The Beatles, after 40 years still have Satan's power behind them. Before The Beatles, music was innocent. There was not any loud music or music with evil lyrics. Music was pure and Christian. The Beatles with "pagan skins" and electric guitars polluted the Earth.
-Pastor Rick Panning
Christianity will go, it will shrink and vanish. I will be proved right. You just wait. We are more powerfull now than Jesus ever was"
-John Lennon
Pagan Skins
Before The Beatles came rumbling along, American music did not use drums or "pagan skins". They came storming into America with the rythm of Satan.
Why are drums called pagan skins? Because the African people used drums in their Satanic and Idol worship. The would beat frantically on the skins and call to the Devil. Often they would rape and kill each other in these rituals and it was all done to the back beat of drums that sounded much like The Beatles drums.
So the Beatles, having discoved the power of Satan, came through the world like an evil pide piper. Taking victoms into a frenzy thousands at a time.
Beatle Lyrics
The folling are lyrics that seem inocent enough at first glance, but when you take a closer look with wisdon, you begin to see the true meaning.
Hey Jude.
"Hey Jude, don't make it bad take a sad song and make it better. The minute you put it under your skin, then you begin to feel better".
What does one put under their skin to make them feel better?
How about a needle full of heroin. It is bad enough to do heroin but to then promote it to the youth is absolutely evil. It is by the way common knowledge that the Beatles were all heroin adicts.
Strawberry Fields Forever
When people shoot drugs, the needles leave marks on the arms. Drug adicts call these red marks "strawberry feilds" In this song John Lennon is expressing his desire to always shoot drugs into his body.
This song sounds like a drug induced experience and was written while Mr. Lennon was high on heroin.
You've Got To Hide Your Love Away
"Here I stand, head in hand turned my face to the wall"
This song is obviously about masturbation, which is a sin
Revolution 9.
In this song the meaning is cleverly concealed, in fact you cannot hear the secret message unless you play the record backward on a special player. When tured backwards you can hear the words "turn me on dead man, turn me on dead man", this was done to secretly express the fact that John Lennon was, in secret, a homosexual necrofeeliac, a ritual that has been performed for centuries by African Satanic organizations.
It Won't Be Long
"It won't be long 'till i can be with you"
It dosn't take long into this song before you figure out that The Beatles are waiting to be called home by Satan.
Little Child
"Little child, little child, little child won't you dance with me"
Need more be said?
You Really Got A Hold On Me
Another self explanitory title, of course Satan has a hold on you idiots.
Lucy In The Sky With Diamonds
The Initials for this song are L.S.D., a drug. The song is about an LSD trip that McCartney had
Yellow Submarine
"We all live in a yellow submarine"
During the period when this song was written, the Beatles were taking LSD in the form of a yellow capsule.
Beatles in Germany-Home of Hitler
While in Hamburg, the Beatles' manager, a homosexual named Brian Epstein, who was back in England sent them a telegram that read, "Congratulations EMI wants to record you"
George Martin recorded the Beatles at EMI
Martin was a trained classical musician, and had studied the oboe and piano at the London School of Music. The Beatles could neither read music nor play any instrument other than guitar and they couldn't play that very good either. Martin thought that the Beatles musicianship was a bad joke. On their first hit record, "Love Me Do," Martin refused to let Ringo play on the recording.. Martin said Ringo, "couldn't do a [drum] roll to save his life." From then on, Martin would take the simple, little juvenile tunes the Beatles would come to him with, and he alone would turn them into hit records.
Musicians who sought to preserve the traditional music like Brahms and Beetoven would not play on Beatle records so Martin had to hire EX-NAZIS from Germany to play.
From the beginning, EMI created the myth of the Beatles' great popularity. In August of 1963, at their first major television appearance at the London Palladium, thousands of their fans supposedly rioted. The next day every mass-circulation newspaper in Great Britain carried a front page picture and story stating, "Police fought to hold back 1,000 squealing teenagers." Yet, the picture displayed in each newspaper was cropped so closely that only three or four of the "squealing teenagers" could be seen. The story was a fraud. According to a photographer on the scene, "There were no riots. I was there. We saw three girls, even less than three."
