Beatles Hamburg, Germany Concert Poster 1960 Genuine Museum Piece, Pt. 2

BE SURE TO WATCH PART 1 FIRST!

In this video, I continue to tell you about this fabulous early Beatles Kaiserkeller in-person poster from the fall of 1960.

In Part 1 of my video, I give a lot of basic background info about this poster and its origins.  In Part 2, here, I give still more pertinent info, including what all the German words on the poster mean.

This Beatles Hamburg show poster actually features SIX performing, important, full-time members of the world’s most famous band ever.  Can you name them all?

Naturally, there’s John, Paul and George; you also have Stuart Sutcliffe in the group; and you have Pete Best on drums. That’s five. Who’s the sixth? Why, it’s Ringo Starr, beating the skins for Rory Storm & the Hurricanes!

I love to point out the fact that this Beatles 1960 concert poster has 10 little red and white stars sprinkled throughout.

And guess how many musicians it was advertising? That’s right, 10… five in the B’s and five in RS & the H’s.  Pure coincidence, I’m sure, but a little bit of magic, too.

This Beatles German placard was painted skillfully using a bright yellow background, with red, light blue and black paints superimposed on top of that – plus a white cloud for Rory Storm and his band to sit in.

Rory & Co. were perceived as the headliners when this sign was conceived, but as anybody who was there can tell you, the Beatles rather quickly took over the spotlight.

If you’re a condition freak (and I’m not), you might have noticed a couple of missing notches on the left side of this Beatles Kaiserkeller window poster.

Some collectors would want to immediately fix those; they could easily be filled in and color-matched, becoming unnoticeable. But I, personally, like the way it was left unfixed; I like my vintage concert posters to look that way – old, used and vintage.

Did you know that this Beatles Hamburg broadside represents the very first time the name “The Beatles” was used on an advertising concert poster?

That’s right… in fact, they had only settled on their final name a few months before.  I’ve seen photographic evidence of a “Silver Beetles” concert poster from earlier in ’60, but this is the first with the name they finally settled on.

I like the way artist Ross equally spread out the color elements on his Beatles German billboard, seemingly giving about equal time to each of them.

And I love the way he chose blue color for both the all-important “Rock ’n Roll” and “und the Beatles” – the two most important sets of words on the poster!

It’s funny how neither he nor promoter Koschmider knew that they were creating a collector’s masterpiece with this Beatles 1960 window card. To them, it was a disposable nothing that could be thrown away the day after the final show ended.

But that’s what makes this hobby fun… all vintage concert posters were designed to last for just a few weeks, and then be torn down and thrown away.

It would be years before the world fully realized the long-term importance of a Beatles Kaiserkeller appearance poster.

Remember, when the group hit it big in 1963 (U.K.) and 1964 (U.S.), there were still considered just a teenage flash-in-the-pan… probably here today, gone tomorrow.  It wasn’t until beginning in the 1970s that their historical importance would really start to be appreciated.

It would have been awesome if they had made a Beatles Hamburg window display for either of the clubs the boys played at before landing at the Kaiserkeller in the fall of ’60.

They actually started off at the Indra Club in the summertime, followed by the more prestigious Top Ten Club, before moving on to the Kaiserkeller. There’s never been a trace, however, of any advertising materials involving the B’s from either of those first two venues.

The only way you could eclipse a Beatles German concert placard would be to find one advertising The Quarry Men – as you know, the group John, Paul and George used first.

They carried that name from 1957 through 1959, and played a lot of small, informal gigs around Liverpool, but there’s never been a poster spotted with that name on it. That would truly be a holy grail.

Which would you take, if you had a choice between a Quarry Men piece or a Beatles 1960 poster board?

A lot of collectors would opt for the Quarry Men poster… but then, you’d have to explain it to almost everyone who walked in your house and saw it, unless they happened to be rock historians.

Not so with this Beatles Kaiserkeller street poster. There would be little or no explaining necessary before people would suck in their breath and go, “Wow!”

It’s interesting to see the back of this Beatles Hamburg show placard. It looks very old and weathered, just like you’d want it to be.

Personally, I hate it when I get a vintage poster and the back of it is all clean & shiny, maybe even attached to a new backing board.  I like both sides of my poster to be vintage, even the blank back!

