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ЛЕНТА НОВОСТЕЙ ДЖОРДЖА ХАРРИСОНА (продолжение)

Goldenday: Материалы, новости и факты о Джордже Харрисоне

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Voldar: A блюрей то, говорят не настоящий.Наш коллега Джонии,в своем блоге написал,что ожидал гораздо большего по качеству от выпущенного концерта Для Джоржа. BLAH-RAY... Now, let me qualify this comment. I'm playing the Concert For George Blu-Ray on a standard low-to-mid-price Sony Blu-Ray player. Still, I'm expecting to be (even somewhat) wow-ed by the picture. I'm not. At all. Anyone else? http://unofficialjefflynne.blogspot.com/

Voldar: All Things Must Pass 40th Anniversary 3-LP Vinyl Collection GEORGE HARRISON’S ‘ALL THINGS MUST PASS’ REMASTERED AND RESTORED FOR LIMITED EDITION 3 LP VINYL COLLECTION COMMEMORATING ALBUM’S 40TH ANNIVERSARY Hollywood, California – October 18, 2010 – On Friday, November 26, George Harrison’s magnificent 1970 solo debut, All Things Must Pass, will be released in a limited edition, numbered 180-gram vinyl set in its original 3LP configuration, with faithfully replicated original monochromic album art, poster and lift-top box packaging. Newly remastered at Abbey Road Studios from the original analogue master tapes, the deluxe vinyl reissue commemorates the landmark album’s 40th anniversary and will be available exclusively at Record Store Day-participating independent music retailers across the U.S. All Things Must Pass will also be available internationally as a non-numbered limited edition 3LP boxed set. On the same date, the album will be available for download purchase in audiophile quality digital format (96Khz/24 bit) exclusively at www.georgeharrison.com. “George Harrison’s All Things Must Pass was a milestone release in 1970 and it ranks with record store owners as one of the best albums ever released,” said Michael Kurtz, co-founder of Record Store Day. “The organizers of Record Store Day could not be more thrilled to support the restored reissue 40 years later - almost to the exact day - of this majestic album.” Originally released November 27, 1970, All Things Must Pass is widely considered to be one of George Harrison’s finest albums. Co-produced by Harrison and Phil Spector, the album topped Billboard’s Top 200 chart for seven weeks and includes the international #1 smash single “My Sweet Lord” and its b-side "Isn't It a Pity," and the Top 10 hit “What Is Life.” All Things Must Pass features a broad spectrum of all-star guest musicians, including Ringo Starr, Eric Clapton and Billy Preston, among others. A third LP, a collection of five informal live studio recordings Harrison titled ‘Apple Jam,’ was added to the double album’s original package and is also included in the new 40th Anniversary Edition. All Things Must Pass (limited edition 3LP box) LP1 SIDE ONE 1. "I'd Have You Anytime" 2. "My Sweet Lord" 3. "Wah-Wah" 4. "Isn't It a Pity (Version 1)" SIDE TWO 1. "What Is Life" 2. "If Not For You" 3. "Behind That Locked Door" 4. "Let It Down" 5. "Run of the Mill" LP2 SIDE ONE 1. "Beware of Darkness" 2. "Apple Scruffs" 3. "Ballad of Sir Frankie Crisp (Let It Roll)" 4. "Awaiting On You All" 5. "All Things Must Pass" SIDE TWO 1. "I Dig Love" 2. "Art of Dying" 3. "Isn't It a Pity (Version 2)” 4. "Hear Me Lord" LP3 (‘Apple Jam’) SIDE ONE 1. "Out of the Blue" 2. "It's Johnny's Birthday" 3. "Plug Me In" SIDE TWO 1. "I Remember Jeep" 2. "Thanks for the Pepperoni" http://www.georgeharrison.com/#/news/archive/201010/all-things-must-pass-40th-anniversary-3-lp-vinyl-collection

