A number of items in the upcoming “Pop Culture” auction at RR Auction of Boston easily fit this lofty description, which means you have until 7 p.m. on March 15 to own a bona-fide bit of rock-’n’-roll history.

Unquestionably, the most arresting item in the auction is an 8-by-8-inch card dated May 3, 1969, and signed by Jimi Hendrix. It also bears his fingerprints because Hendrix was arrested for possession of heroin and hash upon landing in Toronto that day—Hendrix was subsequently released after posting $10,000 bail so he could perform that evening at Maple Leaf Gardens. Two days later, on May 5, Hendrix was arraigned, and he returned to Toronto for his trial on December 8. Had Hendrix been found guilty, he would have faced a maximum of 20 years in prison, but after the three-day trial concluded, a jury spent eight hours in deliberation before returning a verdict of not guilty, accepting Hendrix’s defense that he had no idea the drugs were in his luggage, and that they must have been hidden among the many gifts he received from fans.

Less morbid is this lovely photograph of John Lennon, Yoko Ono, and their son, Sean, taken by the Lennon family’s photographer, Nishi Saimaru, during a trip to Tokyo in the summer of 1977. Dated 1978, it includes signatures by the former Beatle and his wife, as well as a doodle by Lennon. But what makes the photograph a true piece of cultural history is its inscription, which is to none other than the great Golden Age movie star Mae West. Anyone who has seen the cover of “Sgt. Pepper’s Lonely Hearts Band” probably remembers West’s face in the top row (third from the left, between Aleister Crowley and Lenny Bruce). While most celebrities were delighted to have their images grace the cover of the Beatles’ 1967 landmark album, Mae West was not. “What would I be doing in a lonely hearts club band?” she reportedly said, but a personal appeal from all four Beatles eventually convinced her to let them use her image. The Saimaru photograph suggests that the actress also stayed in touch with at least one of the Beatles for more than a decade after.

While we’re on the subject of British rock royalty, here’s a mono recording of the debut album by the Rolling Stones, signed on the back in 1964 by all five of the band’s members at that time. This U.K. version of the album is accompanied by a ticket stub for a Rolling Stones concert at the Gaumont Cinema in Doncaster, England, on September 24, 1964, although it’s not absolutely clear if that is the date when the Stones autographed this album. But what’s really interesting is to consider where the Rolling Stones were in their careers versus the Beatles at this time. The Beatles already had a handful of wildly popular albums out by the fall of 1964, as well as a movie, “A Hard Day’s Night.” By comparison, the Stones were playing catch-up, and the list of tracks on their first album, which begins with a cover of “Route 66” by Bobby Troup and ends with a cover “Walking the Dog” by Rufus Thomas, contains only one original composition. In the end, though, time would be on the side of the Rolling Stones.

If the Rolling Stones were not exactly at their creative peak in 1964, Bob Marley definitely was in 1976, when this North American tour poster was printed. “Rastaman Vibration” had just been released (It would reach No. 8 in the U.S. and No. 11 in the U.K., to become his highest-charting album). This particular poster includes a Rastafarian recitation on the right side hand-penned by Marley in addition to his signature above, as well as the signatures of multiple band members and managers. As such, you might think all of this effort was for some music-biz hotshot, but, in fact, according the consignor, the signatures and expressions of “Jah Love” were directed at a worker cleaning the hotel room where Marley and the Wailers were staying prior to their show in Miami, Florida.

Less distinctive but probably more valuable is this publicity photograph of Marley relaxing in workout clothes and smiling broadly. While this signed piece may lack the character of the Marley poster, it is actually a rarer find.

Finally, we close with another publicity photograph, this one for singer-songwriter Tom Waits, whose signature in black felt-tip pen is as illegible as his gravelly voice is unintelligible. On the one hand, the piece is unremarkable, but take a look at the photo credit—who else but the great Tom Waits would commission a publicity throwaway from photography giant Robert Frank!

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