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Beatle City: They All Live in A Yellow Hi - Tech Shed
Beatle City: They All Live in A Yellow Hi - Tech Shed
-TECH SHED
JOHN A. WALKER (COPYRIGHT 2009)
Exterior view of Beatle City with yellow submarine colour and portholes and
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April this year [1984]. A former garage in Seer Street close to the City's centre has
City (a local radio station), Merseyside County Council and the English Tourist
Board - have backed the project. They hope Beatle City will attract. 400,000
visitors annually.
Immediately behind the livid yellow, oblong facade of the building is a Beatle
souvenir shop and a snack bar equipped with bright red, plastic furniture.
Servicing the counters are young girls wearing yellow sweatshirts emblazoned with
the Beatle City logo. Grey-uniformed guards carrying walkie-talkie sets supervise
the movement of visitors. The museum itself is a hi-tech structure set within a
Beatles' career from their childhoods in the port of Liverpool to their worldwide
fame and final dissolution. As already mentioned, a full range of media has been
deployed: slide projection, films, video and sound recordings of the Beatles in their
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Among the latter are John Lennon's wedding certificate, his radiogramme,
moped, Rickenbacker guitar, the mixing console he used to record the "Imagine"
album, and lithographic drawings from the "Bag One" series (prudishly, his erotic
images are not displayed); Stuart Sutcliffe's paintings; Harrison's Getsch guitar;
Ringo Starr's tie and his Mini Cooper car specially adapted to take his drum kit;
plus film scripts, handbills, posters, autographed records, letters, postcards, music
industry awards and so on. Images of tearful teenage girls and fan club material
1960s.
Mass produced objects such as cars and mopeds are of limited visual interest. In
this instance their frisson is entirely dependent upon their past association with
their famous owners: "Just think this car once belonged to Ringo Starr". Evidently,
greater interest are custom-made items such as the tight-fitting stage suits worn by
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Recreation of the Cavern Club with screens for performance recordings.
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cellars of The Cavern Club (complete with cardboard cut-out audience) and Brian
Epstein's office. In the latter, a conference table and chair signify the presence/
absence of the Beatles' manager. (This display echoes the popular Victorian
engraving of Dickens' study with desk and empty chair published immediately
after the novelist's death.) Pop music must be the only industry in which a mere
various exhibits are presented in the form of open books resembling those stone
ones found in graveyards. In places the Beatle City collection seems somewhat
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These items point to the ruthless commercial exploitation of pop music. Arguments
among the Beatles over the appointment of a new manager and the finances of the
ill-fated Apple enterprise are also cited. In other words, the Beatle City exhibition is
informative as well as celebratory, even though its historical and cultural analysis is
Inevitably, the final section of the museum is devoted to the memory of John
Lennon. (By chance the number of this section is nine, Lennon's "lucky" number.) A
bronze head of Lennon and one of his guitars appear in front of a vertical,
transparent sheet upon which is engraved an image of Lennon's face. This exhibit
manifests a combination of kitsch and dread worthy of the work of Robert Longo.
Despite the efforts of the designers - Colin Milnes & Associates of Coventry - to
animate their subject matter in, every possible way, the experience Beatle City
provides is inevitably a synthetic one, an ersatz one. Inevitable, because this is the
character of all: museums: they are graveyards of past culture. (Critics of Beatle
City have argued that the money spent on it should have been invested in the living
popular culture of Liverpool not its dead past.) In the case of Beatle City, the
unease
associated with museums is compounded by the fact that the personalities and
events commemorated are so recent, by the fact that the music of the Beatles was so
vibrant, optimistic and evanescent, and by the fact that their images are preserved
on negatives, tapes and films rather than in traditional materials such as marble
and oil paint. There is something extremely poignant in the contrast between the
film clips of Lennon's youthful, ebullient performances and one's knowledge that he
no longer lives.
living. This was one of the motives underlying the foundation of the National
Portrait Gallery in London in 1856. Thomas Carlyle, the Scottish philosopher and
prophet, was a great believer in leaders and hero figures, consequently he welcomed
the idea of a portrait gallery to serve as a "Pantheon, or home of all the National
Divinities" . No doubt the patrician Carlyle would have been dismayed by the
which occurs in Beatle City. Heroes, moreover, whose achievement lay not in the
fields of politics or war but in the realm of popular entertainment and pleasure. Of
course, the Beatles' progress was a rags-to-riches story which has a perennial
creativity and self-reliance, even though the success of pop stars is due as much to
the marketing operations of the record industry and the magnifying effect of the
mass media apparatus as it is to the stars' creative work and musical abilities.