Voldar: История о непростой судьбе одной из песен Джоржа. The Story of "In the First Place" by Martin Lewis BEATLE RARITIES AMONG HIGHLIGHTS OF SWINGING 60’S FILM FEST “AUSTIN POWERS” PHENOM POWERS SALUTE TO SHAG-A-DELIC FLIX A previously unknown 1967 song featuring George Harrison is among the many highlights of a major 10-day film festival saluting the exploding “Austin Powers” phenomenon. The festival - titled MODS & ROCKERS! Groovy Movies of the Shag-a-delic Sixties! - will be presented by the American Cinematheque in its new home at the restored landmark Egyptian Theatre in Hollywood starting Friday June 25. The festival - which showcases over 20 fun movies from the 1960’s - will be a delight to all fans of 60’s music - especially lovers of the Beatles. The newly-discovered George Harrison recording will be heard for the first time on a special Beatles night at the festival on Saturday June 26 - with the American premiere of a legendary British psychedelic movie from the 60’s - WONDERWALL which stars cult British actress Jane Birkin. The film was shot in 1967 by a London-based American director, Joe Massot, who was deeply entrenched in the Swingin’ London of the era. He had chosen the Beatles’ new favorite design team - a Sgt. Pepper-influenced Dutch collective known as “The Fool” - to create the ‘wonderwall’ of the film’s title. (The designers also made the very few clothes worn in the film by the nymph-like Jane Birkin!) In the fall of 1967 he was searching for the right musicians to create the soundtrack for his movie. The film’s production had created quite a buzz and several artists were vying for the opportunity. The Bee Gees (then riding the crest of the wave of their first hits) and a post-Hollies pre-CSN Graham Nash both made pitches to get the job. Around this time, Massot attended the now famous opening party for the Beatles’ Apple boutique, which featured clothes designed by “The Fool.” (The party was attended by all the Beatles, Stones, Eric Clapton and the cream of British rock society.) At the party he found himself in conversation with George Harrison. At this time Harrison was the only member of the Beatles who had not yet pursued a solo project. (Paul McCartney had scored the 1966 Hayley Mills movie The Family Way and was the principal directing force behind the Magical Mystery Tour film; in addition to writing two books, John Lennon had acted in Richard Lester’s 1967 movie How I Won The War; and Ringo Starr was preparing for his forthcoming acting roles in the movies Candy and The Magic Christian.) Harrison indicated that he wanted to find a creative outlet for his growing interest in Indian music. Massot offered Harrison the job of creating the Wonderwall soundtrack - and Harrison accepted. He immediately set about writing and recording music for the film. The resulting score was a groundbreaking blend of western and eastern music. Harrison crossed psychedelic rock with the Indian music which was his passion at the time. The Indian-flavored segments were recorded at EMI’s Bombay studios in January 1968 - at sessions which also produced the backing track for Harrison’s song The Inner Light - released as the ‘B’ side of the Lady Madonna single in March 1968. The western music was principally recorded in the same Abbey Road studio in which Harrison recorded with the Beatles. For his first album as a producer, Harrison tried out a formula which he reprised in 1971 for his debut solo album All Things Must Pass. (On that album he used Apple artists Badfinger as a basic house band - augmenting them with other musicians.) For his Wonderwall score he recruited the session services of a the musicians from a Liverpool group called The Remo Four. The band were primarily known as an excellent instrumental band and as a backing group for singers such as Tommy Quickly and Billy J. Kramer who (like them) were represented by Beatles manager Brian Epstein. Since the movie commission was for an instrumental score - their lack of major vocal talent was not an issue. (The Remo Four were available for the session work because they were, sadly, in the throes of breaking up. They had already been dropped by two labels which had become disillusioned with their lack of record success - and the group hadn’t had a record released since 1966. Subsequent to the Wonderwall sessions, two of the members of the group - Tony Ashton [keyboards] and Roy Dyke [drums] joined forces with bass player Kim Gardner and formed Ashton, Gardner & Dyke who had a Top 40 hit in the U.S. in 1971 with their single Resurrection Shuffle. [#3 in UK.] This came from their 1970 debut album The Worst Of Ashton, Gardner & Dyke - which featured guest guitar work by.... George Harrison - returning the favor of the Wonderwall sessions.) As with his later solo album, Harrison invited a few musicians to augment his basic session group. One of these musicians was his new pal, guitarist Eric Clapton. However, as was the case on the Beatles’ White Album later in 1968 - his contribution was uncredited. (Prior to 1969, name musicians were rarely permitted to perform on recordings issued by labels other than their own.) Though the album credits didn’t display it, subsequent rumors referred to the soundtrack sessions as having included a guitarist called Eddie Clayton - a well-known pseudonym used by Eric Clapton. Also contributing to the sessions - though uncredited for a different reason - were fellow Beatles Ringo Starr and John Lennon (who added rhythm guitar at one of the sessions.) Neither of the Beatles wanted the fact of their involvement to draw attention away from Harrison on his first solo project - and they eschewed any credit. (The 1992 Apple CD reissue of the album includes comprehensive liner notes by longtime Beatles/Apple publicist and Harrison friend/confidante Derek Taylor - in which he confirmed in print for the first time the uncredited participation of Eric Clapton, Ringo Starr “and others” in the Wonderwall sessions.) The completed film was first shown at the Cannes Film Festival on May 18, 1968 - at a screening attended by George & Pattie Harrison and Ringo & Maureen Starr. On November 1, 1968, (December 2, 1968 in US) Harrison’s much-praised score for the movie became the first album released on the Beatles’ new Apple label (receiving the UK catalog number Apcor 001) The album was well reviewed and a comparative success for an album of instrumental music from an as-yet-unseen film. It stayed on the Billboard album charts for 16 weeks - peaking at #49. The film - which was a heavily psychedelized impressionistic fable featuring the young Jane Birkin - premiered in London on January 20, 1969 - but it was not a commercial success and fell from distribution rapidly. It never secured release in the USA. With the passage of time and the subsequent backlash against 60’s psychedelia, the film became an obscurity, occasionally surfacing on TV as late-night filler. The film’s director Joe Massot went on to a variety of other projects - most notably directing the 1972 Led Zeppelin documentary The Song Remains The Same and 1981’s Dance Craze about the two-tone ska revival - featuring Madness and The Specials et al. Apart from the release of Harrison’s soundtrack album on CD in 1992 as part of a general Apple catalog reissue - the project attracted no further attention until 1995. That was the year that Noel Gallagher writer/guitarist of the band Oasis happened to see the film on one of its occasional middle-of-the-night TV airings and became fascinated with the movie and its music. His fascination led to him writing a song incorporating the film’s title. The next Oasis album - their breakthrough What’s The Story Morning Glory - featured the song called Wonderwall - and it became a worldwide hit single for the by now enormously popular Oasis. Once people realized the inspiration for the song - the success of the track sparked renewed interest in the original Wonderwall film. So director Joe Massot decided to bring his 1967 production out of mothballs and see if there might be some interest in reissuing the film. On viewing the movie some 30 years on, he felt that the film could be improved with some re-editing and restoration work. With the assistance of his eldest son Jason, an aspiring filmmaker, he started to re-edit the film and create a new ‘director’s cut.’ He also decided that he needed to restore the glory of the film’s original soundtrack which - conforming to the low-fi exhibition standards of the day - had been mixed in mono. Massot set about tracking down all the original elements of the soundtrack. Several masters were located in the tape libraries of Abbey Road Studios and EMI’s Bombay studios. However there were still some music cues missing. Massot decided to contact George Harrison to see if he could be of assistance. Harrison searched deep in his personal vaults and eventually located all the multi-track masters that he had created for the movie. He passed the tapes to Massot to be used for the soundtrack restoration. It was then that Joe Massot made his startling discovery.... The tapes contained most of the missing music cues. The Wonderwall tapes also included a hidden gem. Apparently Harrison had been working on a SONG for the movie - called "In the First Place". However since the commission had been for instrumental music and there seemed to be no obvious location for a song in the movie - he had not bothered to submit the track to the film’s director! The song was an extremely strong piece of psychedelic pop - in the style of the Beatles’ Blue Jay Way recorded by Harrison just weeks before the Wonderwall sessions. The atmospheric style perfectly matched the movie’s mood. Since he was in the process of re-editing the film, Massot felt that he could find a way to include this long-lost gem. In fact he wanted to use it as the film’s theme song. He approached Harrison with news of his discovery and his request. Wonderwall is apparently a project Harrison still feels great pride in. It was the first time that he was commissioned for a project as a creative person outside of the Beatles. Harrison considered the request - and he readily agreed to the use of his recording in the film. He even gave permission for the song to be commercially released as a single in conjunction with the reissue of Wonderwall. He sought just two minor conditions. Though the song was produced by him, clearly features his lead vocal, and is heavily influenced by his Blue Jay Way eastern/psychedelic style of composition and arrangement - he was not actually the song’s composer. It had been written by two of his session players for the Wonderwall soundtrack. The composers were Colin Manley and Tony Ashton - two members of the disintegrating Remo Four group. Harrison first of all wanted to be sure that his fellow Liverpudlian musician pals were properly credited for their composition - and that the song was not erroneously represented as having been his composition. (He acknowledged having been the sole producer of the recording - and agreed to accept the official credit as producer.) Secondly, Harrison did not want to be officially credited as the artist or as a vocalist on the record. The song had been written by two members of a group that was barely in existence at the time of the recording - and that had indeed officially disbanded shortly after the Wonderwall sessions. But the recording had included the instrumental playing of its four members. The group - though never commercially successfully - was a well-respected Liverpool group which had provided instrumental backing for many local artists. Harrison’s guest performance on the 1970 Ashton, Gardner & Dyke album attested to his affection for his ex-Remo Four musician pals. The shy and retiring “quiet Beatle” - Harrison requested that the track be officially credited as a performance by The Remo Four. At the time he took this decision, Harrison was also aware that none of the four members of the defunct group were in good financial health and that one of the song’s two composers - Colin Manley (who in recent years played with another old Liverpool group The Swingin’ Blue Jeans) - was also in poor physical health. In fact Manley died just a few months later. Close friends say that Harrison’s insistence on sole credit going to a forgotten and long unsung band of pals (and to not take any credit for his performance) is a typically generous gesture by the reclusive ex-Beatle. Ringo Starr and George Harrison biographer Alan Clayson (“George Harrison: The Quiet One”) - who is also acknowledged as one of the world’s leading author/historians on British beat music of the 60’s - states that at the time of the recording - the Remo Four had been without a record deal for two years. The group was primarily known as an instrumental backing group (most of their singles had been instrumentals.) They had spent much of 1967 playing live in Germany - where they had been experimenting with a new jazzy sound - quite unlike the progressive rock, psychedelia and eastern music styles which Harrison had been pursuing. The group’s subsequent breakup - with two members forming a ‘back-to-basics’ no-nonsense rockabilly trio (Ashton, Gardner & Dyke’s hit had been aptly titled Resurrection Shuffle) indicated that none of the group’s musical leanings were remotely in the same direction as those of Harrison. The track in question "In the First Place" sounds exactly as though it was a track from the Beatles’ Magical Mystery Tour - recorded just a few weeks earlier in September/October of 1967. Most particularly it has the same swirling eastern psychedelia found on Harrison’s song Blue Jay Way. Taking all these factors into account - his opinion is that it was highly unlikely that the song could have been recorded as a prospective track for a Remo Four release. Apart from their long-standing lack of a record deal and the imminence of their break-up - the very contemporary Beatlesque style and vocals would have been at complete odds with the very limited industry - or public expectation of a Remo Four record. Though they may not understand the reason for Harrison’s generous gesture to his old friends - fans of the Beatles and George Harrison are likely to agree with Clayson’s analysis of the music. They will simply be glad that the quiet Beatle agreed to allow this 31 year old gem hear the light of day. In the UK, Wonderwall film director Joe Massot is already selling the CD single (with a collector’s 7” vinyl single also available) through his Pilar Productions company via a website. Both configurations feature two versions of the song. The original 1967 Abbey Road mix - and the new mix prepared for the movie. Now Massot is looking for a US distributor to release his Wonderwall movie on home video and for a record company that might be interested in a 3-minute recording by a long-defunct Liverpool quartet.... The Mods & Rockers! film festival is co-created and produced by British humorist/Beatles historian Martin Lewis (a longtime Board member of the American Cinematheque). http://abbeyrd.best.vwh.net/wonderwall.htm

