58 Sentences With "speech balloon" | Random Sentence Generator

His speech balloon, in response, contains only a question mark. Hmmm.

Meanwhile, a duck popping out of the hamburger bun is accompanied by a comic strip speech balloon filled with the words "quack, quack," apparently in greeting toward an approaching one eyed, misshapen head flying a plane whose fuselage is a finger (this pilot gives a flying fuck).

In "Bed," he raises an enormous, cartoonish hand in greeting, and in "Bed + Note," a speech balloon emerges from his mouth, but instead of words, it contains a few musical notes unmoored from a staff, as if he were whistling a feeble tune at the edge of his demise.

The speech balloon was never produced as a separate work. However, its juxtaposition to the speech balloon from Donald Duck is intriguing.Rondeau and Wagstaff. p. 76. He references his Entablatures works as ceiling molding.

Instead of speech balloon spaces, the comic strip uses captions that accompany the images.

Incidentally, as Hergé created his comics in the increasingly popular speech balloon format, it initially led to a conflict with Cœurs Vaillants, which utilized the text comic format its editors considered more appropriate from an educational point-of-view. Hergé won the argument, and speech balloon comics were henceforth featured alongside text comics in the magazine (and that of its spin-offs) until the mid-1960s, when speech balloon comics were all but abandoned by the magazine(s), the general trend notwithstanding.

Masterpiece is a 1962 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and narrative content contained within a speech balloon. In 2017 the painting sold for $165 million.

In the United States of America the speech balloon made its entry in comics with 1895's The Yellow Kid by Richard F. Outcault. Frederick Burr Opper's Happy Hooligan and Alphonse and Gaston further popularized the technique. As speech balloons asked for less text to read and had the advantage of linking the dialogues directly to the characters who were speaking or thinking, they allowed readers to connect better with the stories. By the early 1900s most American newspaper comics had switched to the speech balloon format.

Fast forward to 2006. After further development the project has been renamed as Farmageddon and is being developed by Niel's animation studio, Qurios Entertainment as a 3D project. From January 2011 the Farmageddon comic strip began to be re-printed on the Birmingham Mail's website as part of the Speech Balloon page.

The format of the Sunday strip varies considerably from week to week, though there are several well-known recurring themes. One recurring theme is a single picture surrounded by multiple speech balloons, representing the children's response to a given scenario, although the speaker of any given speech balloon is never explicitly shown (this format began on May 30, 1965).

Its 1989 sale helped finance the construction of the current home of the Museum of Contemporary Art, Chicago in 1991. Like many of Lichtenstein's works its title comes from the speech balloon in the painting. The work was included in Lichtenstein's second solo exhibition. The source of the image is a comic book from DC Comics.

Qarr is an imp working alongside Kubota and Therkla. His speech balloon, while red and ominous, contradicts the fact that he is small and unassuming. He helped conspire with Kubota for the eventual rule of Azure City. He is capable of maintaining telepathic contact with Therkla while aboard another ship and is responsible for charming the aquatic monsters that attack Lord Hinjo's junk.

I Know...Brad (sometimes I Know How You Must Feel, Brad) is a 1964 pop art painting by Roy Lichtenstein that uses his classic Ben-Day dots and a speech balloon. The work is located at the Ludwig Forum für Internationale Kunst in Aachen. It is an example of how Lichtenstein used his artistry to make significant changes to the original comics sources.

He also adds a speech balloon, making Donald seem unaware that he has failed to cast his rod. Walt Disney said about Donald Duck: "He's got a big mouth, a big belligerent eye, a twistable neck and a substantial backside that's highly flexible. The duck comes near being the animator's ideal subject." Lichtenstein's painting reflects many of these physical features.

Engagement Ring is a 1961 pop art painting by Roy Lichtenstein. The work is based on the Winnie Winkle series, but Lichtenstein changed both the graphical description and the narrative accompaniment that he presents in a speech balloon. As with most of his early romance comics works, this consisted of "a boy and a girl connected by romantic dialogue and action".

The album's title is an homage to former drummer Gary Young, who would frequently yell "Wowee zowee!" when excited.KEXP article: "33 1/3 Odyssey: Wowee Zowee by Bryan Charles ." The phrase also notably dates to Frank Zappa and The Mothers of Invention's 1966 album Freak Out!, which also displayed the album title in a cartoon speech balloon and featured a track titled "Wowie Zowie".

