Friday, August 4, 1967 was night four of Muddy Waters, Buffalo Springfield and Richie Havens at the Fillmore Auditorium, on Bonnie MacLean's BG-76.

The bill order is the story every night of this run: Muddy Waters on top — McKinley Morganfield, fifty-four, the man who electrified the Delta blues in Chicago — over a Los Angeles band with Stephen Stills and Neil Young in it who had "For What It's Worth" on the radio and would break up within eight months.

MacLean's sheet is a human face surrounded by swirls of hair, with the performers' names lettered so that they cloak the face. Together with BG-75 the week before, it shows what she could do with a portrait that almost nobody else in the series attempted.

And it comes with a fact about the whole medium worth knowing. Fine detail was routinely lost in printing these posters: the original drawings show considerably more of it than the finished sheets do. Neal, Stratford and Kerr were a quality printer — their credit is how collectors identify a BG-75 first printing — and even a good printer's camera lost detail off a large drawing. Which means the poster hanging in a collection is a lossy reproduction of an artwork most people have never seen. Two original types of BG-76 exist: one with no brown border, one with a thin brown border across the top and down the upper third of each side.