dmvitaly32: Collaborations Box Set (2010) Limited-Edition box set contains 3CDs & 1 DVD, and a 56-page book with exclusive photos, George and Ravi "In Their Own Words," and a foreword by Philip Glass. Also available as digital box set download, with digital book. 3 Remastered CDs in replica vinyl sleeves Chants Of India CD (1997) Music Festival From India CD (1976) Shankar Family & Friends CD (1974) Previously-Unreleased DVD Music Festival From India - Live at the Royal Albert Hall (1974) TRACKLIST 1. Vandanaa Trayee 2. Omkaaraaya Namaha 3. Vedic Chanting One 4. Asato Maa 5. Sahanaa Vavatu 6. Poornamadah 7. Gaayatri 8. Mahaa Mrityunjaya 9. Veenaa-Murali 10. Geetaa 11. Mangalam 12. Hari Om 13. Swara Mantra 14. Vedic Chanting Two 15. Prabhujee 16. Sarve Shaam 17. Vandana 18. Dhamar 19. Tarana 20. Chaturang 21. Raga Jait 22. Kajri 23. Bhajan 24. Naderdani 25. Dehati 26. I Am Missing You 27. Kahan gayelava shyam salone 28. Supane me aye preetam sainya 29. I Am Missing You (reprise) 30. Jaya Jagadish Hare 31. Overture 32. Festivity & Joy 33. Love Dance Ecstasy 34. Lust (Raga Chandrakauns) 35. Dispute & Violence 36. Disillusionment & Frustration 37. Despair & Sorrow (Raga Marwa) 38. Awakening 39. Peace & Hope (Raga Bhatiyar) http://www.georgeharrison.com/#/music/release/collaborations-box-set Вчера заказал - это издание, жду. Как получу - обязательно поделюсь со всеми.

Voldar: Вот спасибо.Издание конечно роскошное.

Voldar: Насчет этих песен прямо детективная история.