"J'attends!" (anonymous, 1883), the oldest known comic strip using a speech balloon "Pour un dîner de Noël" (Raoul Barré, 1902), the first comic strip to appear in a daily Quebec newspaper. Barré demonstrates an interest in movement, which he would develop later as a pioneer in animation Caricatures have appeared in newspapers in Quebec since at least the 18th Century. A political poster using speech balloons from 1792 has been attested.

Oh, Jeff...I Love You, Too...But... (sometimes Oh, Jeff) is a 1964 oil and magna on canvas painting by Roy Lichtenstein. Like many of Lichtenstein's works its title comes from the speech balloon in the painting. Although many sources, such as the Encyclopedia of Art, describe Whaam! and Drowning Girl as Lichtenstein's most famous works, artist Vian Shamounki Borchert believes it is this piece, calling it his Mona Lisa.

According to Ernesto Priego, while the work adapts a comic-book source, the painting is neither a comic nor a comics panel, and "its meaning is solely referential and post hoc." It directs the attention of its audience to features such as genre and printing methods. Visually and narratively, the original panel was the climactic element of a dynamic page composition. Lichtenstein emphasizes the onomatopoeia while playing down articulated speech by removing the speech balloon.

Issue No. 1011 cover of Charlie Hebdo, renamed Charia Hebdo ("Sharia Hebdo"). The speech balloon shows Muhammad saying, "100 lashes if you don't die laughing!" Charlie Hebdo issue 1011 is an issue of the French satirical newspaper Charlie Hebdo published on 2 November 2011. Several attacks against Charlie Hebdo, including an arson attack at its headquarters, were motivated by the issue's cover caricature of Muhammad, whose depiction is prohibited in some of interpretations of Islam.

The caption generally acts as a speech balloon encompassing a comment from the cat, or as a description of the depicted scene. The caption is intentionally written with deviations from standard English spelling and grammar, featuring "conjugated verbs, but a tendency to converge to a new set of rules in spelling and grammar". The text parodies the grammar-poor patois stereotypically attributed to Internet slang. Frequently, lolcat captions take the form of phrasal templates.

The painting depicts a man looking through a hole in a door. His finger is extended to open a circular peephole, while simultaneously allowing the artist to present his face. The painting also uses a speech balloon. The picture teases the viewer who is given the feeling that they are in a dark room being viewed by the main subject of the painting who is a man that peeks through a hole in the door.

The current and most familiar logo for closed captioning consists of two Cs (for "closed captioned") inside a television screen. It was created at WGBH. The other logo, trademarked by the National Captioning Institute, is that of a simple geometric rendering of a television set merged with the tail of a speech balloon; two such versions exist - one with a tail on the left, the other with a tail on the right.

Paper shortages meant that by the end of 1941, the magazine was reduced to 4 pages of only half the original size, appearing only twice a month. As of issue #389 (July 5, 1942), American comics were dropped from the paper, including all of the Disney material, and the speech balloon comics were replaced with traditional comics with text captions. The final issue of the first run of Le Journal de Mickey appeared on July 2, 1944.

Cartoons can be divided into gag cartoons, which include editorial cartoons, and comic strips. Modern single- panel gag cartoons, found in magazines, generally consist of a single drawing with a typeset caption positioned beneath, or—less often—a speech balloon. Newspaper syndicates have also distributed single-panel gag cartoons by Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher and others. Many consider New Yorker cartoonist Peter Arno the father of the modern gag cartoon (as did Arno himself).

Between spins, the player can optionally switch to another machine. Hot Slots is an eroge, a video game that rewards game progress, persistence, or performance with images that are sexually explicit or suggestive. Each slot machine is accompanied by a scantily-clad hostess, who appears at intervals when the player's winnings surpass a certain threshold. When the player nets a profit of $210, the game displays a full-screen cartoon image of the partially clothed hostess with a caption or speech balloon.

The painting is one of Lichtenstein's first non-expressionist works, and marks his initial employment of Ben-Day dots which he used to give it an "industrial" half-tone effect. The painting is his first use both of a speech balloon and comics as source material. The work has visible pencil marks and was produced using a plastic-bristle dog brush to apply the oil paint onto the canvas. By the time of his death, Look Mickey was regarded as Lichtenstein's breakthrough work.

The source of Torpedo...Los! is "Battle of the Ghost Ships?" (story by Bob Haney, art by Jack Abel) in DC Comics' Our Fighting Forces (October 1962). The source of the image is Jack Abel's art in the Bob Haney-written story "Battle of the Ghost Ships?", in DC Comics' Our Fighting Forces #71 (October 1962), although the content of the speech balloon is different (this is issue number 72 according to some sources and 71 (a) according to others).

