Saturday, July 29, 1967 was the second night of the Doors' half of BG-75 at the Fillmore Auditorium, with the James Cotton Blues Band and Richie Havens.

Bonnie MacLean's poster for the week is the one to stop on. Its central image is a drawn human face, framed by the feathers of a highly stylized peacock, and it is widely considered one of the best sheets of the entire psychedelic era. What makes it unusual is that it does not work the way the genre normally works: the colours are not electric and they do not vibrate against each other in the manner Wes Wilson had made standard. They are distinctive in a quieter register, and they command attention anyway. MacLean had taken over the Fillmore drawing board only months earlier, when Wilson walked out over money, and BG-75 is the sheet that settled the question of whether she could carry the series.

The original was printed on white index stock at roughly 13⅞ by 21¼ inches, and carries the printer's credit "Neal, Stratford and Kerr" to the right of the number 75 — a small detail that is how collectors tell a first printing from what came after.

The Doors were at their absolute peak week: "Light My Fire" had reached number one in the United States days earlier. Beneath them, James Cotton had spent a dozen years playing harmonica in Muddy Waters's band, and Richie Havens opened solo — two years from opening Woodstock and playing for nearly three hours because nobody else had arrived.