SLQ: George Harrison: Four “Lost” Songs Found on Reissued Album By: Roger Friedman in Music // October 26th, 2010 at 1:25 PM UTC George Harrison– the late Beatle, the composer of such superb songs as “Something,” “Here Comes the Sun,” and “All Things Must Pass”–still has a few gems out there. He has four “lost” songs on the newly reissued Apple Records album he recorded with R&B great Doris Troy in 1969. Troy’s album is one of several, all remastered, released yesterday from the Beatles’ label. Other gems in the collection include Badfinger‘s “Straight Up” and Billy Preston‘s “That’s the Way God Planned It.” While Billy went on to have hits like “Nothing from Nothing” and “Will it Go Round in Circles,” Troy wasn’t so lucky. Her one big hit, “Just One Look,” had come in 1963. Linda Ronstadt had a cover hit with it again in the mid – 1970s. Troy, who died in 2004 at age 67, can also be heard singing background on “Dark Side of the Moon.” She and her sister, the very much alive an active Vy Higgenson, had a major theatrical hit over the years with a touring musical called “Mama I Want to Sing.” If Troy’s Apple album had hit, it would have re-established her. Not only is Harrison on it and producing, but Eric Clapton and Ringo Starr are all over the tracks. The “lost’ Harrison songs are “Ain’t That Cute,” “Give Me Back My Dynamite,” “Gonna Get My Baby Back,” and “You Give Me Joy Joy.” Also on the album are a spectacular cover of “Get Back” as well as several original Troy numbers including the “What You Will Blues.” The album is good, it reminds me of Sam Moore’s “lost” 1972 Atlantic album, “Plenty Good Lovin’,” which was only released in 2004. As much as I admired Ahmet Ertegun, he wasn’t perfect. You wonder sometimes why he let some of his best artists languish, especially when he had the power to help them

Voldar: George Harrison - Paul Mccartney's Ghostly Shock Sir Paul McCartney once thought his dead mother was trying to contact him - but it was his Beatles bandmate George Harrison playing a prank. George Harrison once tricked Sir Paul McCartney into thinking he was his dead mother. The Beatles stars and their bandmate John Lennon were once trying to contact the dead through an Ouija board - a flat tablet featuring letters, numbers and other symbols, which ghostly spirits can supposedly control by directing a pointer to spell out words - when they thought they had made contact with the singer's mother, who had died a few years earlier. Paul explained: "We once did an Ouija board thing when we were kids. We weren't really into all that, but somebody said, 'let's do it', so we were touching the glass saying, 'OK, nobody push it, OK?' so then, suddenly, It's moving! "And it spells, 'congratulations... son' and we're going 'no!' and is spells 'congratulations... son...number...one...In NME'" Realising his mother wouldn't have known what the NME - a British music magazine - was, Paul said he knew someone was cheating. He added: "We were all, 'Oh, f**k off' and then there's George, you know, laughing - he's been pushing it all the time. Bad boy." Although there was no divine intervention in the Ouija board, George was, however, not wrong, and The Beatles went on to have 27 UK number one hits. http://www.contactmusic.com/news.nsf/story/paul-mccartneys-ghostly-shock_1178067

Voldar: Dave Stewart tweets unseen George Harrison picture, adds Lennon video In a Twitter post earlier this week, former Eurythmics member Dave Stewart sent out a previously unseen picture of George Harrison that he had taken. (You can see the picture at the link.) "Hey all Beatles Fans @thebeatles I just found this pic. I took of George while we were recording at my apartment in London. He was singing "This Guitar Can't Keep From Crying." Stewart also put up a video version of "Mind Games" on YouTube. (It's on the left.) He performed the song at the Imagine There's No Hunger benefit at the Hard Rock Cafe in Hollywood Tuesday. http://www.examiner.com/beatles-in-national/dave-stewart-tweets-unseen-george-harrison-picture

Voldar: Paul McCartney was fooled by George Harrison's Ouija board prank Paul McCartney revealed this week that his Beatles bandmate George Harrison once fooled him into believing he was talking to his mother (who died when he was 14). The 68-year-old told the press this week that he, Harrison and John Lennon once used a Ouija board where they seemed to come into contact with his deceased parent. "We once did an Ouija board thing when we were kids," McCartney confessed. "We weren't really into all that, but somebody said, 'Let's do it', so we were touching the glass saying, 'Okay, nobody push it, okay?' so then, suddenly, it's moving! "It spells, 'Congratulations... son' and we're going 'No!' and it spells 'Congratulations... son... number... one. In NME'." NME meant New Musical Express and McCartney instantly realized that his mother wouldn't have had a clue it was the top music magazine of the 1960's. He instantly realized it was a prank. "We were all, 'Oh, f**k off' and then there's George, you know, laughing - he's been pushing it all the time. Bad boy." http://www.irishcentral.com/story/ent/amyandrews_gossipgirl/paul-mccartney-was-fooled-by-george-harrisons-ouija-board-prank-106509268.html