In the same series, speech balloons are occasionally even held and blown up to function as actual balloons or the words of the speech bubble are occasionally shown coming out the side of the speech bubble, to signify that the speaker is moving so fast that their words can't keep up with them, i.e. at supersonic speed. In the novel Who Censored Roger Rabbit?, the last words of a murdered Toon (cartoon character) are found under his body in the form of a speech balloon.

Mary, center panel Van der Weyden had used the technique of floating inscriptions earlier, notably in the center panel of his c. 1445–50 Beaune Altarpiece, where words appear to float in the pictorial space or are seemingly sewn into the clothes of the figures.Acres, 86–7 The left panel is a half-length depiction of John the Baptist,Lane, 281 with a background showing a scene from the baptism of Christ. John's words float above him as a curved speech balloon which emits from his mouth.

Donkey Kong smirks upon Mario's demise. Pauline has a pink dress and long hair, and a speech balloon crying "HELP!" appears frequently beside her. Mario, depicted in red overalls and a red cap, is an everyman character, a type common in Japan. Graphical limitations and the low pixel resolution of the small sprites prompted his design: drawing a mouth with so few pixels was infeasible, so the character was given a mustache; the programmers could not animate hair, so he got a cap; to make his arm movements visible, he needed colored overalls.

Japanese comics are collected in volumes called tankōbon following magazine serialization. Gag and editorial cartoons usually consist of a single panel, often incorporating a caption or speech balloon. Definitions of comics which emphasize sequence usually exclude gag, editorial, and other single-panel cartoons; they can be included in definitions that emphasize the combination of word and image. Gag cartoons first began to proliferate in broadsheets published in Europe in the 18th and 19th centuries, and the term "cartoon" was first used to describe them in 1843 in the British humour magazine Punch.

Shanghai Kid uses an 8-way joystick and two buttons (one for punching and one for kicking). It contributes to the fighting game genre by introducing the combo system and the ability to perform special moves. When the spiked speech balloon that reads "RUSH!" pops up during battle, the player has a chance to rhythmically perform a series of combos called "rush-attacking". The special moves feature, unlike the basic moves one, allows players to perform moves that are more advanced than the basic ones, and by using two buttons simultaneously instead of one.

BBC – Afternoon Drama – Burns and the Bankers Her plays Educating Agnes and Thebans premiered in the early 2000s, and in 2011 as part of the Glasgay Festival, Liz Lochhead's play Edwin Morgan's Dreams and Other Nightmares premiered at the Tron and it was revived three years later as part of the cultural celebrations for the commonwealth games. She has produced many new works for the Oran Mor in Glasgow, including Mortal Memories (2012) and Between the Thinks Bubble and the Speech Balloon (2014) with Tom Leonard, William Letford, Grace Cleary, and Henry Bell.

Thus, in 1894 and still in the New York World, Richard F. Outcault presented Hogan's Alley, created shortly before in the magazine Truth Magazine. In this series of full-page large drawings teeming with humorous details, he staged street urchins, one of whom was wearing a blue nightgown (which turned yellow in 1895). Soon, the little character became the darling of readers who called him Yellow Kid. On October 25, 1896, the Yellow Kid pronounced his first words in a speech balloon (they were previously written on his shirt).

The music video for "Buddy" is introduced by Prince Paul who explains, "'Buddy' doesn't mean 'girl' or 'sex' for that matter, 'buddy' simply means 'body', bodies of all kind." While the majority of the video consists of the members of the Native Tongues posse performing straight to camera, this is interspersed with brief segments of black-and-white footage, one of which featuring a speech balloon that remarks "this video makes no sense!" Along with those who appeared in the song, the video also featured a cameo from rapper Chi-Ali.

155-156 During the 14th century, quotations in banderoles increasingly allowed artists to include more complex ideas in their works, though for the moment usually in Latin, thus greatly restricting the audience that could follow them.Ladis & Maginnis 1997, pp. 156-161 Unlike Mesoamerican speech scrolls, European speech scrolls usually contain the spoken words, much like a modern- day speech balloon. The majority of these are in religious works and contain Biblical quotations from the figure depicted – Old Testament prophets for example, were often shown with an appropriate quotation from their work.

