George Harrison & John Lennon At Treslong Studios In Hillegom, Netherlands | 5 June 1964 © Poppe De

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)

George Harrison and welsh singer Mary Hopkin - cca 1969

Why I’m obsessed with this scene from Get Back - Part 3:

A very human Paul McCartney being nervous and anxious about the progression of the project.

Paul’s only responding to John and discussing his worries with him and remains quiet while the others talk.

Several people trying to talk to John but his eyes constantly shift back to a silent Paul (of course the camera decides to zoom in on John’s face at that moment)

John’s attentiveness and trying to talk Paul through his worries.

George’s coat.

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

the fact he drops shit like this mid convos is so sexy

Bob Dylan & Joan Baez, 1964 © Daniel Kramer.

Another favourite moment from ‘Get Back’ is when George is complaining about delaying takes for ciggies, tea and wine so they immediately turned the recording light on him. He was ready tho.

George Harrison visiting Bob Dylan, Sara Lownds, and Robbie Robertson near Woodstock, NY (November of 1968). In Bob’s home, he and George wrote “I’d Have You Anytime”.

George on writing with Bob:

George “I liked ‘I’d Have You Anytime’ because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet, and he didn’t have much confidence. That’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with his kids all around, and we were just playing. It was near Thanksgiving. He sang me that song and he was very nervous and shy and he said 'What do you think about this song?’ And I felt strongly about Bob when I had been in India years before, the only record I took with me along with all my Indian records was Blonde on Blonde. I somehow got very close to him, you know, because he was so great, so heavy and observant about everything. And yet, to find him later very nervous and with no confidence. But the thing he said on Blonde on Blonde about what price you have to pay to get out of going through all things twice, 'Oh mama, can this really be the end.’ And I thought, 'Isn’t it great?’ because I know people are going to think, 'Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realise his own peace and it meant something. You know, he had always been so hard and I thought, 'A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience. I was saying to him, 'You write incredible lyrics,’ and he was saying, 'How do you write those tunes?’ So I was just showing him chords like crazy, and I was saying, 'Come on, write me some words,’ and he was scribbling words down and it just killed me because he had been doing all these sensational lyrics. And he wrote, 'All I have is yours, All you see is mine, And I’m glad to hold you in my arms, I’d have you anytime.’ The idea of Dylan writing something, like, so very simple, was amazing to me.”

(‘The Beatles: Off The Record 2 - The Dream is Over’, Keith Badman)

I’d Have You Anytime was started in Woodstock - I was invited by The Band. It was Thanksgiving time… I was hanging in his house, with him, Sara and his kids. He seemed very nervous and I felt a little uncomfortable - it seemed strange especially as he was in his own home. Anyway, on about the third day we got the guitars out and then things loosened up and I was saying to him 'Write me some words’, and thinking of all this: 'Johnnie’s in the basement, mixing up the medicine’, type of thing and he was saying 'Show me some chords. How do you get those tunes?’ I started playing chords, like major sevenths, diminisheds and augmenteds and the song appeared as I played the opening chord (G major 7th) and then moved the chords shape up the guitar neck (B flat Major 7th). The first thing I thought was: 'Let me in here/I know I’ve been here/Let me into your heart’. I was saying to Bob 'Come on, write some words’. He wrote the bridge: 'All I have is yours/All you see is mine/And I’m glad to hold you in my arms/I’d have you anytime.’ Beautiful. And that was that.

(‘I, Me, Mine’, George Harrison)

George Harrison being interviewed while at the Brazilian F1 Grand Prix in February 1979