Voldar: Plans for George Harrison Park ONE of Joburg’s historical landmarks, George Harrison Park, is set to undergo dramatic changes to preserve its heritage value. The park in Riverlea, on the corner of Main Reef Road and Nasrec Road, is the site of the first discovery of gold on the Witwatersrand Main Reef. Found by Harrison and George Walker, it was a moment that forever changed the destiny of the country. Harrison was awarded a Discoverer’s Claim for his part in the discovery. And now the park, named for Harrison, will undergo a dramatic upgrade befitting its important place in Joburg’s history. Taking place over five years, the changes will be part of the urban landscape, heritage and greening initiatives that have been undertaken by City Parks as part of its environmental and heritage conservation strategy. The area will be restored and developed. It eventually will have designated pathways surrounded by lush grass and trees; a small play area for children; a mining headgear and viewing deck; and a museum, showcasing the area’s historical value. This R5-million upgrade was the idea of Central Rand Gold (CRG), a company focused on gold prospecting and mining in the Central Rand Goldfield of South Africa. Its goal is to become a substantial gold producer. Between 1886 and early 1970, Central Rand Goldfield is estimated to have produced about 247 million ounces of gold. The traditional unit of weight for gold is the troy ounce and despite the gradual conversion to the metric system internationally, the troy ounce remains a traditional fixture of the gold trade. One troy ounce is equivalent to 31,1034807 grams. CRG initiated the park upgrade after it received complaints from residents about the park, which was in a poor condition. The changes will be a local economic development project from which communities can benefit, says Jenny Johnson, the environmental and tenement manager at CRG. She recalls that George Harrison Park was in total disrepair, even though City Parks mowed the lawn. Residents wanted to know if anything could be done to revive the space so that it could be used by the community. The upgrade had to tie in with what the local government was working on and so CRG approached City Parks with a view to working together. Johnson says: “CRG feels strongly about it [the upgrade initiative] to make it something residents can enjoy.” In the first step, CRG and City Parks signed a memorandum of understanding. It states that CRG will provide the funding for the project, amounting to R5-million over five years, which will only be used for achieving the objectives of the project. Origins While gold was discovered in March 1886 on what is today known as George Harrison Park in the western suburb of Riverlea, the area at the time was part of the farm, Langlaagte, another name synonymous with Joburg’s mining history. The old mine workings are still visible at the park. And it is still possible to go down them. However, they are closed to the public because of safety concerns. But still there is the sloping tunnel or inclined shaft that was the access to the underground workings. The shaft follows the dip of the reef. The rails were used to support the rock ship, a large container used to transport gold ore out of the mine, and the stacked pile of wood is a timber support used to stabilise the rock above from collapsing. The reef was one of the main gold-producing reefs mined on the Central Rand Goldfield; the reef conglomerate comprises several pebbly layers separated by sandy layers. The hard layered whitish rocks – quartzites – which lie above and below the Main Reef were once beach sand that was deposited in the sea. The cross-bedding in the rocks above the tunnel are of ancient sand deposits and ripples that were laid down under shallow water. To the north, across what is now Main Reef Road, was once one of Joburg’s first mining settlements, the Paarl camp, which was later called Paarlshoop. http://www.joburg.org.za/index.php?option=com_content&view=article&id=5900&catid=88&Itemid=266 P.S.Мне больше всего понравилось сокращенное название Йоханесбурга,очень похоже на наш Екатеринбург.

Voldar: На 29 ноября намечена церемония памяти около звезды Джоржа в ЛА. Hollywood ceremony to remember George Harrison On the ninth anniversary of his death, George Harrison's life will be celebrated at a "George Harrison Public Remembrance" from 6 to 8 p.m. Nov. 29 at his Hollywood Walk of Fame star located in front of the Capitol Records Tower Building at 750 N. Vine St. in Hollywood. Fans are invited to bring candles and flowers to place around his star. The annual public gathering is being sponsored by the Alliance for Survival peace group. http://www.examiner.com/beatles-in-national/hollywood-ceremony-to-remember-george-harrison

Goldenday: Voldar пишет: На 29 ноября намечена церемония памяти около звезды Джоржа в ЛА. Ну всё! Опять Джеффу будет не до студии

Voldar: Harrison’s ‘All Things Must Pass’ — live on stage next week Playing George Harrison’s triple album “All Things Must Pass” live is quite an ordeal. There’s the issue of multiple instruments — guitars, keys, bass players, strings, horns, auto harp, tambourines — to capture the wall of sound Phil Spector employed on the quiet Beatle’s first solo album. Then there’s the issue of expectations on hearing the beloved, critically hailed record live. But out of love for the 40-year-old LP and to mark the ninth anniversary of Harrison’s death from cancer, the Sunset Park-based orchestral pop collective Universal Thump is taking it on in its entirety at the Bell House on Nov. 29. “The first time I heard the record, I was completely stunned by how incredible it was.” said Greta Gertler, who heads up Universal Thump along with Adam Gold. “I love every minute of it.” Harrison recorded “All Things Must Pass” right after the Beatles’ breakup (hence the name). The guitarist had amassed material for a triple-album after years of being overshadowed by the likes of John Lennon and Paul McCartney. It remains the highest selling of any Beatle solo album. “There’s a lot of pressure to live up to everyone’s expectations of the album and their connection with it, so we’re staying as close to his aesthetic as possible,” said Gertler, who’s invited 16 vocalists to join them in performing the first two albums (there’ll be selections from the third instrumental record interspersed throughout the evening). Gertler got dibs to perform the tile track. “It’s one of the more gentle ballads,” said the singer, whose tribute concert also raises money for the George Harrison Fund for UNICEF. “There’s a lot of really big belting numbers, but my voice is better suited to a quieter one.” She’ll leave such numbers to acts like John Wesley Harding, who’ll sing on the amped up “Wah Wah.” “ ‘All Things Must Pass’ is one of my top 10 albums of all time,” said the Fort Greene-based musician. “I’m looking forward to being in the middle of that maelstrom of noise!” Among the other featured vocalists, Rick Moody will sing on the mournful, “Isn’t it a Pity”; Lee Feldman will lead on the psychedelic, “I Dig Love”; and Dayna Kurtz will croon on the country-esque “Behind that Locked Door.” There is also a surprise guest vocalist in store that night (though don’t expect either of the surviving Beatles to show up). “I tried to get in touch with Paul McCartney, but he didn’t get back to me,” said Gertler with a laugh. “He’s probably busy that night.” And no one reached out to Ringo Starr. http://www.brooklynpaper.com/stories/33/48/24_harrisontribute_2010_11_26_bk.html

Voldar: Вчера на RockFM в программе истоия вышла передача посвященная Джоржу.Послушать подкаст можно на битлсру. http://www.beatles.ru/news/news.asp?news_id=6445