While speech balloon comics became the norm in the United States, the format didn't always catch on as well in the rest of the world. In Mexico and Argentina speech balloons were adapted very quickly, while in Europe they remained a rarity until deep in the 1920s. In other parts of Europe, most notably the Netherlands, text comics even remained dominant as late as the early 1960s. Many European moral guardians looked down upon on comics as low-brow entertainment that made the youth too lazy to read.

In one of the works (Finding Home #74 (Fereshteh) "Lilith"), she is wearing a protective amulet that might normally be worn as protection from her, and Lilith's speech balloon says "A thousand of years have I waited keeping the embers of revenge glowing in my heart." She is shown with angel wings and a background of flames. Rachel, Leah, and Esther are amongst others included in the series. Her 2014 gouache on paper series, The Four Mothers Who Entered Pardes, includes works showing Rachel, Sara, Leah, and Rebecca.

It initially appears that Martin Li has no knowledge of his evil side. During "New Ways To Die", Li took Eddie Brock into a back room he calls his inner sanctuary, where he claims to play a game of Go day by day against an unknown opponent who he has never seen, claiming that he has "learned that it's okay to enjoy the game". When he transforms into Mr. Negative, Li's appearance resembles that of a photographic negative. He also speaks in a reverse colored speech balloon, although this does nothing to the sound of his voice.

Hector Berthelot was a cartoonist and the publisher of Le Canard, where Berthelot started running satirical material signed Père Ladébauche ("Father Debauchery") starting in 1878. Berthelot would bring Ladébauche with him from newspaper to newspaper, and in 1904, Joseph Charlebois's comic strip version of Le Père Ladébauche debuted in La Presse, a popular strip that would last until 1957. Le Canard published the works of a number of other notable cartoonists, such as Henri Julien, and it was there that the oldest known comic strip using a speech balloon appeared, an unsigned strip printed on 22 September 1883.

Other comics, like Pip, Squeak and Wilfred by Bertram Lamb, used both speech balloons and captions. Under the Nazi, Fascist and Communist regimes in Western and/or Eastern Europe balloon comics were even banned in favor of comics with captions underneath them. The success of The Adventures of Tintin by Hergé from 1929 on, influenced many other European comics, especially in the Franco-Belgian comics market, to adapt speech balloons. Translations of popular American comics such as Mickey Mouse, Donald Duck, Popeye throughout the 1930s and especially after the liberation of Europe in 1945 further encouraged the speech balloon format.

The original source had dialog related to the repeated torpedoing of the same ship, but Lichtenstein cut the entire speech balloon down to two words. He moved the captain's scar from his nose to his cheek and he made the captain appear more aggressive by depicting him with his mouth wide open, also opting to leave the eye which was not looking through the periscope open. He also made the ship appear to be more technologically sophisticated with a variety of changes. The scar was actually most readily apparent in panels other than the source from the same story.

In many comic books, words that would be foreign to the narration but are displayed in translation for the reader are surrounded by angle brackets or chevrons . Gilbert Hernandez's series about Palomar is written in English, but supposed to take place mainly in a Hispanic country. Thus, what is supposed to be representations of Spanish speech is written without brackets, but occasional actual English speech is written within brackets, to indicate that it is unintelligible to the main Hispanophone characters in the series. Some comics will have the actual foreign language in the speech balloon, with the translation as a footnote; this is done with Latin aphorisms in Asterix.

Coco's artwork on the front cover of Charlie Hebdo on 14 September 2015 illustrates a parody of racist attitudes that proclaim that migrants are "welcome" but are treated as footstools. The speech balloon, "This [land] is your home", is a reference to a famous nationalist phrase, "This is our home". Since January 2015 Charlie Hebdo has continued to be embroiled in controversy. Daniel Schneidermann argues that the 2015 attack raised the profile of the paper internationally with non-Francophone audiences, meaning that only parts of the paper are selectively translated into English, making it easy to misrepresent the editorial stance of the publication and the purpose of provocative work.

The crucifixion scene likely consisted of three or more blocks; the surviving block fragment features Longinus the Roman centurion at the Crucifixion, shown speaking with a banderole, a mediaeval precursor to the modern speech balloon containing his words. The Bois Protats name comes from the Mâconnais printer Jules Protat who acquired the block after its discovery in 1898 near La Ferté Abbey in Saône- et-Loire, France, where it was wedged under a stone floor. Because of such poor preservation, only a quarter of the block has survived, and only one side was able to withstand making prints at the time of discovery. It is kept in the Department of Prints and Photographs at the Bibliothèque nationale de France, the National Library of France in Paris.