In February 1964, the Beatles Satanic rythm hit the United States, complete with the well orchestrated riots(another fraud) at Kennedy Airport. To launch their first tour, the media created one of the largest mass audiences in history.
On returning to England, the Beatles were rewarded by the British aristocracy they served so well . In October 1965, the four were inducted into the Order of Chivalry, and were personally awarded the accolade of Member of the British Empire by Queen Elizabeth at Buckingham palace.
The plan was now to use the Beatles as the means to transform an entire generation into satanic heathen followers of the New Age, followers which could mold into the future cadre of a Satanic movement and then deploy into our schools, law enforcment agencies and political leadership.
Enter Satan
In his book, The Ultimate Evil, investigator-author Maury Terry writes that between 1966 and 1967, the Satanic cult, the Process Church, "sought to recruit the Beatles.
A key link between the Beatles and the Process Church is Kenneth Anger, a follower of the "founding father" of modern Satanism, Aleister Crowley. Anger, born in 1930, and a child Hollywood movie star, became a devoted disciple of Crowley.
Crowley was born in 1875 and was called the "Great Beast." He was known to practice ritual child sacrifice regularly, in his role as Satan's high priest or "Magus." Crowley died in 1947 due to complications of his huge heroin addiction. Before dying, he succeeded in establishing Satanic covens in many U.S. cities including Hollywood. Anger, like Crowley, is a Magus, and appears to be the heir to Crowley.
Anger was seventeen years old when Crowley died. In that same year, 1947, Anger was already producing and directing films which, even by today's standards, reek of pure evil.
Sgt. Pepper's
Lonely Hearts Club Band
In 1967 the Beatles had released their first album dedicated to the promotion of psychedelic drugs, Sergeant Pepper's Lonely Hearts Club Band. The album contained a fantasized version of an LSD trip, called "Lucy in the Sky with Diamonds", or L.S.D. for short. It became a top seller.
Clearly, the Beatles' album was dedicated to Satanist Aleister Crowley.
It was released 20 years, to the day, after Crowley's death in 1947, and its title song began with the lyrics, "It was twenty years ago today..." The album's cover featured a picture of Crowley.
One month after the album's release, the Beatles shocked the world by announcing, publicly, that they were regularly taking LSD. Beatle member Paul McCartney, in an interview with Life magazine said, "LSD opened my eyes. It is better than Jesus". We only use one-tenth of our brain." They also publicly called for the legalization of marijuana.
The cat was now out of the bag, but the protests were few and minor. In England, the BBC banned "A Day in the Life," and in the U.S.A., Maryland Governor Spiro T.Agnew, who would later be watergated, launched a campaign to ban "Lucy in the Sky With Diamonds."
Aliester Crowley is without a doubt, the main spiritual "teacher" of rock music. Crowley's mission in life was to destroy Jesus Christ and Christianity, while exalting sex perversion, drugs, magic and Satan.
Aliester Crowley spews his hatred of Jesus Christ in The World's Tragedy:
In the introduction of The World's Tragedy, Israel Regardie says:
"This long, almost epic poem is one of the most bitter and vicious diatribes against Christianity that I have ever read."
Crowley's most famous teaching, "Do what thou wilt shalt be the whole of the law" became the "mantra" of the 60's revolution of drugs, sexual perversion and anti-Christianity. "Do your own thing" "If it feels good do it".
THE BEATLES & CROWLEY
According to The All Music Guide, The Beatle's Sgt. Pepper album, "will forever be known as the recording that changed rock & roll". Time magazine said, Sgt Pepper's was "drenched in drugs."
The cover of Sgt. Pepper's showed the Beatles with a background of, according to Ringo Starr, people "we like and admire" Paul McCartney said of Sgt. Pepper's cover, ". . . we were going to have photos on the wall of all our
HEROS . .