Should I apologize for taking two YouTube videos to show you this particular Beatles German event poster? No! I didn’t want to scrimp on important information, editing myself to down under 10 minutes.

This was not unprecedented… I’ve done two-part YouTube video blogs before, in fact several times.  If a poster’s too good, like this one, then I’m just gonna spread it out over two, and not shortchange you.

If you were able to secure a Beatles 1960 street poster like this for your collection, it would then be possible for you to have concert posters on them for seven straight years.

Because 1961’s are rare but much easier than this one; 1962’s are also very tough to find, but doable; and so forth, right up until they ceased touring in 1966.

Now that you know about this cardboard Beatles Kaiserkeller poster, you know that any paper one you’re offered is not the genuine article. That’s helpful to know.

It wasn’t until the Beatles’ February 14, 1961 show at the Cassanova Club that a paper concert poster was printed on a printing press. An image of that poster appears in several Beatles history books; it’s a beaut.

This Beatles Hamburg street sign managed to survive, undiscovered, in a trunk for 54 years before it saw the light of day. That’s amazing to realize.

It also makes you wonder how many other, older potentially valuable concert posters lurk in trunks, dark closets and storage areas that are even older than this one. How many Elvis posters from the 1950s?

Of course, almost none of them would be as cool as this vintage Beatles German concert sign. Because the Fabs are, of course, the biggest phenomenon in music business history!

But I’ve always pined for a 1954 Elvis, a 1920’s Louis Armstrong or a 1930’s Billie Holiday concert poster. Fat chance, but one can always dream!

But I digress.  This piece of Beatles 1960 concert memorabilia is the living end, and would reside right at the top of my want list – period.

It just doesn’t get any better than this. You can almost smell the German beer, hear the sailors fighting and see our boys up on stage, complete with Stuart Sutcliffe.

It’s been an amazing honor and pleasure showing you this Beatles 1960 street sign. I’m Pete Howard, and I can be reached through pete@postercentral.com or by phoning (805) 540-0020. And please always know that I pay the VERY BEST PRICES, period, for the oldest and coolest Beatles concert memorabilia.

To see a few more very early pieces – although not as early as this – just click on this page here on my web site: http://www.postercentral.com/beatles.htm

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Beatles 1960 Kaiserkeller Hand-Painted Concert Sign – Outrageously Historic, Pt. 1

A very rare Beatles Hamburg concert poster dating to the fall of 1960 for their two-month residency at the Kaiserkeller club.

This poster is historic for a number of reasons, not the least of which is that it’s the earliest known advertising poster for live music by “The Beatles.”

This Beatles Kaiserkeller poster board is a hand-painted original, not something that was printed on a printing press.

It is the only one known of this size… the other two known specimens are large, paper door signs, much bigger than this.

19 by 26 inches is the approximate size of this Beatles German window card, making it perfect for framing as a standard-sized poster.

It was painted on cardboard, not paper, and done by local graphic artist Erwin Ross.

Finding any Beatles 1960 in-person poster is a supreme challenge for collectors; they’re all one-off’s, because of the hand-done aspect.

As of the time of this writing, there are several known printed 1961 Fab Four concert posters, but zero from 1960; thus the challenge I speak of.

This Beatles Kaiserkeller broadside is delightfully eye-catching with its bright yellow, red, light blue and black coloring. It’s hard to imagine walking by this and not stopping to look.

It’s unknown if this was posted inside the club, outside the club in perhaps a window box, or elsewhere around the city, to draw patrons to the establishment.

But who would want to take down & save a Beatles Hamburg placard back then? The Fabs were totally unknown, so was Rory Storm & The Hurricanes, so their genre of music (“Rock ’n Roll”) got top billing.

I’ll tell you who would save one: the musicians, the band members. Each group had five musicians, so right there, there’s 10 chances somebody’s gonna save one.

And as a matter of fact, Hurricanes guitarist Ty Brian is the one who saved this particular Beatles German show poster.

Mr. O’Brien sadly passed away in the late 1960s, but his relatives kept all his belongings and this poster was made public for the first time in 2014.

Up until then, the only Beatles 1960 window display we knew of were actually door displays, as I’ve mentioned. So it was electrifying to find this more “normal-sized” item, very frame-worthy, after all those decades.

Actually, the Door signs can be displayed in a frame as well, they’re just more unwieldy due to their size.  You really need a large wall space.

