Here are a few of my favorite Beatles collectibles. With rare exception, I never collected the mass-market merchandise of the 60’s – hair combs, notebooks, pennants, bubble gum cards, you name it. I have always been more interested in the rare and historic items.
SIGNED CUTOUT FROM THE COVER OF SGT. PEPPER’S LONELY HEARTS CLUB BAND
The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is arguably the most famous album cover artwork ever created. This is the actual, life-size cutout of Tony Curtis used in the album cover photograph. It appears a couple of rows above John Lennon’s right shoulder. There were 64 cutouts in the final arrangement (two were later airbrushed out), of which only 22 are known to survive, most of the others having been thrown away immediately after the photo session. This is one of only 6 owned by private collectors (the others belong to members of The Beatles, museums, restaurants and the artists who worked on the cover). Tony Curtis is the only person portrayed on the cover who autographed his own cutout. He signed on the back in 2003, “The Beatles chose ME for Sgt Pepper. Tony Curtis.”
“But,” you may say, “on the album cover Tony Curtis is a color photo, and this cutout is black and white.” All the cutouts were black and white photos, and some were hand-tinted with dyes. Unfortunately, after 50 years of exposure to light, the color has faded significantly on most of the tinted cutouts that survive. I tracked down the man who actually hand-tinted most of the cutouts, and he confirmed that there was only one of each cutout and that this is the original Tony Curtis used on the album cover. Previous owners did not know this – they believed it was an alternate cutout that was not used. The cut-outs were very expensive to create in 1967: obtaining permission from the celebrity, sourcing a suitable portrait, enlarging the image to life size, mounting to hard board, cutting them out by hand with a saw and then hand-tinting with dyes.
It is an amazing piece of what is widely regarded as the most significant album cover artwork in history.
JOHN LENNON’S GUITAR PICK FROM ONE OF THE LAST BEATLES CONCERTS
You should be skeptical, just as I was. This appeared in an online auction, and I ignored it for about a week just like thousands of others thinking, “Yeah, right.” I finally contacted the seller and asked him to explain why I should believe this was John Lennon’s guitar pick. After all, there must be hundreds of guitar picks like this. Here is a summary of what convinced me and other Beatles experts.
First, the guitar pick itself dates to the 60’s, as confirmed by a major guitar pick collector and dealer. Second, if you are an American guitar player you will notice the shape of this pick is not one that was routinely, if ever, sold in the U.S. It is known as a Burt Weedon-style pick from England. Third, extensive research reveals that this is in fact the type of guitar pick John used, though that was not easy to discover. I have found only one photo that clearly shows the shape of the pick (above), and only two references to his picks in Beatles literature. So few people would even know this is the style of guitar pick John used.
So far it’s just a Burt Weedon guitar pick like the ones John Lennon used, but the story gets better. The man who was selling the pick is the son of The Beatles’ dry-cleaner when they stayed in Los Angeles during their last week of concerts (ever) in 1966. Every morning he and his father would go to the place the band was staying and pick up their clothes for dry cleaning. Every night, they took the clean clothes back to them. With that bit of information the story has gotten much more interesting, but we’re not there yet.
The son was 12 years old in August 1966, and a Beatles fan. Turns out he has photos of himself, taken by his mother, wearing three different sports jackets that are clearly identifiable as belonging to John Lennon. That was the clincher, but there’s more. He pulled other things from John’s pockets and still had them: chewing gum stll in the wrapper (John was notorious for chewing on stage), and two notes from a fan – one addressed to John and one to Paul – and one of them was on a 1966 high school football schedule.
To put me over the goal line, so to speak, turns out the son grew up to be in the music business himself. He was half the comedy recording duo Barnes & Barnes, perhaps best remembered for their hit on the Dr. Demento radio show, “Fish Heads.” His partner was Bill Mumy, the red-headed boy in the “Lost in Space” TV show. So this wasn’t some random, unknown guy. This man is legit, and so it is John Lennon’s guitar pick from one of the last concerts The Beatles ever performed. To my knowledge, it is the only one known in a private collection with sufficient provenance.