One of the Beatle's heros included on the cover of Sgt. Pepper's was the infamous Aliester Crowley! Most people, especially in 1967, did not even know who Crowley was but the Beatles certainly did.
Sgt. Pepper
". . . we were going to have photos on the wall of all our HEROS . . ."
"Hero" Aliester Crowley is second from left on the top row. Where is Jesus?????:
The Bealtes took Crowley's teaching very seriously. Beatle John Lennon, in an interview, says the "whole idea of the Beatles was Aliester Crowley's idea, "do what thou wilt":
"The whole Beatle idea was to do what you want, right? To take your own responsibilty, do what you want and try not to harm other people, right? DO WHAT THOU WILST, as long as it doesn't hurt somebody. . ."
"They're COMPLETELY ANTI-CHRIST. I mean, I am anti-Christ as well, but they're so anti-Christ they shock me which isn't an easy thing."
Derek Taylor, Press Officer for the Beatles
"I believed that he was Satan himself at times"
George Martin, Beatles Producer
"Jesus, a garlic-eating, stinking little yellow, greasy fascist bastard catholic spaniard."
(John Lennon, A Spaniard in the Works, p.14)
"Christianity will go, it will vanish and shrink. I needn't argue about that. I'm right and will be proved right. You just wait.. . .We're more powerfull than Jesus ever was.."
John Lennon
The important thing now is FOR YOU to spread the word of the evil in rock music. It was all started by The Beatles ladies and gentlemen. Now we have The Rolling Stones and their Goat Head Soup, Alice Cooper and Ozzy Osbourne with whatever they are trying to do and the newest and most evil of them all Marilyn Manson. It keeps getting worse people. WAKE UP, WAKE UP and look at what is happening. If you have Beatle records or CD's or any other rock music, get rid of them. Don't give them away, destroy them, before they destroy you. Giving them or selling them to someone else is just like selling people drugs or worse yet handing them a ticket to ride strait to Hell.
http://abbeyrd.best.vwh.net/news/125johnfbi.html
ABOUT THIS INTERVIEW:
In the fall of 1966, Look Magazine's European editor Leonard Gross and photographer Douglas Kirkland visited John Lennon on-location during the filming of 'How I Won The War.' The article, published in the magazine's December 13th issue, is Gross's firsthand account of events on the movie set. The article also contains extended excerpts of conversations with Lennon, which are highlighted in blue.
Article Š1966 Look Magazine
Whoever would have dreamed that beneath that mop lurked a Renaissance man? Yet there, shorn, sits John Lennon, champion minstrel, literary Beatle, coarse truthsayer, who turned Christendom on with one wildly misunderstood gibe at cant. Now, face white, tunic red, playing wounded in a field of weeds, this pop-rock De Vinci is proposing to act for real. Relaxed to all appearances, he is all knots inside.
"I was just a bundle of nerves the first day. I couldn't hardly speak I was so nervous. My first speech was in a forest, on patrol. I was suppose to say, 'My heart's not in it any more' and it wasn't. I went home and said to myself, 'Either you're not going to be like that, or you're going to give up.'"
As he casts his weak brown eyes at the camera, the entire movie company jockeys for a glimpse. "I don't mind talking to the camera-- it's people that throw me."
Sure enough, he blows his lines. He waggles his head in shame. "Sorry about that." But under the low-key coaxing of Director Dick Lester, Beatle John becomes Private Gripweed, a complex British orderly, in an unorthodox new film, How I Won The War.
Lennon on his own-- rich for life at 26, yet poor still in what men of all seasons crave-- full knowledge of himself. Beatling by itself, he has found, is not enough. "I feel I want to be them all-- painter, writer, actor, singer, player, musician. I want to try them all, and I'm lucky enough to be able to. I want to see which one turns me on. This is for me, this film, because apart from wanting to do it because of what it stands for, I want to see what I'll be like when I've done it."
They stood silently in the deserted German square that Sunday morning, three young British actors costumed like the soldiers who had taken the town 22 years before. Then the one whose notorious locks had recently been chopped short observed, "I haven't seen so much fresh air together for about four years."