In my video, you’ll notice that this Beatles Kaiserkeller billboard is already museum-quality framed. It’s the perfect framing job.

It was framed in “floating style,” not matted, so you can clearly see all of the poster’s edges, on all four sides.

In fact, a piece of this Beatles Hamburg concert placard was detached when it was found by the family in 2014.  It was subsequently reattached at the time of framing.

In my video, if you look closely you can make out the area where this chunk had come off… it’s in the lower left, mostly involving the word “Rory.”

It’s funny how this Beatles German window poster says “and his Hurican” under Rory Storm’s name. At first, I thought that was just the German spelling for “Hurricanes.”

But no, it’s not. So I speculate in this video that maybe “Hurican” was an homage to Chuck Berry using that unique word in his song “Rock ’n’ Roll Music,” which surely these bands performed.

But it interesting how this Beatles 1960 show placard uses both English and German to get its message across.  I’d say there’s an equal number of words in both languages.

But most of the words in English are names, so shouldn’t be translated, and most of the words in German carry information the customers had to know.

Unlike the white door sign which has been copied endlessly, this yellow Beatles Kaiserkeller event poster has never been reproduced in any way. Part of that, of course, is due to the fact that it just surfaced in 2014.

Perhaps it’s just a matter of time, but then, there’s no real need with the white one out there with such ubiquity.

Speaking of which, in my video I show you the paper reproduction of the white Beatles Hamburg concert sign. You’ll recognize it right away; it’s been used everywhere for decades now.

It’s the blue one that’s the other rare image, and in my video I show you a photograph of that one, too.  Last I heard it was hanging in the Hard Rock Café in Berlin.

To call this Beatles German street sign “seminal” is an understatement. Other than a Quarry Men concert advertisement, it would be hard to find anything from the outset of their career like this.

And if you did, it would be for a drummerless outfit; the Beatles enlisted Pete Best on skins just before departing for their first trip to Hamburg this summer.

The venue, Kaiserkeller, is blasted across the top of this Beatles 1960 appearance poster, in red paint.  Translated to English, that literally means “emperor’s basement.”

And then “Tanzpalast der Jugend” translates in English to “dance palace of the young,” or more succinctly, “youth dance palace.” One must remember that rock ’n’ roll was entirely a youth-oriented activity in its first 10 years of existence.

Despite the band’s two-month stay at this venue, it’s not easy to find any Beatles Kaiserkeller concert memorabilia.  Tickets were never made, and it appears that handbills were not, either.

Signed pay receipts may be all there is from the boys’ 1960 days in Hamburg, and those are very rare and pricey, of course.

Speaking of a two-month stay… notice how three months are given on this Beatles Hamburg street poster. October, November and December are all listed.

But John, Paul, George, Stuart and Pete were not destined to play here in the month of December… their final show was November 30.  They were both disgusted with club owner Bruno Koschmider, and 17-year-old George was deported for being underage.

Notice how promoter Koschmider gave himself a huge credit on his cardboard  German Beatles poster.   “Presenting Bruno Koschmider” it proclaims in bold red script.

The trouble is, Koschmider was just the money man behind the scenes, not one of the performers that people would pay to see.  But you wouldn’t know it from this poster… I’d say it was a healthy ego move on his part.

The proper wording for this Beatles 1960 concert placard would’ve been, “Bruno Koschmider Presents…” and then list the Rock ’n Roll bands, etc.

Just to be sure of all this, I closely consulted a friend fluent in German to translate the word “Prasentiert” that is found just before Bruno’s name.

One of my favorite aspects of this Beatles Kaiserkeller concert sign is the way it says “England – Liverpool” down at the bottom. In nice black print, the final thing on the poster.

At first I thought that was just for The Beatles… exactly where they hailed from. Then I realized it was for both bands: Rory Storm and the Hurricanes were also from Liverpool, so it totally applies to both.

Some collectors who covet a Beatles Hamburg event poster in their collection might want to opt for the 1962 Star-Club one, which was actually printed on paper so their chances of finding one are greater.

But interestingly, you don’t find any more Fab Four fame on that poster… once again, their name is in tiny print down at the bottom. I’ll eventually blog that poster as well, when I come across an original.

