that can also be read "we ate the acid". Kreutzmann states, "Aoxomoxoa...doesn’t mean anything — it’s just a cool palindrome. People have surmised over the years that you could read the Grateful Dead lettering on the front cover as We Ate the Acid which, I suppose, is true enough, if you look at it just right." The artwork is adapted from a painting that was originally created as a concert poster for the band. The bottom portion depicts death, rebirth and the cycle of life, with fertility symbols and Egyptian-based imagery. The top depicts a sun which doubles as an egg being fertilized. Both sides feature stylized censers. Courtney Love has claimed to be featured among those photographed on the album's back cover. Love's father, Hank Harrison, had close ties to the band at the time, and had briefly worked for them in some capacity. Love's claim was corroborated by David Gans in 2011, but further research has proved her incorrect; the girl often identified as Love was actually Bill Kreutzmann's daughter Stacy, who was the same age as Love at the time the photo was taken. Kreutzmann has stated, "...despite rumors, that’s not a five-year-old Courtney Love on the back cover in the group photo. That’s my daughter, Stacy." The man sitting on a horse in the back cover photograph is jazz pianist Vince Guaraldi, a friend of the band. Critical reception Reviewing Aoxomoxoa in 1969, Rolling Stone magazine's Adele Novelli called it "the work of the magical band. Can you hear this music and not see them before your eyes? The music is so much the reality of their physical and spiritual bodies that seeing them is the wonder of seeing music." In The Village Voice, Robert Christgau found the album "fantastic", with the exception of the "one experimental" song. He expanded on his praise in The New York Times later that year: Years later, AllMusic's Fred Thomas said "the Grateful Dead reached their true peak of psychedelia" with the album, embellishing "the exploratory jamming and rough-edged blues-rock of their live shows" with "overdubbed choirs, electronic sound effects, and layers of processed vocal harmonies." According to Adam Bouyamourn of The National, the album's "iconoclastic acid rock … combined free jazz, improvisation and psychedelia". Remix Second-guessing the end results, Garcia and Lesh went back in the studio in 1971 to remix the album, removing many parts present on the