Miss O'Dell: Hard Days And Long Nights With The Beatles, The Stones, Bob Dylan And Eric Clapton / Romeo

I got my copy of I Me Mine to check if George wrote "but it's all over now, baby blue" in the handwritten lyrics for When We Was Fab or that was added later on studio. and THIS was how i found out that he actually had written "but it's alright ma, it's life only" in the handwritten lyrics. He took away a bob dylan reference to put another bob dylan reference. Fangirl behavior

John Lennon & George Harrison • Buddies & Pals

smokign the shit that made george harrison and bob dylan if not for you live at the concert for bangladesh rehearsals at madison square garden 31st of July 1971

Joan Baez & Bob Dylan, Newark, New Jersey, 1964 © Daniel Kramer.

Teenagers >:)

Intermission in the Harrison cars series: Kinfauns goes psychedelic. (You can find a photo of George Harrison in front of the mural in the book Living In The Material World.) Photo 1 by Robert Whitaker, photo 2 courtesy of messynessychic dot com.

“During autumn [of 1967] George asked Simon and me to paint a mural around the fireplace in the living room at the ‘Kinfauns’ bungalow in Esher. The mural portrayed George and Pattie as ‘Music Boy’ and ‘Flower Girl,’ as they lovingly called each other then, attended by a Yogi surrounded with an Aura of Light as the focal point to express their interest in Hinduism. We stayed at their lovely place about ten days to complete it. Inspired, George started decorating the exterior of the house, graffiti style with spray cans […]. George was kind and funny but would also be quiet and pensive at times. […] George also turned us on to Paramahansa Yogananda’s book; ‘Autobiography of a Yogi,’ whose large portrait was watching us from the wall while we were painting the mural […].” - Marijke Koger, marijkekogerart dot com, 11 August 2021

“At that moment, an arm wrapped around me from behind, and even though I couldn’t see who it was, I knew it could only be George. He put his head on my right shoulder and gave me a cheeky grin and a sidelong glance. ‘What’s that under your nose, George?’ ‘It’s called a mustache.’ George put on a jokingly posh look and slowly brushed along his mustache with one finger. […] He pointed at his new fireplace. ‘Looks like a lot of work, doesn’t it? Look, there’s Krishna in the center.’ It seemed very important to George to have more and more symbols of Indian culture around him. While he stood next to me, with his long, full dark hair, the mustache and dark eyes sparkling with enthusiasm, he suddenly seemed like an Indian himself. He fully merged into this culture and way of life. George had found his path. […] George grabbed a paintbrush as well, and together with the Dutch gypsies we set to work on George’s fireplace.” - Klaus Voormann, translated from Warum spielst du Imagine nicht auf dem weißen Klavier, John? (2003) (x)

The thing about I'd have you anytime and behind that locked door is that both songs started with george trying to get to bob. He started I'd have you anytime with "let me in here, I know I've been here, let me into your heart" bc bob was distant in that trip to woodstock. Behind that locked door is an entire song with a similar idea but he also wants to show to bob that he is loved by everyone ("the love you are blessed with this/world is waiting for") and by george himself ("with only this short time/I'm gonna be here with you") and also how much george loves to listen to him ("and the tales you've told me/from the things that you saw/makes me want our your heart"). And then on the concert for bangladesh when bob goes there and play in the concert he is basically opening himself to that possibility, yknow??? And when George says "I'd like to bring an old friend of us all, Mr Bob Dylan" he is reinforcing those ideas he mentioned on behind that locked door, that Bob is loved by everyone, but he does it in a much bigger scale somehow