This Beatles German show placard is happily the subject of this video done by me, Pete Howard, a first-generation Beatles fan and long-time serious collector. Please know that I pay the BEST PRICES IN THIS HOBBY, period, for original vintage Beatles concert memorabilia, 1957-66. I can be reached through pete@postercentral.com or called in California / U.S.A. on (805) 540-0020.

And to see more examples of early moptop concert posters and signs, just head one page away to this treat right here on my site: http://www.postercentral.com/beatles.htm

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Supremes Window Card 1960’s w/Lovin’ Spoonful – Tulsa, OK

A charming, collectible Supremes concert poster from the Midwest during the group’s earliest phase, with Florence Ballard still in the group and before “Diana Ross” was added to their name.

1965 was the year and Tulsa, Oklahoma the unlikely location for this tour stop, which also featured The Lovin’ Spoonful on the bill.

This Supremes poster board measures 14 by 22 inches in size – the industry standard – and is not made of paper, but rather thicker card stock / cardboard, also an industry standard of the day.

The Motown divas were riding an incredible string of hits at the time, logging 10 hits at the #1 position before “Diana Ross” was added to their name in 1967 – at which point they added a few more.

So I just love the youthful innocence of this particular Supremes show poster – it’s so simple, plain and understated, yet elegant in its robin’s-egg blue color.

That innocence is underscored by the ticket prices… can you believe $2.50 and the other seats going down in price from there?

I’m actually quite pleased the way this Supremes in-person poster gives so much detail… the white venue area down below gives us lots of information.

And the big “tell” as to this exact poster’s location is right there at the bottom… in the form of radio station “KAKC.”  That tells us the poster hails from Tulsa, Oklahoma… otherwise, we wouldn’t have any idea! There are a million “Civic Center Arenas” out there.

The third act given on this Supremes billboard is Earl Van Dyke & Orchestra… the backing band for the Supremes, actually, not hit-makers in themselves.

Van Dyke would eventually become part of The Funk Brothers, the legendary Motown house band that played on a million hits (using that exaggerating word once again). For example, he tickled the keys on Marvin Gaye’s megahit “I Heard It Through the Grapevine.”

But for fans of folk-rock, this piece serves nicely as a Lovin’ Spoonful window card. John Sebastian & the boys are shown laughing and living it up in the little picture.

They had already hit with “Do You Believe In Magic?” at this point, and were about to unleash six straight national Top 10 records following this tour. Whew!

Notice how this Supremes concert placard says, “A Ka-Lee Production.” It is very safe to speculate that that name is drawn from two different sources… possibly “KA” from the radio station, and possibly “Lee” from an individual promoter.

Such a practice was typical in the first dozen years of rock ’n’ roll tours, until things got more serious (and more money was involved) in the late 1960s.

I’ve actually seen this Supremes event poster from another city besides Tulsa… in my video, I show you the exact same poster used in Raleigh, North Carolina 15 months later.

That visual is fascinating because the Raleigh promoter made entirely different use of all the free space he had, eliminating opening acts, giving lots more ticket info, etc.  Check it out in the vid.

But that gives us the knowledge that this Supremes tour placard was used for at least 15 months, from Nov. 1965 to Feb. 1967. Perhaps that usage extends a couple more months in either direction?

But it couldn’t have extended very much longer into ’67, because that summer the group officially changed its name to “Diana Ross and the Supremes.”

And if it’s a Lovin’ Spoonful placard you’re after, by the summer of ’66 that group was surely getting their own posters made… they quickly turned into headliners themselves.

Everybody knows their hits… “Summer in the City,” “Daydream,” “Nashville Cats” and so forth. Between the Supes and Spoonful, there were 25 Top 10 hits produced in the 1960’s – wow!

I just love the way Diana Ross, Flo Ballard and Mary Wilson simply grace the top of this Supremes appearance poster… they look straight out of Motown’s famous ‘charm school.’

In just a couple of years, Cindy Birdsong would be appearing in place of Flo, but you can’t discredit the late-60s Supremes, either… they continued to be prolific hitmakers right thru the end of the decade.

This Supremes ticket poster was designed and printed by Murray Poster Printing Company in New York, NY, a very busy poster-manufacturer of the era.

Serious collectors recognize a few key traits of Murray here… most tellingly, the way “In Person” is depicted in the upper left-hand corner, in very Murray-like fashion.