For John Lennon, the Beatles' leader, it had been one swift crazy ride to the top. But now, there were distortions, and he had recoiled. Grownups were twisting a Beatles' kids' song into an LSD trip-- an ingenious lament that he and Beatle Paul McCartney had polished off one wild night was, current rumor had it, actually the synopsis of an opera so bitter it could not be sung. A passing remark about religious hypocrisy had made Lennon a devil or a saint, depending on your tastes. Others might enjoy them, but to Lennon, who is nothing if not honest, the distortions had become a threat.
"I don't want people taking things from me that aren't really me. They make you something that they want to make you, that isn't really you. They come and talk to find answers, but they're their answers, not us. We're not Beatles to each other, you know. It's a joke to us. If we're going out the door of the hotel, we say, 'Right! Beatle John! Beatle George now! Come on, let's go!' We don't put on a false front or anything. But we just know that leaving the door, we turn into Beatles because everybody looking at us sees the Beatles. We're not the Beatles at all. We're just us."
"But we made it, and we asked for it to an extent, and that's how it's going to be. That's why George is in India (studying the sitar,) and I'm here. Because we're a bit tired of going out the door, and the only way to soften the blow is just to spread it a bit."
In that kind of mood, a Dick Lester set was just the therapy for Lennon. Each man is the kind who makes the New Theologians jump. To them, the individual is more thrill than threat-- a unique being who should be taken for what he is. Lester, who directed both Beatle films, gratefully recalls his first meeting with the group, when the movies were just an idea. "They allowed me to be what I damn well pleased. I didn't have to put on an act for them, and they didn't put one on for me."
This is what a Lester set is like: Once more, they are in a deserted German square, now, with all the paraphernalia of movie-making, with British 'soldiers,' Lennon among them, ready to comb the streets, with German 'soldiers' lying in wait. "Quiet please!" an assistant shouts-- just as a little boy walks into the scene. Apoplectic, the assistant rushes forward and shoves the child aside. Lester, whose normal weapon is humor, flushes. "Don't push!" he commands.
Once again, they are ready to shoot-- and once again, the child intrudes. For 15 seconds, Lester eyes the man silently. Then, "Boo," he calls, and "Boo" the cast joins in.
For Lester, a director makes no statement against violence by having thousands die. To him, each death must matter-- and in his new film, each does. Such were the ideas that captured Lennon, despite his doubts about himself.
He did not doubt alone. How I Won The War is staffed with seasoned British actors, all trained in repertory, all well-known at home and all suspicious. But none is today.
Samples:
"We expected someone a bit kinky, bitchy, arrogant. He is none of those things. He's completely natural."
"You're not working with another actor, you're working with an OBE, a multimillionaire-- in sterling, not dollars-- whose every word will be reported in the world press. The miracle is that he's so normal. I could wrap him up dialectically in two minutes, intellectually, in three. But he's got a certain inborn, prenatal talent. I have my talent, which I think is considerable, but it doesn't compare in his field."
"I don't think he does anything with a conscious thought of trying to impress. He's remarkably free. He does not act the part."
"We talk about him all the time. All of us feel the same thing. We find it difficult to be as normal with him as he is with us."
Lennon's lack of pretense astonished the actors. "He's someone who just tries anything," one of them marveled. "No stand-in, no special treatment, no chair for him."
During a break for tea one raw morning, Lennon queued with the rest. When his turn arrived, his heart's desire was gone. "You don't have to be a star to get a cheese sandwich," he mused. "You just have to be first."
They like his humor too. That same morning, a German mother pushed her three-year-old son up to the Beatle, clutching his autograph book in his hand. "Sign it!" she demanded. Lennon did as bidden, telling the boy, "Yes, sir, you put us where we are today." On location in Spain one afternoon, the script required Lennon to drive a troop carrier along the beach. Accelerating too fast, he spun the wheels; the rear of the carrier sank. As his crestfallen director approached the cab, Lennon peered sheepishly over his glasses and gave him a limp salute.
