Quotes from Brian Epstein

Well, I don't know about the dizzy height, but I always thought they were going to be pretty big.

Well, then we got to know each other and eventually worked out a bit of idea of management.

I am determined to go through the horror of this world.

But I think traveling around and going around the world and making arrangements for moving around is the most difficult thing, 'cuz you don't know what's going to happen.

When I was six, Hitler, who had become rather a nuisance, launched a sustained attempt to destroy Liverpool, and though we lived several miles from the vulnerable docks target, our Childwall suburb became too close for comfort and safety.

Sir Thomas Beecham once said this at the Liverpool Philharmonic Hall when I was there as a boy. He said 'I'm often asked why operas survive generation after generation—La Bohème and things like that. And I always reply. 'They survive because they consist of bloody good tunes'.

WHATEVER happens tomorrow, one thing is certain; it must not be allowed to look after itself.

Basic training was at Aldershot and if there is a more depressing place than this in all Europe, then I would not be interested to know of it.

My parents were sent for and unfolded before them were my failings, itemized one by one in that catalogue-of-crime manner which comes so naturally to schoolmasters.

I began to feel a little more at evens with the world and I made friends with a little horse called 'Amber', who got on very well with Jews.

Not to mince words Mr. Epstein, we don't like your boys' sound. Groups of guitarists are on the way out.

You must be out of your mind. These boys are going to explode. I am completely confident that one day they will be bigger than Elvis Presley.

In England the driver is always the same, a huge man called Bill Corbett, who knows the problems, chief of which is the ability to speed fast enough to frighten fans out of the way, but not so fast that they get run over.

The contract had been drawn up by people who knew more about a fast buck than does a slow doe. I thought it an inhuman document providing simply for the enslavement of any artiste eager and gullible enough to place his name over a stamp. Its like is still around and there are several artistes, some of them quite well-known, bound by this form of contract. I am not permitted to name them but they and their owners know who are they.

Why had I not signed it? I believe it was because even though I knew I would keep the contract in every clause, I had not 100 per cent faith in myself to help the Beatles adequately. In other words, I wanted to free the Beatles of their obligations if I felt they would be better off.

But there was a rumour—which lingered until it became acceptable currency—that I had bought the disc in bulk to get it into the charts. Possible though this would have been—had I the money, which I hadn't—I did no such thing, nor ever have. The Beatles, then as now, progressed and succeeded on natural impetus, without benefit of stunt or back-door tricks and I would like to make this quite clear.

Ringo's hair is an occupational hazard.

So much has been said that is exaggerated, inaccurate, extravagant and open to misinterpretation that I thought that a detailed account could only help and, I hope, prove of considerable public interest.

Always America seemed too big, too vast, too remote and too American. I remember the night we heard about the number one position in Cashbox I said to John Lennon 'There can be nothing more important than this,' adding a tentative 'Can there?

They get, you know, whatever they want from their earnings, and their earnings go into their own company.