Soon, artists were experimenting with establishing a sequence of images to create a narrative. While surviving works of these periods, such as Francis Barlow's A True Narrative of the Horrid Hellish Popish Plot (c. 1682) as well as The Punishments of Lemuel Gulliver and A Rake's Progress by William Hogarth (1726), can be seen to establish a narrative over a number of images, it wasn't until the 19th century that the elements of such works began to crystallise into the comic strip. The speech balloon also evolved during this period, from the medieval origins of the phylacter, a label, usually in the form of a scroll, which identified a character either through naming them or using a short text to explain their purpose.

An artwork titled "A Banquet" by Yeo Chee Kiong is featured at the DTL station as part of the MRT network's Art-in-Transit programme. The massive 3D artwork depicts two reflective isometric chairs and a bulbous speech balloon to signify not only the importance of organic communication in an era of technological advancement and digital media but also the spirit of free trade. According to the sculptor, "Expo is where business is done, the speech balloons show the kind of conversations and dialogues which people have, and the chairs show where business takes place." With the surrounding colours of the station reflected in the artwork's shiny surfaces, it transformed them into two sets of magnificent kaleidoscopes which also symbolises cultural exchange.

It was published on 26 June, five weeks after the breakdown of the Treaty of Amiens, which precipitated the Napoleonic Wars. The king's speech balloon in the top half of the print reads "My little friend Grildrig, you have made a most admirable panegyric upon Yourself and Country, but from what I can gather from your own relation & the answers I have with much pains wringed & extorted from you, I cannot but conclude you to be one of the most pernicious, little-odious-reptiles, that nature ever suffer'd to crawl upon the surface of the Earth". On Mars's largest moon, Phobos, the crater Grildrig has the name given to Gulliver by the farmer's daughter Glumdalclitch in Brobdingnag, because of Swift's 'prediction' of the two then undiscovered Martian moons, which his Laputan astronomers had discovered.

One of the earliest proper Belgian comics was Hergé's The Adventures of Tintin, with the story Tintin in the Land of the Soviets, which was published in Le Petit Vingtième in 1929. It was quite different from future versions of Tintin, the style being very naïve and simple, even childish, compared to the later stories. The early Tintin stories often featured racist and political stereotypes, which caused controversies after the war, and which Hergé later regretted. At the time however, Tintin turned out to be so popular right from the start, that the magazine decided to release the stories in hardcover book format as well, directly after they had run their respective courses in the magazine, in the process introducing something new in the Belgian comic world, the speech balloon comic album.

Tom Poes Weekblad, featuring the for the Netherlands traditional text comics, had to compete right from the start with Belgian weekly competitors Kuifje The first Dutch price indication already on the cover of Kuifje, issue 9, 21 November 1946. and ' The first Dutch price indication on the cover of Robbedoes, issue 353, 2 January 1947, the first issue of that year. from publishers Le Lombard and Dupuis respectively, which became available in the country around the turn of 1946/1947. The magazines, unaltered Dutch-language versions of their French counterparts Tintin (1946-1993, applying for both language editions) and Spirou (1938-, the Dutch version folded in 2005) respectively, acquainted Dutch readership with the phenomenon, not much later known as the Franco-Belgian bande dessinée, in the process (re-)introducing them to the speech balloon comic.

The events transpiring throughout the titles of Blackest Night are a result of the darkness, once again, fighting back against creation. She goes on to describe how a combination of all seven lights can restore the white light of creation and bring an end to the Black Lanterns. Throughout the Blackest Night event, each time a Black Lantern successfully removes the heart of one of their victims, a black, lantern-shaped speech balloon (used within Green Lantern and Green Lantern Corps to indicate that a power ring is speaking) depicts an ever-rising power level increasing in increments of 0.1 percent. In Blackest Night #4, the power meter is filled and Scar is able to transport the Black Central Power Battery to Coast City, and the true mastermind behind the Black Lanterns is able to step into the main DC Universe: Nekron.

The source of this image was a comic book panel with the two subjects positioned similarly to their position here, but they were situated in an automobile. In the source image the narrative content of the speech balloon said "But someday the bitterness will pass..." Masterpiece was part of the largest ever retrospective of Lichtenstein that visited The Art Institute of Chicago from May 16 to September 3, 2012, the National Gallery of Art in Washington, D.C. from October 14, 2012 to January 13, 2013, the Tate Modern in London from February 21 to May 27, 2013 and The Centre Pompidou from July 3 to November 4, 2013. Several publications presented Masterpiece as part of their announcement of the retrospective. In January 2017, Agnes Gund sold the 1962 painting Masterpiece, which for years hung over the mantle of her Upper East Side apartment, for $165 million.

