Monday, February 25, 2019

Grateful Dead, former days of...

GRATEFUL DEAD Ex-Groupie Recalls lifestyle...

Geezer Planet

I found an article about Groupie Revisionism from THE AUSTIN CHRONICLE from the year 2000.

"In December 1992, culture critic Ann Powers wrote about Pamela Des barres and the groupie phenomenon in The New York Times. Girls like Pamela, Powers wrote, 'transformed hanging out into a form of creative expression', the groupie lifestyle was 'one of the rock era's liveliest, unofficial conceptual art projects."

"Groupies' presence 'was never considered legitimate,' but Powers nonetheless took their side, noting they not only 'embody the contradiction of rock's sexual allure,' but were representative of 'the most extreme example of women's attempt to fashion a space within rock's manly arena'.

I asked a friend of mine, Tammy Newcomb to comment, as we had had some conversations about her days as a GRATEFUL DEAD groupie, back in the day...

MOLLOY: What led you into the famous lifestyle of being a Grateful Dead groupie?

NEWCOMB: When I was twelve, my mother moved into an old Victorian in San Rafael that had once been the offices of the Grateful Dead in the late 1970's. The kitchen had been decorated beautifully with intricate and colorful inlaid tile design. I had started, even at this young age to enjoy the Grateful Dead vibe. Every morning I would get up, look around at that intricate kitchen and hope, one day, to be able to see the Dead, live. I was an innocent ivory white skinned girl with strawberry blonde hair who liked to dance barefoot...

MOLLOY: When did you join in a caravan?

NEWCOMB: I got my chance at 19 years old. I was invited to join a caravan when partying on a  yacht in Sausalito. I had come to Laguna Beach from San Rafael with a group of friends and fans who caravanned together. I joined the other in my van. There were maybe 25 of us pulling together to the show. We had vendor permits and spent most of the day selling pipes, costume jewelry and small trinkets with a Grateful Dead theme. Others in the caravan sold clothing, camping tools, blankets and musical instruments.

MOLLOY: Where were you headed?

NEWCOMB: We drove up in a line onto the old dried up lake bed. Laguna Seca (built in 1957) was about showing that even in the face of possible arrest, we were a people, a system, that we could come together and support each other without the need for police. All 25 of us pulling in together and setting up our tables next to each other. It was a hot day, people would walk around the raceway checking out the tables and stirring up the dust. I had never been to a Dead show before. I had never seen such a large group of people in person...There was an estimated 16-20 thousand people who joined together for the show.

MOLLOY: Was this around the time of the Irvine show?

NEWCOMB: The memory of the infamous show at Irvine, where 75 people had been arrested, was fresh in people's minds, having only happened months before. The hard core travelers would tell stories of following the Dead. There was constant music playing from people strumming guitars and beating drums. I would learn about playing drums and guitar. I would stand out in front of the table and dance around to the musicians playing music in an attempt to attract interest to the table. I knew the caravan people I had come with watched over each other and many an eye was watchful over me.

MOLLOY: You mention the "vibe", can you illuminate that for me?

NEWCOMB: I enjoyed the "vibe", hanging with people who followed the policy of self-reliance. I myself, owned my own van and didn't allow anyone to stay with me. I help sell other people's pipes but I myself didn't have a product to sell. I was there to enjoy the "vibe".

MOLLOY: It was a unique time  in our social fabric as I recall...

NEWCOMB: For me, it was a time of independence. A moment of freedom and self-
reliance. I felt safe around the caravan folks. I was not trusting of the other thousands of people around me. I remember Laguna Seca as a real marker for my freedom. I danced, learned to play the guitar, inspired others with my beauty and wrote poems about my experiences.

MOLLOY: I feel a rude awakening approaching soon, correct me if I am wrong.

NEWCOMB: A year after attending my first Grateful Dead show at Laguna Seca I followed the Dead to Berkeley on their "Downhill From Here Tour" at the Hearst Greek Theatre. The Dead had played the Greek from October 1, 1967 until August 19, 1989.
After a year of following the Dead across California I found myself in a well know flop house on San Pablo in Berkeley. The host was a Vietnam Vet named "Trans" who had been writing a book about the alternative culture of our times.