RINGO STARR’S DRUM STICKS
The Beatles spent the week of Monday, August 26, through Saturday, August 31, 1963, performing at the Odeon Cinema in Southport, twenty miles north of Liverpool. It marked the third week in a row where the Beatles performed two shows each night. They were also filmed in a closed performance for The Mersey Beat documentary. They played the same set of ten songs throughout the residency: “Roll Over Beethoven,” “Thank You Girl,” “Chains,” “A Taste Of Honey,” “She Loves You,” “Baby It’s You,” “From Me To You,” “Boys” (Ringo’s lead vocal), “I Saw Her Standing There,” and “Twist And Shout.”
Freda Kelly was the Beatles’ secretary, president of their fan club from 1962-1972 and subject of the documentary film Good Ol’ Freda. She recalled in a letter of authenticity she wrote decades ago, and an email to me in December 2020, that the drum sticks “were given to me by Ringo after the concert in Southport. The staff from NEMS Enterprises (when we were at Moorfields in Liverpool) all went for the afternoon and evening to Southport to see The Beatles. I do remember that I planned to shout to Ringo for fun. It was a secret !! but somebody from the office told him what I was planning to do. When I called out for him to sing ‘Boys,’ he stood up from his drum seat and said, ‘Sit down Freda!!’ I was so embarrassed and hid down in my seat. After the concert I think he started laughing about it and gave me his drum sticks. He thought I must be his ‘one and only fan.’”
The drum sticks show some wear. It is not known how long these particular sticks were in Ringo’s stock, but they are among very few with trustworthy provenance, having been gifted by Ringo to someone he knew very well. Circumstances suggest that the NEMS staff probably attended the August 27, 1963, show because Brian was there that day to supervise the filming that afternoon.
Stage-used Ringo Starr drum sticks from The Beatles’ touring years are very rare. Ringo only toured with The Beatles for four years, from August 18, 1962, until August 29, 1966, when the Beatles’ stopped touring. There are only two pairs of sticks known to have come on the market, the other pair being a contest prize in 1965 by The Beatles Monthly magazine. There is some question about that pair’s authenticity because they are not the Ludwig brand Ringo was known to use most. There are three or four single sticks from various performances, making a total of seven or eight sticks in the hands of collectors.
AN UNUSUAL SET OF
THE BEATLES’ AUTOGRAPHS
This autograph book, containing over 400 signatures, was kept from 1958 until 1983 by an employee of the Granada Television Studios in Manchester, England. The Beatles are among many celebrities who signed the book, including Laurence Olivier, Dave Brubeck, Liza Minelli, Dizzy Gillespie, Dave Clark, Lulu, Cilla Black, Eartha Kitt, Christopher Plummer, Andy Williams, The Bay City Rollers, Twiggy, Shirley MacLaine, Natalie Wood, Joanne Woodward, Victor Borge, Britt Ekland and Larry Hagman.
What makes this set of signatures unique is not their signed names but what else they wrote in the book. The Beatles were known for their quick wit and humor, and this is an exceptionally rare written example, made on the spot for the studio employee.
The first to sign, Paul McCartney added “Epstein’s Furniture Stores” as his address – a reference to their manager’s family business in Liverpool. Brian Epstein’s family owned furniture stores, and it was through the record shop inside one of their stores that Brian first became aware of The Beatles.
Remarkably, appearing just above The Beatles’ signatures are those of British rock stars who just preceded The Beatles in fame – Cliff Richard (the “British Elvis Presley”) and Lonnie Donegan, who influenced the teenaged Lennon and McCartney. In the address field of the book, Richard had written “17 Savile.” John Lennon, not to be outdone by McCartney, added the words “Row Suit,” a reference to the fact that Savile Row in London was where the noted tailors and suit makers’ shops were located. For his own address, Lennon wrote “Pete’s Bet Shop.” More on that below.
George Harrison comically added “R.S.P.C.C. (Bolton)” as his address – the Royal Society for the Prevention of Cruelty to Children. Ringo merely added a question mark, perhaps to feign that he didn’t remember his address.
It was very unusual for The Beatles to add anything to their autographs other than “Love from the Beatles” or “xxx” for kisses to female fans, or inscribing the name of a particular fan. To add humorous wisecracks to the address field of the book perfectly illustrates their personalities as exhibited in interviews and in the movie A Hard Day’s Night, which had been released just three months prior to their appearance at the Granada TV studio.
The meaning of Lennon’s quip about “Pete’s Bet Shop” was not known to me for many years after I acquired this autograph book. While sitting in an airport reading a book written by John’s best childhood friend, Pete Shotton, I came to a passage referencing the fact that about this time (late 1964) John had loaned Pete money for the purpose of opening a legal betting shop. It was a “Eureka!” moment. I immediately knew that’s what was on John’s mind when he signed this autograph.
