Top 10 Funniest Candid Royal Family Moments –  Hw

good morning at windsor good morning i’m very glad to be able to join you welcome to ms mojo and today we’re counting down our picks for the top 10 funniest candid royal moments this is most exciting most exciting ladies and gentlemen i’ve never seen anything quite like it before for this list we’ll be looking at the most notable times when members of the british royal family deviated from their more serious demeanors to let their humor shine through which royal makes you laugh the hardest let us know in the comments

number 10 royal tongues prince harry was a bit of a mischievous jokester growing up and his personality was displayed early on he was notably seen cheekily sticking his tongue out while riding in a car with his mother princess diana who put a stop to his antics decades later harry continues to slip his tongue out demonstrating he’s still that child at heart the goofy gesture seems to run in the family too his niece and nephews princess charlotte prince george and prince louis have also all been caught in the act we got major

deja vu when charlotte stuck her tongue out at cameras and was pulled away by her mum it was an equally hilarious and adorable scene reminiscent of harry and diana way back when number nine charles dancing a royal prince break dancing might sound oxymoronic but video footage of prince charles proves otherwise at a 1985 event he was encouraged to join a group of surrounding break dancers though seemingly uncomfortable at first charles ended up pulling out some surprisingly impressive moves showcasing his talents further the

prince participated in a choreographed hokey cokey dance during a sri lanka trip but charles isn’t the only family member who knows how to get down the duke and duchess of cambridge boogied in tavalu harry did some partner and solo work in jamaica and kate shared a comical dance with paddington bear though routinely reserved the royals do know how to let loose princess diana and her fourth cousin turned sister-in-law sarah ferguson didn’t always have a picture-perfect relationship but the two built a solid

friendship that included vacationing together and if they expected a quiet rest they were out of luck even a trip to the shops is a media event but they have been lucky with the snow during one swiss trip the pair made their way down a ski slope but diana was unable to stick the landing after taking a tumble sarah skied over to check on her friend and they of course shared a laugh over the ordeal it’s this kind of funny and carefree moment that serves as a light-hearted scene to look back fondly on the late princess was loved by many and her

radiance as a mother activist and hilariously clumsy skier is what she’ll continue to be remembered for they all seemed relaxed at the start of a 12-day swiss break which they want to be private from now on number seven william and kate’s competitiveness the duke and duchess of cambridge are proper and composed when duty calls but there’s no room for those personas when competition ensues on several occasions the husband and wife have taken advantage of their public engagements to act on their marital rivalry they could be gearing up

for a race competing in a sailing regatta or facing off in a game of ping pong no matter the occasion these royals aren’t ones to back down from a healthy showdown even though william has bested kate a time or two we’re sure she’ll avenge her losses in whichever humorous competition the two take part in next she had the benefit of experience as kate middleton the duchess of cambridge had rode like this for charity but william had already warned he had no intention of losing number six anne’s video chat rarely would we dub the

royals relatable but a documentary on princess anne revealed an experience many can understand trying to explain technology to a parent who hasn’t been there almost everything that she does in a public way involves people coming together to to to meet her for for some reason or another so that’s been extremely difficult in a laughable scene anne and her mother the queen jumped on a video call and the monarch was understandably not the most technologically inclined and opened the virtual dialogue with an all-too-common

question can you see everybody you should have six people on your screen and her mother replied that she only had eyes on four of the six people who she should have been able to see and followed up with the relatable exchange with a joke solidifying this royal mother-daughter moment as one that’s as endearing as it is funny actually you don’t need me you know what i look like um with online technology being in touch is one thing but it’s not quite the same number five rockstar william few trios are as unexpected as jon bon

jovi taylor swift and prince william in 2013 the prince joined the iconic pop and rock stars on a kensington palace stage to belt bon jovi’s famous living on a prayer the royal might have initially looked tense and way out of his comfort zone when approaching the microphone but he quickly loosened up and did the song justice with his a-plus singing efforts williams seemed to particularly enjoy his time on stage once the chorus rolled around leaving the audience and us watching from afar thoroughly entertained

it’s always fun to watch the royals try new things the randomness and hilarity of the short-lived musical group makes this legendary performance especially memorable number four popcorn thief over the years the duke of sussex has shown his playful side when interacting with the youth one of his funnier encounters took place in the stands of a volleyball match at the invictus games where he found himself seated next to a then two-year-old girl while he was enjoying his popcorn the little one named emily

hysterically stole some for herself after catching the adorable thief harry teased her but was more than happy to share his snack as a former mischievous youngin himself he seemed to have gotten just as much of a kick out of the interaction as we did and if there’s any questions about what he’s like as a dad this sweet moment is a good indication number three roasting us presidents queen elizabeth has proven she’s not intimidated by her fellow world leaders and she seems to especially have a thing

for poking fun at us presidents she gave me a look that only a mother could give a child during a white house visit then president bush mistakenly said that the queen was present for the american bicentennial celebration which occurred in 1976 by the way in 1776 in a later dinner the monarch used her speech to reference the error which aged her about two centuries and wittily called him out i wondered when i was here she also once used the overhead noise of a helicopter to land another quip [Laughter] most of the queen’s jokes are humorous

but they’re extra funny when u.s leaders are the butt of them oh really please boom number two louie at the jubilee the older royals have certainly given us their fair share of candid comedy moments but the next generation has also already begun to make us laugh with their childly antics most notably prince louis stole the queen spotlight at the platinum jubilee his older sister princess charlotte tried to calm his overzealous waving louis continued to exude restless energy at the jubilee pageant clearly enjoying himself in the

stands and we’d be remiss not to mention how he pulled some truly hilarious faces on a balcony during the fly past safe to say he was one of the stars of the show thanks to the young royals vibrant personality we did too before we unveil our topic here are a few honorable mentions feeding time the queen and prince philip ventured to the zoo and made a new hungry friend harry’s beard kids seem to love the prince but it looks like his facial hair has something to do with it i don’t matter anyone is fair game when

the queen cracks a joke including herself i did remark that it was upside down and you wouldn’t be able to see what was on it i thought it had to be upside down for the press they can see i don’t know i don’t imagine william and harry’s banter being a prince doesn’t mean you’re above poking fun at your sibling well i’m better than william so it’s fine yeah helping him with the exams oh yeah an awful lot he needs a lot of help avid tennis fans the royals frequent wimbledon and have relatable reactions to the intense matches

before we continue be sure to subscribe to our channel and ring the bell to get notified about our latest videos you have the option to be notified for occasional videos or all of them if you’re on your phone make sure you go into your settings and switch on notifications number one the queen’s wit are you real thank you very much i’m still alive nice to see you again despite often being thought of as stone-faced queen elizabeth has blessed the public with glimpses of her quick-witted sense of humor she’s

notably made clever quips about the longevity of her life the heavy weight of her crown and cutting a cake with an obscenely large sword i don’t think this is going to work [Laughter] in other words her majesty rarely misses an opportunity to make those around her smile and it’s always a treat to witness thank you mr prime minister of canada for making me feel so old one of her funniest moments took place at a photo shoot where she was hysterically appalled that the photographer annie leibovitz wanted her to look less dressy the garter robe is

so extraordinary with her cheekiness and sharp remarks the monarch exemplifies how a leader can embody the seriousness of their role while maintaining a fun loving spirit do you agree with our picks check out this other recent clip from ms mojo and be sure to subscribe and ring the bell to be notified about our latest videos

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.