Lennon is not on; he is simply original. "America used to be the big youth place in everybody's imagination. America had teenagers and everywhere else just had people." He recognizes his own impact on the changes since then, but he refuses to concede that youth today is all that different-- particularly youth in England.
The last generation might have been just like today's young adults, he maintains, had it not had to fight the war.
"If they said, 'Fight the war now,' my age group would fight the war. Not that they'd want to. There might be a bit more trouble gettin' them in line-- because I'd be up there shouting, 'Don't do it!'"
"It just so happens that some groups playing in England are making people talk about England, but nothing else is going on. Pop music gets through to all people all over the world, that's the main thing. In that respect, youth might be together a bit. The Commie youth might be the same as us, and we all know that, basically, they probably are. This kind of music and all the scene is helping. But there's more talk about it than is actually happening. You know, swinging this, and all that. Everybody can go around in England with long hair a bit, and boys can wear flowered trousers and flowered shirts and things like that, but there's still the same old nonsense going on. It's just that we're all dressed up a bit different."
"The class thing is just as snobby as it ever was. People like us can break through a little-- but only a little. Once, we went into this restaurant and nearly got thrown out for looking like we looked until they saw who it was. 'What do you want? What do you want?' the headwaiter said, 'We've come to bloody eat, that's what we want,' we said. The owner spotted us and said, 'Ah, a table sir, over here, sir.' It just took me back to when I was 19, and I couldn't get anywhere without being stared at or remarked about. It's only since I've been a Beatle that people have said, 'Oh, wonderful, come in, come in,' and I've forgotten a bit about what they're really thinking. They see the shining star, but when there's no glow about you, they only see the clothes and the haircut again."
"We weren't as open and as truthful when we didn't have the power to be. We had to take it easy. We had to shorten our hair to leave Liverpool and get jobs in London. We had to wear suits to get on TV. We had to compromise. We had to get hooked, as well, to get in and then sort of get a bit of power and say, 'This is what we're like.' We had to falsify a bit, even if we didn't realize it at the time."
If Lennon is compulsive about anything today, it's about truth as he sees it. But he protests when he's labeled a cynic.
"I'm not a cynic. They're getting my character out of some of things I write or say. They can't do that. I hate tags. I'm slightly cynical, but I'm not a cynic. One can be wry one day and cynical the next and ironic the next. I'm a cynic about most things that are taken for granted. I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labeled a cynic."
It is in the context of the young man who recoils at distortion that his now-famous remark should be viewed. "I said it. I said we were more popular than Jesus, which is a fact." What he could not explain then was why.
He does not feel that one need accept the divinity of Jesus-- he, personally, does not-- in order to profit from his words. A frequent reader of ancient history as well as philosophy (his current lists includes a book on Indian thought and Nikos Kazantzakis's 'Report Greco'), he contends that man has mishandled Christ's words throughout the centuries.
"I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing-- and I believe it. I believe what Jesus actually said-- the basic things he laid down about love and goodness-- and not what people say he said."
Christianity has suffered, he believes, not only because Christians have distorted Christ's words but because they concern themselves with structures and numbers and fail to listen to their vows. They 'mutter' and 'hum' their prayers, but pay no attention to the words. "They don't seem to be able to be concerned without having all the scene about, with statues and buildings and things."
"If Jesus being more popular means... more control, I don't want that. I'd sooner they'd all follow us even if it's just to dance and sing for the rest of their lives. If they took more interest in what Jesus-- or any of them-- said, if they did that, we'd all be there with them."
Would he call himself a religious person? "I wouldn't really. I am in the respect that I believe in goodness and all those things." And if being religious meant being 'concerned,' as Paul Tillich the late Protestant theologian, once put it? "Well, I am then. I'm concerned alright. I'm concerned with people."