It also bears noting that by mid-October 1964 when these autographs were signed, it had become quite difficult to get their autographs. The majority of autographs were signed in 1963 when they were still playing small halls and theaters in England.
A RARE BEATLES STAGE SET LIST
This is a very rare set list written by Paul McCartney for The Beatles’ concert at the Azena Ballroom, Sheffield, England, April 2nd, 1963. “THE” Beatles were John, Paul, George & Ringo. Starting from Ringo joining the band in 1962, there are only seven set lists written by a Beatle known to exist in private collections outside those still owned by a Beatle or their Estates. Of those seven, this list of twenty songs performed that night is the longest. By 1963, their average show was only 10 or 11 songs, due in part to the fact that they were usually part of a multi-act lineup, sometimes five or more entertainers on a bill.
This set list includes 13 songs recorded by the band, and 9 of 14 from their debut album. It also includes a few songs from their earlier days that would soon disappear from their performances forever. The Beatles’ concerts in 1964-66 were typically the same from show to show on each tour, having time only to do their hits. That also limited the need to create set lists, making them all the more rare. This set list is on the back of a Parlophone Records postcard, which is somewhat rare itself.
Below is a photograph of The Beatles at the Azena Ballroom on the night they used this set list.
A RARE, SIGNED BEATLES SET LIST
This set list was obtained by a 17-year-old girl the day after the Beatles’ 1 November 1963 concert in Cheltenham, England. She encountered John Lennon and Ringo Starr getting into a limousine and asked for their autographs. Having nothing with her for them to sign, Ringo pulled this set list out of his pocket, signed the back and handed it to John who also signed.
It is an unusual set list, one of only two known to exist with an indication which Beatle would make certain introductions of songs to the audience. (The only other such set list is presumed to still be in the possession of Paul McCartney.) It is also one of only three known surviving set lists to be autographed by a Beatle, in this case two Beatles.
The set list shows a marked change in The Beatles’ repertoire. Previous shows featured songs from their first album, Please Please Me, and familiar cover tunes. Having just finished writing and recording their second album, With The Beatles, the new songs were featured along with their previous hits.
The set list from this night, handwritten by Paul McCartney on a scrap of paper, is inconsistent with some known facts about the concert. It lists “Don’t Bother Me,” George Harrison’s first composition which had just been recorded for the new album. It is believed that that song was never performed live by The Beatles, and the popular Chuck Berry tune “Roll Over Beethoven” was substituted, possibly at the last minute because George had performed that song many times. In a similar vein, until this tour Ringo usually sang “Boys,” but his song on the new album was “I Wanna Be Your Man.” It was apparently swapped for his tried-and-true “Boys” after Paul wrote out this set list. The Rolling Stones had released their version of “I Wanna Be Your Man” on this very day. Perhaps The Beatles decided they didn’t want to do a “Stones song,” even though it was a Lennon-McCartney composition. Or, perhaps they were not quite ready to perform those two new songs. We’ll never know why they didn’t follow this set list that night.
The list consists of only six songs although they played ten that night. This can be explained by the fact that the list was in Ringo’s possession. In preparing for the new tour in support of their new album, Paul may have written out this set list specifically for Ringo’s use, so he could anticipate when to position his microphone and be ready to sing his one song for the night. This hypothesis is supported by Paul’s underlining Ringo’s song five times – something he would not typically do for anyone else’s use. With the likely last-minute changes to the set, Ringo probably just left this in his pocket until the next day.
There is one other possibility – it could be a set list from a different concert, and Ringo still had it in his coat pocket the day he gave it to the fan.
Another interesting thing about the Cheltenham show is that the local paper the next day may have been the first to use the new word “Beatlemania” in a publication, to describe the fans at the Cheltenham concert. The photos below show The Beatles in Cheltenham, and the newspaper review.
PERFORMANCE CONTRACT FOR A 1965 BEATLES SHOW, SIGNED BY BRIAN EPSTEIN
Ever wonder what The Beatles were paid for a concert at the peak of their popularity? This contract, signed by The Beatles’ manager Brian Epstein, shows they were guaranteed $50,000 against 65% of the gross box office receipts. The August 18, 1965, concert was at Atlanta Stadium.