In the early 1960s, Lichtenstein produced several "fantasy drama" paintings of women in love affairs with domineering men causing women to be miserable, such as Drowning Girl, Hopeless and In the Car. These works served as prelude to 1964 paintings of innocent "girls next door" in a variety of tenuous emotional states such as in Oh, Jeff...I Love You, Too...But.... Using only a single frame from its source, Oh, Jeff...I Love You, Too...But...s graphics are quite indicative of frustration, but the text in the speech balloon augment the romantic context and the emotional discord. After 1963, Lichtenstein's comics-based women "...look hard, crisp, brittle, and uniformly modish in appearance, as if they all came out of the same pot of makeup." This particular example is one of several that is cropped so closely that the hair flows beyond the edges of the canvas.

Many cartoonists from around the world responded to the attack on Charlie Hebdo by posting cartoons relating to the shooting. Among them was Albert Uderzo, who came out of retirement at age 87 to depict his character Astérix supporting Charlie Hebdo. In Australia, what was considered the iconic national cartoonist's reactionCharlie Hebdo shootings: Cartoonists determined to stand their ground in the wake of Paris attacks, ABC News Online, updated Sunday 11 January 2015 was a cartoon by David Pope in the Canberra Times, depicting a masked, black-clad figure with a smoking rifle standing poised over a slumped figure of a cartoonist in a pool of blood, with a speech balloon showing the gunman saying, "He drew first."He drew first , David Pope, The Canberra Times, 8 January 2015 In India, Mint ran the photographs of copies of Charlie Hebdo on their cover, but later apologised after receiving complaints from the readers.

Bowie suggested Weller incorporate the "exploding head" signature on the cowboy's hat, a feature he had previously used on his posters while a part of the Arts Lab. He also added an empty speech balloon for the cowboy figure, which was intended to have the line "roll up your sleeves and show us your arms"—a pun on record players, guns, and drug use—but Mercury found the idea too risqué and the balloon was left blank. According to Bowie biographer Nicholas Pegg, "at this point, [Bowie's] intention was to call the album Metrobolist, a play on Fritz Lang's Metropolis; the title would remain on the tape boxes even after Mercury had released the LP in America as The Man Who Sold the World." Bowie was enthusiastic about the finished design, but soon reconsidered the idea and had the art department at Philips Records, a subsidiary of Mercury, enlist photographer Keith MacMillan to shoot an alternate cover.

Curiously one of the rare ones (besides Yuruji) to produce a white speech balloon upon Gelsadra using his powers, Hajime shows serious doubts upon learning of Tsubasa and Gelsadra's plan to unite everybody as one mind in order to avoid any form of conflict, eventually teaching them that having individuality and the occasional conflicts that come from it is what makes people human. In order to defeat the seemlingly endless army of Kuu-samas and save Gelsadra, she devises a plan to give the public a live broadcast of Gelsadra being executed by the Gatchaman, as they desired, but in actuality the Gelsadra they witnessed was actually her under a disguise created using Berg Katze's powers, falling into a coma from the serious injuries she sustained. As a result the public realises how drastic their desires have become, killing off the mood, which eliminates most of the Kuu-sama along with it. After a month-long election to allow the public to rethink their views on Gelsadra, which concludes in him being allowed to stay, she wakes up to everyone's happiness.

The article, which drew from Maureen Cleave's interviews with the band members from early in the year, was flagged on the cover in a painting by Aldridge that showed the Beatles ensnared by barbed wire under a giant speech balloon reading: "HELP!" In Rossman's adoption of the song's message, it represented a way of thinking introduced by the Beatles, who "taught us a new style of song", after which, "The Yellow Submarine ... was launched by hip pacifists in a New York harbor, and then led a peace parade of 10,000 down a New York street." The theme of friendship and community in "Yellow Submarine" also resonated with the ideology behind the 1967 Summer of Love. Derek Taylor, the Beatles' former press officer who worked as a music publicist in Los Angeles in the mid 1960s, recalled it as "a kind of ark ... a Yellow Submarine is a symbol for some kind of vessel which would take us all to safety ... the message in that thing is that good can prevail over evil." right The song was also viewed as a code for drugs, at a time when it became common for fans to scrutinise the Beatles' lyrics for alternative meanings.