Beatles Funny Quotes

I think I'm supposed to "take a sad song and make it better," but that's beyond my musical ability

Monster a person though monster not human. Monster like music. Like Beatles! Like Schumann! World full of stupid. World full of noise. Monster feel ANGRY. No birthday. No joys. World full of JUNK monster not comprehend. What is a childhood? What is a friend? Monster and human both want the same. Want conversation. Want love. WANT NO PAIN. If monster speak heart: monster life only worsen. Monster not human: BUT MONSTER A PERSON!

New Rule: Stop pretending your drugs are morally superior to my drugs because you get yours at a store. This week, they released the autopsy report on Anna Nicole Smith, and the cause of death was what I always thought it was: mad cow. No, it turns out she had nine different prescription drugs in her—which, in the medical field, is known as the “full Limbaugh.” They opened her up, and a Walgreens jumped out. Antidepressants, anti-anxiety pills, sleeping pills, sedatives, Valium, methadone—this woman was killed by her doctor, who is a glorified bartender. I’m not going to say his name, but only because (a) I don’t want to get sued, and (b) my back is killing me. This month marks the thirty-fifth anniversary of a famous government report. I was sixteen in 1972, and I remember how excited we were when Nixon’s much ballyhooed National Commission on Drug Abuse came out and said pot should be legalized. It was a moment of great hope for common sense—and then, just like Bush did with the Iraq Study Group, Nixon took the report and threw it in the garbage, and from there the ’70s went right into disco and colored underpants. This week in American Scientist, a magazine George Bush wouldn’t read if he got food poisoning in Mexico and it was the only thing he could reach from the toilet, described a study done in England that measured the lethality of various drugs, and found tobacco and alcohol far worse than pot, LSD, or Ecstasy—which pretty much mirrors my own experiments in this same area. The Beatles took LSD and wrote Sgt. Pepper—Anna Nicole Smith took legal drugs and couldn’t remember the number for nine-one-one. I wish I had more time to go into the fact that the drug war has always been about keeping black men from voting by finding out what they’re addicted to and making it illegal—it’s a miracle our government hasn’t outlawed fat white women yet—but I leave with one request: Would someone please just make a bumper sticker that says, “I’m a stoner, and I vote.

As with Jakobson, I queried Poston as to the source of Manson's philosophy. Scientology, the Bible, and the Beatles. These three were the only ones he knew. A peculiar triumvirate. Yet by now I was beginning to suspect the existence of at least a fourth influence. The old magazines I'd found at Barker, Gregg's mention that Charlie claimed to have read Nietzsche and that he believed in a master race, pus the emergence of a startling number of disturbing parallels between Manson and the leader of the Third Reich, led me to ask Poston: "Did Manson ever say anything about Hitler?" Poston's reply was short and incredibly chilling. A. "He said that Hitler was a tuned-in guy who had leveled the karma of the Jews.

The "four angels" were the Beatles, whom Manson considered ""leaders, spokesmen, prophets," according to Gregg. The line "And he opened the bottomless pit...And there came out of the smoke locusts upon the earth; and unto them was given power..." was still another reference to the English group, Gregg said. Locusts - Beatles - one and the same. "Their faces were as the faces of men," yet "they had hair as the hair of women." An obvious reference to the long-haired musicians. Out of the mouths of the four angles "issued fire and brimstone." Gregg: "This referred to the spoken words, the lyrics of the Beatles' songs, the power that came out of their mouths.

,,, It's been a hard day. Night. Whatever. A hard day's night.' I lie back in the bunk, and pull the blanket over me. 'That sentence make no sense.' 'It's an Earth saying. From a song.' I close my eyes and mumble. '...and I've been working like a dog...

So what happened?" "I don't know." Another glance to ensure his continued state of Not Looking, and then I rip off my clothes in one fast swoop. I am now officially stark naked in the room with the most beautiful boy I know. Funny,but this isn't how I imagined this moment. No.Not funny.One hundred percent the exact opposite of funny. "I think I maybe,possibly, vaguely remember hitting the snooze button." I jabber to cover my mortification. "Only I guess it was the off button.But I had the alarm on my phone set,too, so I don't know what happened." Underwear,on. "Did you turn the ringer back on last night?" "What?" I hop into my jeans, a noise he seems to determinedly ignore.His ears are apple red. "You went to see a film,right? Don't you set your mobile to silent at the theater?" He's right.I'm so stupid. If I hadn't taken Meredith to A Hard Day's Night, a Beatles movie I know she loves, I would have never turned it off. We'd already be in a taxi to the airport. "The taxi!" I tug my sweater over my head and look up to find myself standing across from a mirror. A mirror St. Clair is facing. "It's all right," he says. "I told the driver to wait when I came up here. We'll just have to tip him a little extra." His head is still down. I don't think he saw anything.I clear my throat, and he glances up. Our eyes meet in the mirror,and he jumps. "God! I didn't...I mean,not until just now..." "Cool.Yeah,fine." I try to shake it off by looking away,and he does the same. His cheeks are blazing.I edge past him and rinse the white crust off my face while he throws my toothbrush and deodorant and makeup into my luggage, and then we tear downstairs and into the lobby.