The 3-page rider which is attached to the contract contains many interesting requirements and conditions, the most talked about being that The Beatles “will not be required to perform before a segregated audience.” It had become an issue in 1964 for the dates in the South. The Beatles refused to go on stage in Jacksonville, Florida, until the segregated audience was allowed to merge. It was their first public, political stance, and it resulted in the clause being added to their contracts.
Of the 46 stops on The Beatles’ three US tours, approximately 32 of the contracts still survive. As of this writing, 23 of them belong to one collector, so owning an original Beatles contract is not easy.
ABBEY ROAD STREET SIGNS
If you have gotten this far reading about Beatles collectibles, you probably know that they recorded in London’s EMI Studios on Abbey Road, probably the most famous street in London (quick – name another one). Most people have seen the now-iconic image of the Abbey Road street signs that looks like the one in the photo below:
These are metal, embossed signs that varied in size depending on where they were placed. Some were in metal frames anchored in sidewalks, some were mounted high on building walls, etc. I’ve had a couple of these original street signs over the years. They were stolen from Abbey Road so many times that the City of Westminster stopped replacing them (I didn’t do it!). I believe the only ones still on the road that look like this are the ones mounted on the second floor of buildings.
What most people do not know is that for most, if not all, of the time that The Beatles were actually recording on Abbey Road, the street signs looked like this:
The Marylebone signs were in place from at least the 1950’s until 1969 when they were replaced with the Westminster signs due to a change in city government in 1965 (it took a while for the new city to get around to replacing hundreds of expensive signs throughout the city). Both styles are genuine Abbey Road signs, but in my opinion the Marylebone signs are much more appropriate as a Beatles-related item. To my knowledge only about half a dozen Marylebone signs have appeared on the market in the past 30 years.
RARE “BRITISH INVASION” AUTOGRAPHS
This is the only known signed image of The Beatles on the Ed Sullivan Show stage on February 9, 1964. A then-record 74 million Americans (almost 40% of the population and 60% of all TV viewers) watched as The Beatles made their live debut to American audiences. It was perhaps the most important music ever broadcast on American television.
The signed photograph is also unusual due to it’s large size (almost 14 x 11), that it is in color and shows the group in a performance pose. All of these aspects make it a unique set of The Beatles’ autographs. The photo was taken immediately prior to the show during the press corps’ limited time with the group. The photo below was taken at nearly the same instant by another photographer. You can see the man at the front of the stage riser taking the photo that was later signed by The Beatles.
When I acquired this, the photo was advertised as having been taken on February 8 during rehearsal. My research proved that the photo was in fact taken right before the show on the 9th, a more historically important date.
Of course the photo taken on February 9th wasn’t signed that same day. The autographs were obtained at the Hotel St. George, Wellington, New Zealand, between 21 and 23 June 1964, where the group stayed during performances at the Town Hall. The piece is accompanied by a letter on Hotel St. George letterhead from the recipient of the autographs, likely a hotel employee, which reads:
“Dear Shirley, Thanks for your letter and I’m pleased that the family were thrilled with the autographs of the Beatles. A few comments about them: They were skinny in physic – pale in complexion and of course very noticeable with their mops of hair. … It was not the Beatles that created the confusion but the local teenage population – as we all know. While staying here, the only time they left the hotel was to move to the Town Hall for their two shows a night. They slept to 4 o’clock in the afternoon and had a breakfast of cornflakes, fruit, juice and bacon and eggs, coffee. The next meal was after the show this was usually soup, salad, chicken or steak and fruit. So, only two meals a day. There were 15 people in the party including 5 managers who were good customers of the bar. When the Beatles arrived back in the hotel they always seemed very pleased that they had managed to pass through the crowd without losing an arm or ear. That I suppose is only natural for anyone as the crowd are pretty boisterous. When they first arrived at the hotel, it was impossible for the crowd to be controlled by the police and the result was that they came through the bottle store entrance before anyone realised what was happening apart from 50 policemen. They then got stuck in the lift and it was not for about 5 minutes before they were released. The language was very Liverpool in this instance. Their lives are unusual as all they do is to live in hotel rooms and theatres and nowhere else. Ringo appeared to do all the talking and so much for the Beatles.”
1st U.S. CONCERT AUTOGRAPHS & TICKET
While on the topic of The Beatles American invasion, their first public concert was in Washington D.C. on February 11, 1964. My latest acquisition (though it may not be by the time you are reading this) is a 114-page scrapbook kept by 14-year-old Pamela Tames. Among all the diary-like notes, clippings and other souvenirs are several significant items.