Besides this particular Supremes street sign, Murray printed a whole array of concert posters for the Northeastern part of the U.S. during this time period, especially around New York.

Probably their closest competitor was Posters, Inc. in Philadelphia, which also made a large amount of concert window cards in this region at this time.

It’s no surprise this was a Supremes boxing-style concert poster… I’ve never seen a psychedelic poster advertising them, even though they were going strong during the 1967-69 psych era.

On the other hand, I have seen a psychedelic-styled concert poster or two for their Motown stable mates, the Temptations.

But I can’t vouch for any other form of Supremes concert advertisement… perhaps newspaper ads of the day contained some psych artwork.

But then, they never had any hits pertinent to that genre, whereas the Temps had their big hit “Psychedelic Shack” in 1970.

Along with this piece I show you today, it would be nice to have a Supremes fence poster with Cindy Birdsong’s photo on it, in place of Flo Ballard’s.

That pair of posters would cover the entire group’s line-up (four different women) for all of the 1960’s.  Starting in 1970, when Diana Ross went solo, the group really started to churn personnel.

This lovely, dated piece of Supremes concert memorabilia is happily shown off today by myself, Peter Howard, of California’s central coast. (I’ve seen Diana Ross in concert, but never saw the Supremes.) I can be reached via pete@postercentral.com, or called on 805.540.0020.  And remember, I pay THE VERY BEST PRICES, PERIOD, for vintage soul and R&B concert stuff like this!

To see a few more great examples of sixties R&B tour placards, simply move over to this page: http://www.postercentral.com/rhythmnblues.htm. Thanks for stopping by!

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Janis Joplin Concert Tickets w/Big Brother & Holding Co. in S.F. Bay Area

Today I show you four Janis Joplin unused tickets, from back when she was fronting Big Brother & the Holding Company.

These 1966-67 tickets were never used for admission to the shows, and therefore remain in their original, un-torn state.

It’s not easy for collectors to track down Big Brother & the Holding Company complete concert tickets. It goes without saying that most of them were used at the time.

However, sometimes promoters hung onto quantities of these things when the gig didn’t sell out, rather than throw them away.

Some collectors might want to zero in on a Janis Joplin full concert ticket rather than a BBHC one, because seeing her actual name on the tic has obvious appeal.

But you might notice that one of the tix I’m showing you here doesn’t even have BBHC’s name on it, let alone Janis.

But the odds are, if you run across a Big Brother & the Holding Co. unused show ticket, Janis was the singer. They didn’t carry on for long after she left in late 1968.

And they played gigs for only about six months before she joined them in mid-1966. So that’s not a lot of time without their charismatic lead singer, lucky for us.

The first Janis Joplin complete ticket in my video is from the summer of ’66 at the famed Fillmore Auditorium. This is the ticket on which no musicians’ names appear.

That’s because it was a ten-hour benefit show with scads of performers, so obviously there was not enough space to list them on the ducat.

But aside from that, I like the stark simplicity of this particular Big Brother & the Holding Company full show ticket.

It’s just simple red print on white card stock, but that so nicely reflects the innocent age still present in the summer of ’66.

Then I’ve got a Janis Joplin unused tour ticket for a “fantasy show” that never took place in the fall of ’66.

That’s the one where Miss JJ was going to share the stage with the legendary shouter Howlin’ Wolf. Wouldn’t that have been an experience… but alas, the weekend’s shows were canceled.

This particular Big Brother & the Holding Co. unused concert ticket was from the Avalon Ballroom, home to promoter Chet Helms, who was in direct competition with Bill Graham.

In fact, the next two tix are also from the Avalon Ballroom, at Sutter & Van Ness in San Francisco. They’re Family Dog affairs.

The third Janis Joplin event ticket I’m showing you is rather “busy,” packed with written information. More cluttered than the others.

That’s partly because BBHC shares the bill with two other acts that had relatively long names, too: Quicksilver Messenger Service and Country Joe & The Fish.

It’s funny the way this Big Brother & the Holding Company full ticket has the words “Dance-Concert” in a much bigger font than the musicians’ names.

That’s because nobody was really a star yet in the Bay Area in 1966… it was all about the event itself, and having a good time. The local bands, unknown outside of the Bay Area, just provided the soundtrack.