Recently, a proposal was made by Mick Brown (The Guardian, 4/8/83) that a
museum and archive to pop music should be established. This interesting idea was
criticised by leading figures in the record industry on the grounds that "a waxworks
would ossify pop music", the record industry "looks forward not backwards".
Underlying these comments is the view that pop music is essentially ephemeral, it
exists in the limelight for a moment and is then junked to make room for the next
misunderstand its nature as disposable culture. Many modern artists and critics
were similarly suspicious of museums; they felt that a museum of modern art would
The establishment of Beatle City can be seen as a step towards the creation of a
general museum of pop music. In London the Victoria & Albert Museum has been
accumulating a collection of items relating to pop music (for example, the Sex
Pistols' graphics purchased from Jamie Reid at a cost of £ 1,000), in anticipation of
the opening of the Theatre Museum in Covent Garden, a museum which includes
popular entertainment in its terms of reference. Pop music has now a tradition of
and more the commercial potential of their backlists. Each new generation re-
discovers the pop music of the past. The music may be old in a chronological sense,
but to the young it is a new experience. Given the above, the logical case for a pop
Liverpool's crisis
In Victorian times, when the British Empire was at the peak of its fortunes,
displaying and representing their wealth, civic pride and cultural aspirations. As a
result, the centre of Liverpool is today noteworthy for its complex of public
buildings modelled on classical temples. The Walker Art Gallery, erected in the
Giovanni Panini entitled "Ruins of Rome" (1741) which depicts the decaying
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The noble ruins of one powerful civilisation were thus embalmed in a gallery whose
neo-classical style was at one and the same time an act of homage by the young
civilisation towards the old, and an assumption of its imperial mantle. Little did the
Victorian worthies of Liverpool envisage the irony the late 20th century would
bring: now it is the second great empire which is no more, now the ruins of
Liverpool's economy and housing estates enclose the classical core of the city
and prosperity.
Liverpool's public housing stock urgently needs repair and replenishment. Over
90,000 of its workforce (21 per cent) are unemployed. In the absence of jobs many
idle youths resort to crime and heroin addiction. The local government of the city
faces bankruptcy because it cannot raise the money to fund the services its
Toxteth riots of recent years has been to spend £20 million pounds on reclaiming
and landscaping a derelict waterside site for the purpose of mounting this year's
In April this year Beryl Bainbridge, a novelist whose home town is Liverpool,
report was bleak indeed, a picture of inner city deprivation and devastation.
exercise compassion and to replace market values by Christian ones, the Bishop
objected to the Tory advice to the unemployed that they should move away in search
of work because this leaves behind communities deprived of their most dynamic and
able members.
Although the bishop did not cite the Beatles by name they are, of course, the
most famous examples of those who left Liverpool behind once they made good. It
can be argued that it was the working class culture of Merseyside that nourished the
Beatles' talent and that these multimillionaires owe their city of origin some
assistance in its time of need. After all, during the 19th century, the successful
the city by founding educational and cultural institutions, by paying for the
construction of concert halls, libraries and art galleries, by leaving their art
If shipping and industry can no longer sustain Liverpool what can? One solution
being proposed is tourism. This is the primary reason for the establishment of Beatle
City. The museum can thus be seen as a device for effecting the return of the
Beatles, in spirit if not in body. It is hoped that tourism based upon the appeal of the
popular culture of the past will revive the economy. of Merseyside. Paradoxically,
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NB. Beatle City was the first Beatles’ museum in Liverpool. It opened in 1984 but
lost money because it failed to attract enough visitors and was closed a few years
later. Since 1990 a new museum, The Beatles Story, has been a popular tourist
attraction in the Albert Dock.
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John A. Walker is a painter and art historian. His the author of Cross-Overs: Art
into Pop, Pop into Art, (London: Comedia/Metheun, 1987). This article was first