Voldar: В ЛА у Джоржа и дерево своё есть... Remembering the quiet Beatle at the George Harrison Tree in Los Angeles It was nine years ago today that former Beatle George Harrison passed away from cancer on November 29, 2001. While many Beatles fans will gather at George Harrison's star on the Hollywood Walk of Fame to pay tribute, there is a quieter, more fitting place to remember the 'quiet' Beatle. Way up in the hills of Griffith Park in Los Angeles sits the George Harrison Tree, a Cayman Island Pine planted seven years ago in tribute to the ex-Beatle who prided himself as a gardener. The George Harrison tree was planted on the opposite end of the parking lot from the Griffith Park Observatory at the Mount Hollywood Hiking Trail. The tree was planted in February 2003 and the following year, on February 22, 2004, a dedication ceremony to unveil a special bronze plaque was held, as the city declared "George Harrison Day" that year in Los Angeles. At the 2004 dedication ceremony, friends and associates gathered to pay tribute to Harrison including singer Billy Preston, singer Jackie Lomax, Council member Tom LaBonge, Chris Carter, host of LA's "Breakfast with the Beatles" and Linda Arias, Olivia Harrison's sister, who read a message sent by Olivia thanking everyone for remembering her husband George. The bronze plaque placed in front of the George Harrison Tree features a lotus flower and reads: "In memory of a great humanitarian who touched the world as an artist, a musician and a gardener," followed by a quote from George Harrison: 'For the forest to be green, each tree must be green.' George Harrison (1943-2001) Beatles fans, Pat Tyson and Susan Hancock, who attended the dedication ceremony back in 2004 said that on that cloudy day, as soon as the plaque was unveiled, the sun magically came out, giving special meaning to Harrison's popular song, "Here Comes the Sun." In seven years, the tree, which sits at the base of Mount Hollywood in Griffith Park, has grown from the original 3 feet to over 10 feet now. http://www.examiner.com/celebrity-travel-in-national/remembering-the-quiet-beatle-at-the-george-harrison-tree-los-angeles-photos

Voldar: George Harrison Remembered in Cover Album George Harrison is being remembered in a special CD with 10 of his songs performed by other great musicians during the ninth anniversary of his passing. Harrison, who wrote some of the most endearing songs for the Beatles, was a guitarist in the band. He helped popularize Indian and other Eastern styles of music in the West after the group took a trip there. Many of his songs have an Eastern influence. The album released on Nov. 29. It features: While My Guitar Gently Weeps sung by Carlos Santana Long, Long, Long by Jim James Something by Frank Sinatra Here Comes the Sun by Richie Havens All Things Must Pass by Billy Preston Try Some, Buy Some by David Bowie Beware of Darkness by Leon Russell Taxman by Junior Parker Give Me Love by Dave Davies My Sweet Lord by Nina Simone http://www.thirdage.com/news/george-harrison-remembered-cover-album_11-30-2010

Voldar: Джорж оказывается не только с королевой встречался. George Harrison in the White House Billy Preston and George Harrison with Gerald Ford It was 1974, the year George Harrison released the "Dark Horse" album and was on tour in the U.S. On Dec. 13, he and a group that included Ravi Shankar and Billy Preston met President Gerald Ford at the White House. You can see some video footage of the meeting at the left. The inevitable question of whether the Beatles would get together again was asked. "I'm having more fun doing this sort of thing with Ravi and Billy and Tommy and I've never been so happy in all my life as with this band," he said. http://www.examiner.com/beatles-in-national/dec-13-1974-george-harrison-meets-a-president-rare-video

Voldar: У меня полное впечатление,что Игорь Наумов основательно взялся за треклист,который я отправил на СД.Вслед за Pretty Woman,он сделал передачу о My sweet Lord. My sweet Lord - 1 http://www.silver.ru/air/programmes/second-hand/issues/11773/

Goldenday: Приятно слышать

Voldar: UNICEF presents the Spirit of Compassion Award to Olivia Harrison UNICEF’s Spirit of Compassion Award recognizes individuals who have made exceptional contributions as philanthropists, advocates, and volunteers to advance the cause of children around the world. This year’s award was presented to Olivia Harrison for her commitment to UNICEF and to her family’s legacy of helping the children of Bangladesh. In 1971, George Harrison and Ravi Shankar organized the Concert for Bangladesh – the first benefit concert of its kind – and pulled together a star-studded cast of musicians including Bob Dylan, Eric Clapton, Ringo Starr, Billy Preston, and Leon Russell. The show, held at Madison Square Garden on August 1, alerted the world to the plight of the Bangladeshi people, who were suffering the simultaneous effects of floods, famine, and civil war. The Concert for Bangladesh was one of the most ambitious humanitarian efforts in music history, and focused global attention on the crisis in Bangladesh while raising awareness of UNICEF and its work in the developing world. In 2005, Olivia launched The George Harrison Fund for UNICEF, which continues to support UNICEF programs in Bangladesh, while extending its influence to include other countries where crises are putting children at risk. Most recently, The George Harrison Fund joined the U.S Fund for UNICEF and the Association of College Unions International to launch a fundraising challenge on college campuses across America. The Help Us Save Some Lives Campus Challenge mobilizes students to raise awareness and funds to save children around the world. Support The George Harrison Fund for UNICEF’s (http://www.unicefusa.org/news/news-from-the-field/the-george-harrison-fund-for-u.html) newest initiative – floating schools in Bangladesh – that allow children who are hard to reach and affected by seasonal flooding to continue attending school. Your contribution can help to build a child friendly school environment that includes IT facilities, a library, school supplies, first aid kits, bathroom facilities and a midday meal. http://www.georgeharrison.com/#/news/archive/201012/unicef-presents-spirit-compassion-award-olivia-harrison

Voldar: Rhino Home Video will release the 2BD (Blu-ray) set of Concert For George (2003) featuring George Harrison on February 22. http://musictap.com/

Goldenday: Хочешь-не хочешь, но просто вынуждают купить blu-реевский проигрыватель.

Voldar: К счастью цена на "голубых" несколько упала,да и для десктопов привода тоже подешевели.

Goldenday: Не хочется оффтопить, но как раз мысль крутится подарить сыну PS третью, а она как раз и блюрей поддерживает.

Voldar: Тоже вариант, будете резаться в рокбенд.