And finally, there’s the Janis Joplin show ticket from 1967 which has the poster art, in sepia tone, emblazoned directly on it.

Like all the other tickets here, I hold up a photo of the concert poster that this ticket corresponds to. This one actually has a nickname, as you’ll see… “Contact.”

I’m glad I don’t have to choose my favorite Big Brother & the Holding Co. admission ticket from amongst these four. It would be a tough choice.

Do you go for the earliest one? The prettiest one (‘Contact’)? The one with your favorite support musicians? The simple solution: collect ’em all!

Maybe one goal would be to have a Janis Joplin unused admission ticket from each year they’re available… that would be fun.

Those would essentially encompass 1966 through 1970 inclusive, the years she actively performed a lot before passing away. But what about 1965 and earlier, in Texas? My, what a challenge that would be.

Some Janis collectors would not be content with a straightforward Big Brother & the Holding Company tour ticket, because she’s obviously not named by name – just the group name.

But for my money, Janis was far superior fronting BBHC than she was as a solo artist, overproduced by Columbia Records with horns, etc.

But with only five active years to pick from in collecting Janis Joplin unused event tickets, you would then be ‘shut out’ in the year 1967, the only full year she was with BBHC the entire time.

But as I said, finding anything from 1965 or earlier when she was hacking away at the blues in Texas would be a pipe dream. I’m sure she only played nightclubs and such.

But back to the matter at hand – Big Brother & the Holding Co. full admission tickets. I wonder how many different ones there are?

Surely there’s somebody out there who collects just those. I would love to hear from you, and see how many different ones you have from ’66-’68.

And likewise for someone who collects only Janis Joplin concert ticket stubs from the end of 1968 to late ’70. How many can be possibly amassed… dozens maybe, or even over 100?

There are lots of collectors of such things for The Beatles, Bob Dylan, The Rolling Stones and Elvis Presley. I wonder if there is somebody for just Janis.

Most people who have a Big Brother & the Holding Company ticket stub probably collect lots of other artists, too… they wouldn’t specialize in just that band & Janis.

Heck, I probably have ticket stubs from over 100 different musicians in my collection. But then, many of these shows I attended myself, so the stubs were free leftovers.

These lovely artifacts of Janis Joplin concert memorabilia are shown off and discussed today by me, Peter J. Howard, a big collector and music historian on the central coast of California. You can send pictures and information to me through pete@postercentral.com or by calling (805)-540-0020. And please remember that I pay the BEST PRICES IN THIS HOBBY, PERIOD, for old cool vintage concert tickets, even pre-rock ’n’ roll.

And to see some more images of really fun rock music tickets, just pop over to this page found right here on my Web site: http://www.postercentral.com/tickets.htm

Posted in *Janis Joplin, Fillmore Auditorium, Tickets & Programs | Tagged , , , , , , | Leave a comment

Mime Troupe Appeal II Dance-Concert Flyer – 1st Bill Graham Fillmore Show

A historic, genuine S.F. Mime Troupe Appeal II Dance-Concert handbill from December 1965, featuring the up & coming Jefferson Airplane.

This piece is notable because it was Bill Graham’s first-ever show at the famed Fillmore Auditorium, which would go on to become a shrine of the S.F. rock scene for years to come.

This S.F. Mime Troupe Appeal II Dance-Concert leaflet is no great shakes design-wise, not even featuring a bit of calligraphy. It’s all straight type-set lettering.

But it gets the point across, and besides, most of the message here was about the dryness of politics, and “continued artistic freedom in the parks.” You didn’t really need to say that in fancy lettering.

This S.F. Mime Troupe Appeal II Dance-Concert showbill was printed with brown ink on light beige paper, so at least it’s not straight black & white. That has a bit of eye appeal to it.

But there was a larger poster made to advertise this event, complete with photos of the musicians, and I’ve already recorded and posted a video blog on that.

This S.F. Mime Troupe Appeal II Dance-Concert herald is presented for you by Peter Howard, who is – yes, me! I’m a longtime music collector and historian. If you’d like to chat about this piece, and in fact if you have one maybe for sale, please drop me a line or give a holler – I pay the BEST PRICES in the hobby for this stuff, and I still need this piece. pete@postercentral.com or (805) 540-0020.

Thanks very much for your time and interest, and please drop by again soon! …Pete

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