At the age when most men are just beginning to adjust to the world, John Lennon has already nudged it a bit. The hysteria that surrounds him can no longer disguise the presence of a mind. His ideas are still rough, but his instincts are good and his talent, extraordinary. You may love him, you may loath him, but this you should know: As performer, composer, writer or talker, he'll be around for a long, long time.
...
Q: Are there any other versions of your songs you like?
A: Well, Ray Charless version of "Yesterday"- thats beautiful. And "Eleanor Rigby" is a groove. I just dig the strings on that. Like Thirties strings. Jose Feliciano does great things to "Help!" and "Day Tripper." "Got to Get You Into My Life"- sure, we were doing our Tamla Motown bit. You see, were influenced by whatevers going. Even if were not influenced, were all going that way at a certain time. If we played a Stones record now, and a Beatles record - and weve been way apart - youd find a lot of similarities. Were all heavy. Just heavy. How did we ever do anything light? What were trying to do is rock & roll, with less of your philosorock, is what were saying to ourselves. And get on with rocking because rockers is what we really are. You can give me a guitar, stand me up in front of a few people. Even in the studio, if Im getting into it, Im just doing my old bit - not quite doing Elvis Legs but doing my equivalent. Its just natural. Everybody says we must do this and that but our thing is just rocking - you know, the usual gig. Thats what this new record is about. Definitely rocking. What we were doing on Pepper was rocking - and not rocking. "A Day in the Life" - that was something. I dug it. It was a good piece of work between Paul and me. I had the "I read the news today" bit, and it turned Paul on. Now and then we really turn each other on with a bit of song, and he just said "yeah - bang bang", like that. It just sort of happened beautifully, and we arranged it and rehearsed it, which we dont often do, the afternoon before. So we all knew what we were playing, we all got into it. It was a real groove, the whole scene on that one. Paul sang half of it and I sang half. I needed a middle-eight for it, but that would have been forcing it. All the rest had come out smooth, flowing, no trouble, and to write a middle-eight would have been to write a middle-eight, but instead Paul already had one there. Its a bit of a 2001, you know.
...
Q: You really had a place where you grew up.
A: Oh, yeah. Didnt you?
Q: Well, Manhattan isnt Liverpool.
A: Well, you could write about your local bus station.
Q: In Manhattan?
A: Sure, why not? Everywhere is somewhere.
... (hö. hö. hö.)
Q: What about the new desire to return to a more natural environment? Dylans return to country music?
A: Dylan broke his neck and we went to India. Everybody did their bit. And now were all just coming out, coming out of a shell, in a new way, kind of saying, remember what it was like to play.
Q: Do you feel better now?
A: Yes . . . and worse.
...
Q: What would you tell a black-power guy whos changed his head and then finds a wall there all the time?
A: Well, I cant tell him anything cause hes got to do it himself. If destructions the only way he can do it, theres nothing I can say that could influence him cause thats where hes at, really. Weve all got that in us, too, and thats why I did the "Out and In" bit on a few takes and in the TV version of "Revolution" - "Destruction, well, you know, you can count me out, and in," like yin and yang. I prefer "out." But weve got the other bit in us. I dont know what Id be doing if I was in his position. I dont think Id be so meek and mild. I just dont know.
Sometime In New York City - Az ájtatoskodó Imagine után Lennon végre ismét rockol ezerrel, hangszerelés perfekt, Yoko dalai is királyak, a Mothersszel közös számok zseniálisak
Plastic Ono Band - sokan túlértékeltnek tartják, pedig korántsem az, vagyis az, de joggal. Nincsen ilyen bitliszes művészkedés, dob van és zongora és basszus és gitár. És kurva jó dalok
Two Virgins - a brit birodalom büszkesége, a csodálatos fab four egyik tagja egy szál faszban virít a borítón, felvesz a nőjével egy értékelhetetlen zajkollázst, aztán kúrnak. Mi ez, ha nem punk?