Most importantly, her father, noted New York Times photographer George Tames, went to the press conference that day and got three of the Beatles’ autographs. Another photographer snapped a photo of George getting Paul to sign this scrapbook (George and Ringo are seen just behind Paul). Photos of Beatles actually signing a specific and identifiable autograph are extremely rare.
The scrapbook is filled with young Pamela’s notes, and is a joy to read. It really captures the spirit of Beatlemania like few things can.
Also in the scrapbook is Pamela’s ticket stub for the very first American concert. The Coliseum only held about 8,000 people, but of course nowhere near that many ticket stubs still exist, and many fans were handed back the “short stub” which only shows the seat number and date, not “The Beatles.”
SOUVENIR OF MEETING SIR PAUL McCARTNEY
The autograph of Paul McCartney, obtained in Dallas on May 9, 2002. At the time, I was doing some work for a friend who ran a music industry magazine. I probably shouldn’t have, but I used that connection to arrange to meet Paul through his publicist. It took a few minutes of his time, and about 60 seconds of Paul’s. No harm, no foul, right? I did ask permission from the publicist before asking for the autograph. You can see the photo of me with Paul in the Celebrity Encounters page of this website.
As a totally unexpected surprise and bonus, as I waited in the green room (for hours, by the way) in walked Sir George Martin, The Beatles’ record producer! Several of my Beatle-friends have met Paul, so I’m now a member of that club. None of them, however, got to meet George Martin, the man with the best claim to the title “The Fifth Beatle.”
THE “BUTCHER COVER”
My collecting hobby started with records in the late 1970’s. Many regard the infamous Beatles “butcher cover” as the most collectible Beatles record, and some say the most collectible album in history. By 1966, just before their final concert tour, The Beatles had grown weary of press conferences, fan mail, touring and particularly photo sessions. The number of times they slogged through photo sessions between 1962 and 1966 probably cannot be counted. They and their photographer, Robert Whitaker, were interested in breaking new ground in this photo session. The Beatles were interested in the avant garde art scene, and met Whitaker’s idea with gusto. The record retailers were horrified and convinced Capitol Records to withdraw the cover and replace it. Already printed and distributed, the record company instructed retailers to return the butcher covers for destruction. Some were not destroyed, and so was born a highly collectible Beatles record.
The butcher cover was replaced with the so-called “trunk cover.” In fact, Capitol pinched pennies and actually pasted the trunk cover on top of the butcher covers that they were able to snatch back from the retailers. This process created three “states” of butcher covers. The first state butcher cover is one of the relatively few surviving original records. A first state stereo butcher cover (more rare than the mono version) is shown in the photo above on the left.
The “second state” butcher cover is an original butcher cover with the trunk cover pasted on top of it. The tell-tale sign is the “V” of Ringo’s shirt slightly visible through the trunk cover. Also, the second state covers are slightly smaller because the open edge was trimmed after pasting. A second state cover is shown on the right in the photo above. A “third state” butcher cover is one where the trunk cover has been removed to reveal the underlying original butcher cover. As more and more second state covers become third state covers (a cottage industry in itself), the second state covers become more rare.
POSTER AND TICKETS FOR THE LAST BEATLES CONCERT
The Beatles’ concert on August 29, 1966, was their last public concert. Beatles concert posters from any of their shows are extremely rare, in part because before 1964 people just didn’t save them very often, and after 1964 there wasn’t much need for promoters to produce posters for advertising because they did not need to go to that expense to sell tickets. In 1964 and 1965, Beatles concerts sold out almost immediately. By 1966 in America, there was some backlash against the Beatles and tickets didn’t sell quite as easily for the large stadium shows. Still, very few posters survive from the 1966 tour.
I bought this poster from a man who said he had purchased a number of things from the estate of the concert promoter, Tom “Big Daddy” Donohue, including this poster. Although I confirmed he had other things that had belonged to Donohue, I bought the poster for the intrinsic value (actually, I got a really good deal on it), not because it had belonged to the promoter. Still, I have no reason to doubt the provenance.