Voldar: George Harrison's beloved guitar is reborn as a replica When George Harrison played Liverpool's Cavern Club with The Beatles in the early '60s, he had a Gretsch Duo Jet in his hands. Now, Gretsch Guitars is putting a limited-run tribute model of the instrument Harrison described as his "first really decent guitar" into the hands of fans. Harrison played the Duo Jet, known for its trebly tone, on The Beatles' first album (called Meet the Beatles in the USA). It's also pictured on Harrison's 1987 Cloud Nine album. "I've never seen a more precise and detailed replica of any guitar in my life," says Harrison's son, Dhani. The tribute Duo Jets, limited to a run of 60, arrive in stores in May with a suggested retail price of $20,000. That's considerably more than the $210 merchant sailor Ivan Hayward paid for the original at Manny's Music during a late-'50s stopover in New York. "It didn't have a huge body, and you could get it flat into your body and move with it," says Hayward, now 74. "It was like the nearest thing to making love to a woman. That's what it meant in those days." Hayward kept the Duo Jet three years before selling it. Harrison recalled finding it through a newspaper ad, but Hayward says the young Beatle learned of it via word of mouth. Hayward remembers the teenage Harrison as "a bit rough" and wearing tight pants and a jacket made of black plastic. "It was hard to get leather in them days." Hayward wanted 90 pounds (about $255 at the time) for the guitar, but Harrison had just 70, "all crumpled, smelling, what you get paid when you go on gig, a handful of beer money," Hayward says. Harrison eventually took the guitar and left the 70 pounds and an IOU (a copy of which is included with the tribute guitar). Hayward later went to see Harrison's band play a local church dance, but they never talked again. (The debt has since been settled.) Gretsch Guitars product manager Joe Carducci says master luthier Stephen Stern re-created the guitar precisely, replicating the nicks and dings of a half-century's use, even using a CAT scan to determine the semi-hollow guitar's body-chambering style. The CAT scan also resolved a question about a flaw on the neck that resembles a crack. "The doctor zeroed in on it, like you would a human bone, and said if it was cracked we would see it; there was no fracture at all," Carducci says. "So that line, that finish flaw, is included in the reproduced guitar." http://www.usatoday.com/life/music/news/2011-01-10-harrisonguitar10_ST_N.htm

Voldar: The big picture: George Harrison and Pattie Boyd's honeymoon, Barbados, 1966 Photographs can arrest waves before they crash on the shore: they have the power to extract moments from the flow of time. Hence the attraction of happy snaps such as this one, which presents a honeymoon as the prolongation of playful childhood, not the start of adult life. It is a reminder of how infectiously boyish the Beatles were, before their protests against the Vietnam war and their blissed-out flirtation with eastern religion. They made a film, after all, in which they did nothing but run, jump, stand still and generally enjoy themselves. Pattie Boyd, a rock chick who later married Eric Clapton and was also fruitlessly wooed by Mick Jagger, seems to have been a playmate as much as a lover. She wanted a career as a model, and had the starved physique that was fashionable in the 60s, but she was tripped up by her rabbity front teeth, here seen poking through her lips. George asked her to marry him the moment they met; when she demurred he asked her out to dinner instead. On this beach in Barbados, they are not exactly trying out the copulatory callisthenics of the Kama Sutra. She bestraddles George's back like a papoose, and reads the contours of his face with her fingers as if she were a baby deciphering the world for the first time. He clearly relishes her touch, which is why he closes his eyes to isolate the sensation, but the entanglement of their limbs is unerotic, and he is rendered harmless by the woolly sweater that demurely covers his crotch. Together they make up a weirdly polymorphous sea creature, with as many tentacles as an octopus. The scene is happy because innocent, though maybe the surfy waves blab a more confidential story about the pair. Botticelli's newborn Venus floats on just such a bed of foam, which according to Greek myth was a spermatic froth left behind by the butchered testicles of a god. George lifts Pattie out of the wet mire, but his knees are mucky; they are honeymooning beside an ocean because that is the fertile source of life itself. There is a postscript. Another photograph of a married Beatle, taken in a colder climate during a more troubled decade, marks the end of the group's history: it is Annie Leibovitz's portrait of a naked John Lennon foetally curled around a fully clothed Yoko Ono, who – unlike the adoring Pattie, physically inseparable from George – lies back impassively on a bed and permits herself to be embraced. Hours after the session in their New York apartment in December 1980, Lennon was murdered on the street outside. Photography's preserved moments are precious because they are what remains when a marriage, or a life, is over. http://www.guardian.co.uk/theobserver/2011/jan/09/george-harrison-pattie-boyd-barbados

Voldar: Молодежь заценила Джоржа. Beatles notch 5 million iTunes sales; George Harrison song top Fabs download Apple Computer announced Friday that sales of the Beatles sold over 5 million songs and 1 million albums on iTunes since their debut in November. The Loop first revealed the numbers. The Beatles sold 450,000 albums and 2 million songs in mid-November the week of their debut on the service, and not surprisingly, the pace has slowed a little. In terms of top sellers, the most popular album has juggled back and forth a little since the first week. The current top-selling Beatles album is "The Beatles 1962-1966," followed by "Abbey Road", "The Beatles (White Album)," "The Beatles 1967-1970" and "Sgt. Pepper's Lonely Hearts Club Band. "Abbey Road" has been in and out of that top spot. The top selling song, though, has remained fairly consistent. It's not a Lennon-McCartney song as one might expect, but George Harrison's "Here Comes the Sun." The current top five selling songs when we checked Saturday were "Here Comes the Sun," "Let It Be," "Come Together," "Hey Jude" and "Yesterday." http://www.examiner.com/beatles-in-national/beatles-notch-5-million-itunes-george-harrison-song-top-fabs-download