Imagine - Johnny rájön, hogy jó lenne már valami pénzt is kereseni, ír 10 középszerű aor-t, mézédes vonósokkal. Egyetlen jó szám az I don't wanna be a soldier, de az is csak Spectornak köszönhetően
Double Fantasy - nem tudok mit mondani, egy ilyen lemez után én is lelőttem volna. Yoko menti a helyzetet úgy ahogy, de ő is volt már jobb formában
Mind Games - Johnny ismét rájön, hogy jó lenne már valami pénzt is kereseni, ír 11 középszerű aor-t. Normális ember a 2. szám után bealszik tőle
Na jólvan, Szabolcs, akkor pontosítok: a matrózblúz alatt melltartót ÉS a bőrömet viseltem. És ez utóbbiba sikerült azt a nyüves tűt beleszúrni, ha esetleg ezért hümmögsz, megnyugodtatsz. Egyébként az igazgató nőnemű, csak közlöm, remélem tényleg véletlen volt.
én múlt héten kipróbáltam a sört. igaz csak egy kortyot (aztis kiköptem), de legalább ez is megvolt. ma este már elég erőt érzek hozzá, azt hiszem nekiugrok egy ciginek is! elvégre egyszer él a yuppi..
Ez nem a "lordofthechicagoblues bekopizza, aztán kérésre pedig bármely nyelvjárásra lefordítja a dzsonlenonnal kapcsolatos cikkeket". Ennyi energiám azért nincs. A témakörbenszületett már néhány autentikus tréfa, lásd (hát a f....m nem kéne?) Inkább kussolok.
Hát igen, így megy ez, ahogy az ember halad előre az Élet Országútján, egyre több dologról mondhatja el, hogy "megvolt", hahaha nagyon jó, :-))) Kagylót csak sznobok esznek, ne szokjál rá
De nem nyomtam playbackről csak a zenéje ment cédéről, mert egy egész zenekart nem vihettem magammal, de a hang az saját hamisítatlan original Bagi Orsolya volt élőben a 12. béből csak ott csak nekik stb.
A cigi meg nem vicces volt, szofi lájt és csak egyet szívtam, nem tüdőztem le és nem lett tőle jó kedvem,de most már elmondhtaom, hogy ez is megvolt. Ja és kagylót is ettem aznap este először életemben. Az meg kifejezetten undorító volt.
- aláfestő zene? Playbackről nyomtad?
- először úgy olvastam, hogy "hazajöttünk Nyergesre és piáztunk", már kezdtem örülni
- ha a barátnőd cigijétől úgy érezted, hogy elindulsz lefelé a lejtőn, akkor az nem hagyományos cigi lehetett, inkább ilyen "vicces", ahogy a drog-szlengben mondják
Válaszaim:
- igen azt énekeltem, bár nagyon szívesen énekeltem volna végre valami mást, de ehhez sikerült aláfestő-zenét szereznem, úgyhogy maradt.
-nem, nem rúgtam be, hamar a távozás díszes mezejére léptem, mert disco-zenét nyomtak és tudjátok, hogy tőlem elég távol áll ez a stílus, ehhelyett hazajöttünk Nyergesre és pizzáztunk.
Viszont, hogy valami züllött dolgot is mondjak azért magamról: fellépés előtt, mikor még pangás volt, négyen átmentünk billiárdozni a szomszéd "vendéglőbe" és billiárdoztam (vagy ezt egy ellel írják?) és amikor az egyik barátnőm következett, a kezembe nyomta a cigijét és én meg beleszívtam, bizony életemben először...érzem elindultam lefelé a lejtőn. (de megnyugodhattok, nem fogok rászokni). Ezenkívül lejátszattam a zenegéppel a Come Together-t.
-tudom, meglepő, de a matrózblúz alatt a bőrömet viseltem, tehát ebbe sikerült az igazgató néninek beleszúrnia a biztosítótűt két alkalommal, ennek kövezkeztében kissé az arcomra fagyott a mosoly, de már túl vagyok rajta köszönöm kérdésed.
Egyébként most hozta a megyei hírlapot a könyvtáros néni, és címlapon vagyunk, engem mondjuk pont eltakar az igazgató, de néhány osztálytársam látható a képen.