I walked to the Greek Theatre with Trans from the flop house. He introduced me to a large group of carnies, vendors, Dead Heads and others milling about selling trinkets and playing music as we waited for the show to start. Unlike Laguna Seca, which was a big, flat raceway, the Greek Theatre was an amphitheater and each ticket had an assigned seat. The music was amazing with echoing acoustics. Trans was showing me around and we met several people who had set up camp for the night at "People's Park" just down the road.

After the show, I realized the BART was no longer running and I would need to stay over the night. I had lost sight of Trans. I followed some new friends to People's Park for an overnight sleep. When we got there the police had hosed down everyone's tents and bedding. People began gathering, banging on drums, bells and voices rang out as the crowd began marching down Telegraph yelling and banging on things. Everyone was furious with the police for ruining their bedding. We marched to the foot of Telegraph, reached the University, then swung around and marched back down towards the park.

The police had set up on the campus, as we approached they used a megaphone to tell the crowd to breakup and go home. Many folks stood milling about as the police began preparing to chase people back down the street. It started with tear gas then the police with batons and shields started marching towards us. People began to rush down the street, pushing and shoving and trampling on each other.

We couldn't get back to the park, with everyone's things all wet and the presence of police there. It was late, no buses, BART, no real way to get home...I was left out in the cold for the night. Someone said there was a place to sleep out at the Universal Lutheran Chapel. I went up to the church following the group but once I got there I had no one around that I knew. 

There was this large oak tree that I felt driven to check out. I climbed up the tree and watched people filing by. At some point, a fellow came by and said, "Hey, are you OK? Come on down and get some rest..." I had felt so alone, it was a real welcome to hear a friendly voice even if it was from a total stranger. He gave me a blanket, and I slept under the church awning with just the stars and the chill to comfort me.

After this protest, the Grateful Dead never again played the Greek Theatre. The people were depicted  as rabble rousers in the press. Those of us who were there knew it had all been orchestrated by the police. In the end, that didn't matter, the Grateful Dead was banned from playing Berkeley, the place they had been playing since 1967.

The next day I went home across the bay. The Grateful Dead show would never be the same for me.
I was choking on tear gas, chased by police, and left alone to fend for myself in a group of total strangers. Lucky for me, one person cared enough to give me a blanket for the night. The independence I enjoyed at Laguna Seca became a real sense of worry and fear for my safety at the Greek. It was the first time I had been chased by the police, but it wouldn't be the last.

MOLLOY: Thank you for your candor and willingness to tell your story.

Tuesday, July 17, 2018

SALZMAN INTERNATIONAL artists' representative

SALZMAN INTERNATIONAL has been providing the most        professional & talented illustrators in the world 
for over 30 years...

Partial List of Clients Include:
Conde Nast, Adobe, American Airlines, Electronic Arts, Stanford University, Mother Jones, Anheuser Bush, Purina, Simon & Schuster, Bayer Corporation, Discover Magazine, Playboy, Publicis, Nickelodeon Channel, Hyatt Hotels

MOLLOY:  Did you ever consider a career as an artist yourself & speculate on your own self- promotion?

SALZMAN: No, never. From an early age I've frequently been accused of having a creative     approach to life, but I have neither the aptitude nor the inclination to endeavor a career as a creative myself. Electoral politics is my avocation and maybe the skill set that comes most natural to me, but 35 years since choosing this career, I still find my role as an  agent for some of the world's greatest commercial illustrators extremely rewarding.
MOLLOY: You've mentioned that you currently represent, almost exclusively, European artists.
I understand in the 80's, you were repping primarily NY do you explain this shift?

SALZMAN:  While our publishing and advertising clients were, and still are predominantly based in    New York City, the majority of the artists I started with in the early 1980's (living at that time in San Diego, very much a secondary market in our industry), as well as the  additional artists I signed during the heydays of the 1990's (after having relocated to San Francisco), were mostly based on the West Coast. While I have had a Manhattan phone number since 1984 I've never lived in New York. Near the end of that decade and into the early 2000's there was a precipitous drop in business for freelance illustration (as well as commercial photography), which I attribute primarily to the impact of readily available stock image libraries that technology made greatly more efficient and practical as searchable digital databases of images -- fed in large part by creators without the foresight to see they were selling the farm for a year's worth of seed money by providing an entire careers worth of images to these stock houses, the very worst of which include those selling royalty free images, which is to say, turning an artist's work into the equivalent of clip art.

