The Beatles were a real good thing for music, because they were funny at the same time – Randy Newman
A hard and rough port town, which offered many dead-ends and few opportunities for upward mobility, Liverpool had humor as the balm that could ease the often crushing burden of reality that was its daily milieu.
Its locals were, and are, famous for their Scouser wit – often delivered in deadpan style; it is sharp and often biting. Verbal jousting is an art form, and generally good-natured. On its dark side, Scouser wit can be a weapon intended to do damage. An overwhelmingly Irish town in the middle of the last century, the locals had some ancestral history with humor.
Even their name for themselves – Liverpudlians – is the Scouser’s inverted joke in which the pool becomes a puddle.
Why does the River Mersey run through Liverpool? Because it doesn’t want to get mugged.
In this puddle fermented with wit, where one was required to have a sharp sense of humor and judged by its quality, were born the Beatles – as individuals and a band. And like the thematic spine that runs through any good story, Scouser wit was the spine of their career – it affected every aspect of their existence as a band, to the point of being responsible for their initial success until their songwriting caught up.
John Lennon’s humor was often underpinned by the dark nature that was part of his personality. Separated from his father, left to live with his aunt by his mother, who subsequently died in a tragic accident, left by the beloved uncle who died unexpectedly, he used humor to cover the pain of abandonment by those he loved. He used it to turn his inner rage on an outside world he felt had betrayed him. Early in school that humor took increasingly sharp turns towards the surreal, and often cruel, in poems, stories, and illustrated magazines he created to communicate with the world outside.
Tragedy struck Paul McCartney as well when he lost his mother in his early teens. Always a people pleaser on the surface, his sense of humor could also be sharp and biting, but was more often obscured under layers of protection. He also came from a large, boisterous, and close knit extended family in which humor, good-natured for the most part, was the currency of affection.
Like his older friend, George Harrison came from a family that was affectionate, loud and immersed in jokes and cut-ups. Falsely referred to as the quiet Beatle, he was a talker, and his wit took a dry, sarcastic tone.
The Reeperbahn, the seedy red-light district of Hamburg where the Beatles had several lengthy stays playing at loud and often dangerous clubs, backing strippers or playing between their sets, was the anvil on which the band was hammered into what was arguably the best live band of Northern England at the time. The lubricant that greased their way through this maze of dangers and endurance was humor.
John, Paul and George quickly found their shared sense of humor helped the intense bond they shared grow. They riffed off of each other like veteran comedians, often finishing each other’s jokes and jabs. Entertaining the jaded and uninterested thugs and blue-collar workers that came to drink at the Kaiserkeller, The Top Ten Club and Star Club, took more than music – it took jokes. Lennon trotted out his well-worn cripple routine, or ridiculed the crowd with Nazi jokes and Hitler imitations. Once amphetamines entered their world, the jokes took on a manic persona and wearing a toilet seat around your head while playing in your underwear was just another tool in their entertainment chest.
It was those personalities, imbued with their unique bond and sense of comic surreality that helped Brian Epstein see their potential. But pushing them on every record label in England came to nothing for the aspiring manager with the passionate belief in his charges. His last hope was George Martin, who headed the poor relative record label Parlophone.
Martin first had success with Beyond the Fringe, a comedic stage review featuring Dudley Moore, Peter Cooke and Jonathan Miller. Those records are considered a key linchpin in the ascendance of satiric humor in Britain.