TICKETS TO THE LAST CONCERT
OF THE FAB FOUR
These consecutive, unused tickets were for The Beatles last concert. I bought them from a priest who said, ““My uncle had an appliance shop in Orangevale, CA, called Carl’s TV and appliance. He got these tickets from Norcal Electronics as a promotional item. They are still in [the Norcal] envelope but it is not dated because I think that he was handed them. In any event, he gave them to me because my two cousins were only like 12-13 years old. I had a date with a cheerleader, Lori Jensen, in the summer of 1966. When I went to pick her up (both of us just 17) her parents would not let her go. We lived in Sacramento and San Francisco was too far to go; plus those long-haired Beatles were too much for her parents. I was bummed so I didn’t go either. These tickets have been stored in my senior yearbook for the past 45 years.”
TICKET TO THE FIRST CONCERT
OF THE FAB FOUR
The Beatles were not the “Fab Four” who rewrote popular music history until the lineup was completed when Ringo Starr joined the band on August 18, 1962. Their first concert was performed at Hulme Hall, Port Sunlight, England, across the Mersey River from their hometown of Liverpool. The hall was big enough for 450 people, but 500 tickets were sold to fans, none of whom knew what an historical event they were witnessing. Thus, very few of the 500 tickets for that night were saved. The primary dealer in Beatles memorabilia in the UK recalls only two coming on the market. I did not believe I would ever add an original ticket to the first ever “real” Beatles performance to my collection, but I finally got one of the two known existing tickets in 2020.
Photos from our trip to Hulme Hall in 2017 show the outside of the building (the room the Beatles played was at the far or righthand side. The interior shot shows where The Beatles set up. While there used to be a stage at one end of the hall, it is gone now. However, I was told that because of the horticultural show that afternoon, the stage was covered with plants and flowers, and The Beatles had to set up on the dance floor itself. There are no known photos of the band playing that night.
THE BEATLES’ FIRST AMERICAN RECORD
From mid-1960 to the end of 1962, The Beatles were hired several times to play nightclubs in Hamburg, Germany. The Hamburg residencies were the most important in their career – like graduate school for the young musicians. They learned to put on high-energy shows and vastly increase their repertoire in order to attract bar patrons off the street and into the club. They honed their chops, built their reputation and also recorded in Hamburg with another British musician, Tony Sheridan, as his backing group. The resulting record was brought to Brian Epstein’s attention, and the rest is history.
You’ll notice The Beatles are credited on the record as “The Beat Brothers.” The record was of course originally released in Germany (their very first commercially-released record), and “Beatles” apparently sounds a lot like the German word for penis, so the producer changed their name to Beat Brothers.
Almost a year before The Beatles came to America, Decca Records released the record in the U.S. on 23 April 1962. Few were sold. Shown above is the promotional version of their first American record. Promotional copies were sent to radio stations and reviewers, and were made in limited numbers.
ONE OF THE LAST AUTOGRAPHS
SIGNED BY JOHN LENNON
John Lennon’s Double Fantasy album was released on 17 November 1980. Double Fantasy album covers signed by John Lennon are very rare, with approximately twelve coming to market in forty years. A photo taken in John’s office on 21 November 1980 shows him signing eight to eleven Double Fantasy albums. Just 17 days later, he was murdered. In the short amount of time he had to do so, John signed almost all of the albums for close friends and a few people who worked with John and Yoko on the recording of the album.
This Double Fantasy album cover was autographed by John, “To Karen, love John Lennon.” Additionally, he has drawn facial caricatures of himself and Yoko, who has also signed this cover, directly beneath the caricatures. The Karen to whom John inscribed this album worked in the studio, so this may be one of the albums in the photo below.
John Lennon original animation cel from the movie Yellow Submarine in 1968. A multi-cel setup from the song “All You Need is Love.”
Original custom artwork by Ron Campbell, the director of The Beatles TV cartoon series in the 1960’s. A gift from friends for our wedding in 2013.
An unusual thing to collect – bricks. You know the old saying, “If walls could talk.”
The Beatles may have been the first to be the subject of pop culture collectible bricks in 1983 with the marketing of the bricks which formed the famous Cavern Club in Liverpool where The Beatles performed 294 times in the early 1960’s. The club was destroyed in order to build a parking lot, and 5,000 bricks were salvaged and sold.
The other brick is from John Lennon’s home in Liverpool called “Mendips.” He lived there from 1945 until 1963 when The Beatles moved to London to begin their recording career. Only 150 bricks were salvaged from a remodeling job in the house. It is now owned by the National Trust and is a museum and protected building. There will never be any more souvenirs like this from John Lennon’s house.
More to come …