Danny’s Song” by Kenny Loggins “Reminder” by Mumford & Sons “Barton Hollow” by The Civil Wars “Like a Bridge Over Troubled Waters” by Simon and Garfunkel “I and Love and You” by The Avett Brothers “Make You Feel My Love” by Adele “Can’t Break Her Fall” by Matt Kearney  “Stillborn” by Black Label Society “Come On Get Higher” by Matt Nathanson “I Won’t Give Up” by Jason Mraz “This Girl” by City & Colour “My Funny Valentine” by Ella Fitzgerald “Dream a Little Dream of Me” by Ella Fitzgerald and Louis Armstrong “Stormy Blues” by Billie Holiday “I would be Sad” by The Avett Brothers “Hello, I’m Delaware” by City & Colour “99 Problems” by Hugo (originally written and performed by Jay-Z) “It’s Time” by Imagine Dragons “Let It Be Me” by Ray LaMontagne “Rocketship” by Guster “Don’t Drink The Water” by Dave Matthews Band “Blackbird” by The Beatles

You’ve got your answer then, haven’t you?' Lydia nods. She has. She knew it all along. But sometimes it takes an artificially intelligent simulation of a long dead Beatle to put things in perspective.

Paul looks like he'd rather just go home and make out in the kitchen; I would agree, except that I know my Dad is likely to be in there with his laptop, listening to the Beatles music as he catches up on all the Facebook "in memoriam" posts in his honor. Total mood-killer.

Chaos Cocktail by Stewart Stafford Herky-jerky's hanky-panky, Wakey-wakey, eggs n' bakey! Cosmic Mercury's retrograde trick, Nilsson's Brandy Alexander kick. John heard Bermuda's jingle-jangle, Storm surge in an Exorcist Triangle! Sea shanties upending Behan's hive, All stout hornets jigged and jived. Yoko's "Oh, no!" on firmer ground, Her ageing mariner didn't drown, Lonely Ringo plays bingo bongo, Paul, mugged down near the Congo. © 2024, Stewart Stafford. All rights reserved.

I call her Disco Madonna,” Sister Mary Thomas says. “You do?” Betsy says. Sister Mary Thomas finds that response funny and laughs yet again and then she starts singing “Lady Madonna” by the Beatles but she changes it to “Disco Madonna.

Individually, each of the Beatles was great to be with,” recalled John Kurlander, a fledgling EMI engineer at the time of the Abbey Road sessions. “They were funny, warm, friendly—really a delight. If there were two of them, that was also great. If there were three, it could be a little dicey, but generally, it was fine. But when all four were together, they closed ranks, and it would be horrible. It didn’t matter how any of them had treated you on his own; when all four of them were in the room, everyone else was treated as an outsider.

This song [You Can't Do That by The Beatles] pierced my heart, and I don’t think it will ever heal. ... I have a funny feeling between my legs, it feels good. I play the song over and over again for an hour until Kristina can’t stand it any more and takes me home.

Coincidentally, those likeable young lads from Liverpool had just peaked at number two in the UK pop chart with their second single, 'Please Please Me'. The Beatles they were called. What a funny name that was. I was four years old and I loved The Beatles... and Fireball XL5.

20. Bob Dylan, “4th Time Around” (1966) Right after Rubber Soul dropped, Bob Dylan recorded Blonde on Blonde, where he sang this scorchingly funny parody of “Norwegian Wood.” Dylan unkindly played “4th Time Around” for John in London. As Lennon recalled in 1968, “He said, ‘What do you think?’ I said, ‘I don’t like it.’ ” Yeah, well—talk about the anxiety of influence. All over Blonde on Blonde, you can hear how hard Dylan was feeling Rubber Soul—especially in songs like “I Want You,” “Just Like a Woman,” and “Sad-Eyed Lady of the Lowlands.” So he probably wrote “4th Time Around” as a diversion to keep people from noticing how much “Norwegian Wood” there was in “Visions of Johanna.

I know that the Beatles were a big-deal music group that changed the way people thought about getting haircuts. They sang songs that were pretty good because you can still listen to the today and not get angry.

With ‘You Gave Me the Answer,’ mixed on March 21, the challenge was to evoke the spirit of Funny Face, the Fred Astaire and Audrey Hepburn film that inspired the song, without surrendering the benefits of modern sound techniques. They started with the piano introduction, using the fact that the keyboard had been recorded using three microphones, spread across three tracks of the master (labeled ‘left piano,’ ‘right piano,’ and ‘middle piano’) to create an echo effect that suggested a pianist playing in a large, empty hall. The echo evaporated as Paul’s piano intro kicked into the faster tempo that leads into the song. From there, it was a matter of finding the right balance between the winds, strings, and basic track—plus making Paul’s voice sound like that of a vaudeville crooner, something O’Duffy accomplished using a Pultec equalizer that thinned out the high and low frequencies. “That was designed [to sound like it was] recorded through a vaudeville microphone,” O’Duffy explained. “You’re making a great singer’s voice sound thinner and squeakier—removing the warmth of the man’s humanity. You’re screwing it up, essentially. But it’s screwed up to give you an effect reminiscent of vaudeville.”28

Only 6% of the autographs in circulation from members of the Beatles are estimated to be real.