There was a significant exodus and/or merging of Reps and Repping firms industry wide during these economically lean times in the communicating arts. Many who thrived (or at least survived) grew to be mega-Reps with up to several hundred  artists each. Others who choose to stay boutique operations such as myself went all but dormant over the following decade. It was in 2000 during these economically difficult times that I relocated to Humboldt County, Trinidad to be exact. The height of the dotcom boom on San Francisco housing prices came just as my landlord in The City decided to sell the house I'd been renting from him since 1990. Luckily the advents of technology also meant it no longer mattered where any of us were located. While the industry downturn of the late "90's" and into the early aughts was very real, I compounded a bad situation by declining to sign any new artists during this time. I based my reluctance to enter into new contractual relationships based on the accurate but misguided fact that since I was no longer able to keep the artists I was currently Repping, and had been for the past twenty years, at sustainable income levels, it would be irresponsible of me to commit to taking on additional artists. When you are an artist's exclusive Rep, and they are unable to make a living, it puts a tremendous amount of pressure on you and your conscience.

During this time, technology was making it less and less relevant where an artist lived in relation to where the clients were located and more and more of the artists who were soliciting me were from outside the USA. By 2009, I'd signed Mark Smith, who lived in Exeter, England. I decided at that time that I would let any foreign artist keep all the business from their home country as "House Accounts". My logic being that a successful artist should already be making a living from their domestic clientele relieving me of the self-imposed stress if I was unable to secure them additional work in The States, or other markets outside of where they lived. Mark Smith had an immediate and meteoric rise in the industry and from that point on I decided to focus primarily signing artists based outside the USA and have signed fifteen new artists from Italy, England, Spain, and Israel among other countries. During the last decade my business has rebounded to beyond where it was at it's height in the mid "90's". I still have about ten illustrators in my group that are a combination of specialist and legacy artists, many of whom I've Repped now for over thirty years. Ironically, the very newest artist I've signed: Jeff Hinchee, is my first New York based artist. So there are no hard and fast rules here. More than anything it is about the personal relationships between the artist and myself.

MOLLOY:  It sounds like you have been able to successfully use your own creativity to adapt to the changing markets.

SALZMAN:  One lesson I learned is that while the volume of original illustrations being assigned had dropped precipitously at the end of the "90's", I had not taken into account that for some artists, even though they may well have been at the top of their game as to the mastery of their style, that style may also have faded in popularity. Meanwhile these younger artists I was signing from around the world had more contemporary and popular styles. So while it is true that fewer clients were commissioning  freelance illustrators, even fewer were commissioning the ones I was Repping whose popularity may have peaked decades earlier.

The day to day is pleasant enough, but the real rewards come on those occasions when I  can get a chance to get an artist the  compensation they deserve on the highest profile assignments. Less appealing, and thankfully less often necessary I also find it rewarding when I'm required to exercise my responsibility of protecting the best interest of an artists from any  attempt of exploitation or otherwise being taken advantage of them contractually.

MOLLOY:  Thank you for your time & insights.


Thursday, June 28, 2018

Using the Canoe for Analogy is a wonderful venue for composers.

Getting Older is not easy, so some confessions of an older gal...

Reinventing oneself is a task that no one is prepared for, but for me it is a daily ritual. 


In addition, as long as I am confessing, I have a play for sale...I lived it in the 1970's, then began writing about my experiences in college, as an older student.

In terms of production, the biggest hurdle would be the music, which I added mostly as reminders of history. The wonderful & creative sounds available to the ears of the public during that era continue to resonate with those of us of a particular age.

Combining the ballet scores & ballet class exposure to the classics, mixed with a partner who was playing Bach on a concert guitar, I think the soundbed for the show could be stunningly beautiful, as a backdrop to some uncomfortable truths about a souring relationship.

Sunday, January 28, 2018

Use of Affiliate Marketing/ THE ARTS

I have a new project to experiment with.
Pegalomania: Blue Piano
I am going to begin listing art related businesses that I have found to represent as an affiliate.

