection, it\u2019s easy to undersell the sixties rock-poster movement, but \u201cthere had never been anything like it; the closest antecedent was probably the posters that sprouted up around Paris in the late nineteenth century.\u201d<\/p>\n

Mouse\u2019s eclectic work spans many mediums and decades of pop influence. Likewise, his style straddles the worlds of oozing flesh wounds and burnished chrome. California Dreams <\/em>is the first career-spanning compendium of Mouse\u2019s work; it includes his recent landscapes and figurative paintings. Taken as a whole, the work is a weird, gilded, space-age, flame-licked way to chart the rise of late-twentieth-century youth culture.<\/p>\n

\u201cI liked the posters better than the music,\u201d Robert Crumb says in a terse preface. \u201cAmped-up psychedelic electric guitar noodling never did anything for me.\u201d<\/p>\n

\"48-49<\/a>

Mouse\u2019s \u201cmural\u201d on a tonneau cover from 1958.<\/p><\/div>

\"61<\/a>

Bomb<\/em>, 2002, oil on canvas with digital manipulation.<\/p><\/div>

\"mouse004-728628[1]\"<\/a>

From left: Super Shift<\/i>, 1963; Screamin\u2019 40<\/i>, 1963.<\/p><\/div>

\"bookphotos006<\/a>

Zig Zag T-shirt, 1967.<\/p><\/div>

\"84<\/a>

Golden Road to Unlimited Devotion,<\/em>\u00a01967, ink on illustration board.<\/p><\/div>

\"83<\/a>

Peace Pooh\u2014Joan Baez<\/em>, 1967, ink on illustration board.<\/em><\/p><\/div>

\"86<\/a>

Stanley Mouse and Alton Kelley, Busted<\/em>, 1967, ink on illustration board.<\/p><\/div>

\"38<\/a>

Mouse in Life <\/em>magazine, 1967.<\/p><\/div>

\"139<\/a>

Stanley Mouse and Alton Kelley, Terrapin Station<\/em>, 1977, acrylic on board.<\/em><\/p><\/div>

\"double\"<\/a>

From left: Stanley Mouse, Alton Kelley, and Rick Griffin, Trip or Freak<\/em>, 1967, ink on illustration board; Stanley Mouse, Western Front<\/em>, 1967, ink on illustration board.<\/em><\/p><\/div>

\"88<\/a>

Wilderness<\/em> Conference<\/em>, 1966, ink on illustration board.<\/p><\/div>

\"115<\/a>

Neil Young and Pearl Jam<\/i>, ca. 1990, oil on canvas, digital.<\/p><\/div>

\"107<\/a>

Rolling Stones Fiftieth Anniversary<\/em> (concept), 1990s\u20132014, acrylic, airbrush, digital.<\/p><\/div>

\"147<\/a>

Journey\/Captured album art, 1980, airbrush and acrylic on board.<\/em><\/p><\/div>

\"108_67<\/a>

Alton Kelley, Victor Moscoso, Rick Griffin, Wes Wilson, and Stanley Mouse, \u201967 Summer of Love Twenty-Year-Anniversary Collaboration<\/em>, 1987, oil on canvas.<\/p><\/div>

\"171<\/a>

Jerry Bones<\/em>, 2014, mixed media.<\/p><\/div>

\"170<\/a>

Janis<\/em>, 2013, oil on canvas.<\/p><\/div>

\"167<\/a>

Stanley Mouse and Rick Griffin, Hendrix Guitar<\/em>, 1987, acrylic on canvas.<\/p><\/div>

\"113<\/a>

Eric Clapton<\/em>, 2010, oil on canvas.<\/p><\/div>

\"217<\/a>

Red Roof<\/em>, 1990, oil on canvas.<\/p><\/div>

\"120<\/a>

Stanley Mouse and Alton Kelley\u2019s album art for the Grateful Dead\u2019s Europe<\/em> \u201972, 1972.<\/p><\/div><\/p>\n

Jeffery Gleaves is digital manager of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Stanley Mouse and the sixties psych-rock aesthetic.   If I were to pick half a dozen of the definitive 1960\u2019s people, Stanley Mouse would be one of them. \u2014Bill Graham Read any book about the sixties scene in San Francisco and you\u2019ll run into Stanley \u201cMouse\u201d Miller. Born in Fresno and raised in Detroit, Mouse […]<\/p>\n","protected":false},"author":784,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[17589,35,14733,18668,18674,9950,11685,18669,18675,2783,18670,3104,18676,133,17581,18673,93,2428,18667,18671,18678,17583,18679],"class_list":["post-87397","post","type-post","status-publish","format-standard","hentry","category-look","tag-alton-kelley","tag-art","tag-art-nouveau","tag-bill-graham","tag-california-dreams","tag-cold-war","tag-detroit","tag-grateful-dead","tag-hot-rod","tag-illustrations","tag-journey","tag-lsd","tag-psychedelic-rock","tag-r-crumb","tag-rick-griffin","tag-rock-posters","tag-san-francisco","tag-sixties","tag-stanley-mouse-miller","tag-summer-of-love","tag-the-rubaiyat-of-omar-khayyam","tag-victor-moscoso","tag-youth-culture"],"acf":[],"yoast_head":"\nStanley Mouse and the Sixties Psych-rock Aesthetic<\/title>\n<meta name=\"description\" content=\"The psychedelic rock poster art of Stanley Mouse, hot-rod design, the Summer of Love, and twentieth century youth culture.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"California Dreamin\u2019 by Jeffery Gleaves\" \/>\n<meta property=\"og:description\" content=\"July 7, 2015 \u2013 Stanley Mouse and the sixties psych-rock aesthetic. If I were to pick half a dozen of the definitive 1960\u2019s people, Stanley Mouse would be one of\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-07-07T18:31:28+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-07-07T19:32:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/40-41-hot-rod-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"768\" \/>\n\t<meta property=\"og:image:height\" content=\"596\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Jeffery Gleaves\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@JefferyNGleaves\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeffery Gleaves\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/\"},\"author\":{\"name\":\"Jeffery Gleaves\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/937e87c6171f204f32ae30db2dbe02ca\"},\"headline\":\"California Dreamin\u2019\",\"datePublished\":\"2015-07-07T18:31:28+00:00\",\"dateModified\":\"2015-07-07T19:32:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/\"},\"wordCount\":811,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/07\/07\/california-dreamin\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/07\/40-41-hot-rod-1.png\",\"keywords\":[\"Alton Kelley\",\"art\",\"Art Nouveau\",\"Bill Graham\",\"California Dreams\",\"Cold War\",\"Detroit\",\"Grateful Dead\",\"hot-rod\",\"illustrations\",\"Journey\",\"LSD\",\"psychedelic rock\",\"R. 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