Just in case you like the blue piano, it also comes in vibrant yellow.  Prints $100.00
available here!

1) Learn Piano & Keyboards! (click link below)

2) Award winning music production software! (click link below)

3) Learn to quickly shoot video! (click link below)

Pegalomania: Vibrant Yellow Piano

4) Podcasting Pro Course! (click link below)

Any comments, purchase requests on prints or feedback welcome:
Email me at
Have a wonderful, productive, & creative workweek!

Sunday, October 22, 2017


COAT by Peggy Molloy (Pegalomania)

When I first began participating I was living in Boston, & someone suggested I send in some slides of my work to the American Crafts Council Fair Competition that would be held in the summer in New Paltz, NY.

I was as unsavvy as a business person could have been, but the talent was recognized & several fair goers told me to go to Henry Bendels on 57th in NYC. I took my paillette sequined sweater cardigans & did get an order for three. 

I rarely wore my coat, but when I did it always garnered attention. I was dancing then so I had a size 8 figure, which helps the coat hang well when worn.

One such outing, I was offered $3000. on the spot. I declined, but always thought if I were ever to sell my coat, that is where I would begin negotiations, now being 40 years later.

I have stored my coat in heavy plastic & I am thrilled to announce the coat is in fabulous condition. 
I did spray it with vinegar & water to freshen it up, & it has a new life. I will include more pictures.
If anyone is interested in purchasing this sample or having a commissioned coat made just for them, please email me:

It it pretty tough to get the rich & varied colors shown with anything other than 100% wool. I used wool embroidery thread, letting the patterns design them selves or "grow", on a pink cotton velveteen fabric. It is unbelievably rich looking.

Saturday, July 15, 2017

Ballerina KIMBERLY GRAVES-HAMM Now Coaches Ice Skating Competitors

Marco Berg & Kimberly Graves-Hamm
Decades ago, while performing in a touring company from San Francisco called "Ballet Celeste"...

 I met a young girl named Kimberly Graves. She was the lead in all the dances, had exquisite taste in clothes, & held an uncommon authority in her craft. No wonder then, that she soon went off to become a Soloist with the Royal Winnipeg Ballet

While in Winnipeg, she spent four seasons. Graves then moved to NYC where we once again became acquainted. She joined the METROPOLITAN OPERA BALLET where she was a Principal Dancer for 17 years. I looked her up recently now that we are both living in different parts of California, only to learn her vision & talent have extended to new horizons in ICE! To follow is an interview she graciously gave to me amidst her many professional obligations.

(Photo Above Right) Kimberly Graves-Hamm in Nashville, Tennessee, with talent Marco Berg, in costume for competition in the National Showcase Parade Champions, Silver Medalist 2016. The National Showcase is a competition in theatrical skating. It is sanctioned under the U.S. Figure Skating Rules 

MOLLOY: What triggered your decision to transfer your artistic skills & vision to ice-skating?

GRAVES-HAMM: After years of admiring Figure Skaters & watching the Olympics, I saw a need              for the artistic finish that a dancer has. The musicality & artistry was missing.

MOLLOY: Your protege' participated this year in Nashville with the National Showcase Parade                    Champions?

GRAVES-HAMM: I went with Competitor Marco Berg.

MOLLOY:  I wish you only the very best in your artistic endeavors. How would like to be contacted?

GRAVES: The best contact method would be to email:

Kimberly Graves-Hamm offers off-ice instruction that complements the on-ice activities of skating professionals. 

For dance enthusiasts please check out the website linked below Kimberly's photograph.


Link to voice lessons: <a href="" target="_top">Click Here!</a> Try it to become a triple threat!

Wednesday, April 26, 2017

Pegalomania Paper Dolls now available in one dozen lots!

Pegalomania Paper Dolls by Peggy Molloy
Dancer/ Designer Peggy Molloy
dba: Pegalomania 
proudly presents 34 designs to color & cut out for of all ages who need to relax & enjoy themselves while listening to ballet scores on the machine of your choice.

one dozen lots @ $6 per book 
= $72.00 ; plus shipping & handling = $7.00 Total  = $79.00

Just send your email for invoicing to THX!