Voldar: Harrison's sibling believes in Beatles Guitarist's elder sister to curate tribute Louise Harrison remembers the fall 1964 Beatles month-long tour of America, first-hand. "After a while, getting rushed from plane to limo to hotel in a mad turmoil, you have no idea what part of the planet you are on," laughed the eldest sister of Beatles lead guitarist George Harrison. The 80-year-old Louise Harrison, who has lived in America since 1963, helped promote the Beatles back in the early to mid '60s, and will be in Wichita Falls Tuesday promoting her Beatles tribute band, Liverpool Legends, on Channel 3 and Cumulus radio. Louise presently lives in Branson and is in the middle of writing a book about her life, The Beatles and her brother George, who passed away in 2001. She recently finished writing about a Beatles show in Boston in 1964, when she walked on stage and a number of fans approached her. "Some were crying, tears falling down their faces. Being the motherly kind, I asked, 'What's the matter, what is wrong?' and they said they were never going to get to see them again," she said. The teary-eyed fans just wanted to touch the stage where the guys had stood, she said. "It was at that point that I realized that there was a much deeper significance to The Beatles than people just appreciating a particular genre of music." Louise was 11 years older than George and was "like his other little mum" while they were growing up in Liverpool. But by the time he'd picked up his first guitar, she had already married a Scottish mining engineer and began a trek that took her to South America, Canada and then the U.S. She and her husband moved from Canada to Illinois in March 1963. During a break from a Beatles tour in Europe in 1963, George came to visit her in September in Illinois for several weeks. By that time, Louise has already begun promoting her brother's band at the request of their mother. Louise had learned the American entertainment business and began busily contacting radio stations to get the band's music played. That was in advance of the group's wildly successful Feb 9, 1964, debut appearance on the Ed Sullivan Show. Louise also was in touch with Beatles manager Brian Epstein "trying to fill him in about surviving in the U.S.," she laughed. One of the more misunderstood things about George's reputation, she explained, is him being known as the quiet Beatle. "George being quiet is a myth," she said. "When he came to do the Ed Sullivan Show, he had just come in from Paris and he had a 104-degree temp and terribly bad strep throat." The hotel doctor wanted Harrison to go to the hospital, and "and at that point, Brian Epstein just about had a conniption and said you can't let the press know there's anything wrong. "Since I was there and I was his sister I was pressed into service. Florence Nightingale I am not," she said. During the Beatles U.S. tours in 1964 and 1965, Louise did "Daily Beatles Reports" on major radio stations, and on stations in the cities a day or so before the band would arrive to play there. "I had the opportunity to dispel some of the crazy stories that were being written about The Beatles," she said. "The stations also realized that if they brought me in and did a radio program where fans called in and chatted with me the day before the concert, it kind of got them heavy ratings," she laughed. Years later, Louise is still enjoying being on the road to talk once again about George and The Beatles and also now about Beatles tribute band Liverpool Legends. One of the things she's really enjoyed about being around the Liverpool Legends since 2006 is they've allowed her to appreciate the music of The Beatles even more. "Even though I went to a lot of The Beatles' concerts, no one heard anything (back then) anyway," she laughed. http://www.timesrecordnews.com/news/2011/jan/18/harrisons-sibling-believesinbeatles/

SLQ: Meditation Lessons from George Harrison to You Meditation isn't something that has to happen while you're alone on a cushion in a perfectly silent room during your daily alloted 20 minutes. There are many meditation practices that can be integrated into your daily life. This not only has the effect of deepening the peace in your life, but it also extends the benefits of meditation to the world you interact with. How I came to find myself in Fiji in a small guest house built into a living baka banyon tree overlooking the reef on a coconut plantation owned by security expert Gavin de Becker and frequented by international celebrities, and how I eventually managed to drag myself away from this tropical paradise, is another story completely. But while I was there, I happened to meet George Harrison, a notable artist in his own right, and also one of the Beatles. George reminded me a lot of my late Uncle Peter, a sparring partner to boxing greats who passed through Denver. Though a fighter by occupation, Peter was the sweetest, gentlest soul I'd ever encountered. He was of Eastern European ancestry but grew up in a Hispanic area in the city and spoke kindly with a slight inner-city Spanish accent. An artist at heart, he boxed to support his fine art painting habit (oils, watercolors), and every year at Christmas he delivered a new box of crayons for me under the tree. Just that year, Peter's life, after many years of treatment, had succumbed to throat cancer, and coincidentally, George was just recovering from a surgery to treat his own throat cancer. Besides their cancer, the two shared a similar glimmer in the eye, a silly mischief barely hidden behind a straight face. They were onto some joke of the universe, the punchline of which, age appropriately, I still didn't get. Perhaps it was the similarity between George and Uncle Peter that helped us become fast friends. Or perhaps it was just the quiet charisma of George and the openness of the place we found ourselves in. George was the first meditator I'd met. I'd heard about meditation in books, but I had no idea what the word really meant. George asked me if I meditated, and I told him no, bashfully explaining that one day I planned on trying it. He told me it was simple, and he showed me his little hi-tech video camera. It was 1997, and digital effects on video cameras were really cutting edge at the time. Meditation can simply be a conscious shift of attention, George explained. George was practicing a meditation with no beginning and no end, consciously shifting his attention to beauty. What you give your attention to becomes the content of your mind and therefore influences your perception and experience of life. Whenever he noticed something beautiful, he gave it his attention. Instead of just a glimpse, he gazed. He used his camera to help him. Sitting on the sunny deck overlooking the reef, he showed me some of his footage: it began at his home in Hawaii, and the image was of two ukuleles he was in the process of re-upholstering in zebra print. One was for himself, and one was for Dhani, his son. Then the image cross-faded to a flower, a sunset, then a rainbow, a cloud drifting in a blue sky, a double rainbow, the sunrise, waves on a white sandy beach, the moon. His recording went on like that with images of beauty. I was surprised to find that I had difficulty giving my full attention to his montage of beauty. Thoughts of my problems and challenges tried to distract my attention away from this experience. It took effort and strength of will to remain focused on beauty. George explained to me, "What you focus on is what you hold in your consciousness. And so that is what you feel, and that is what you are." What you focus on grows in your experience, so you'll draw more of it to you. Certainly, I noticed that George was surrounded by beauty, including his wife, family and friends. And it wasn't that he denied the harshness of the world, either. On the contrary, he had several charities in place (which still exist as the Material World Charitable Foundation) making great efforts to help those in need. He carried with him proof pudding of his beautiful practice. Before this encounter, I'd not realized that I had control over what I felt or thought. I was completely reactionary to the world, a victim of my happy or sad circumstance. But this lesson helped me realize the power I have over my own state of being, and that I can be responsible for how I feel. Change the focus of your attention, change your world. It was such a simple lesson, but profound enough that it never left me. And what kind of person would I be if I kept it to myself forever? So I'm sharing it with you. You can try shifting the focus of your attention at any time, no matter where you are. Choose your theme: look for truth, beauty, abundance or love in the world you perceive, and then notice the change in your inner state as you move through life. You can even keep a video diary, like George did. http://www.huffingtonpost.com/olivia-rosewood/george-harrison-meditation_b_797406.html

Voldar: Embark on the Musical, Mystical Journey of George Harrison To celebrate the music and spiritualism of pop superstar George Harrison, Godfrey Townsend and other musicians from The Alan Parsons Project will join an ensemble of Indian Kirtan musicians to perform “Here Comes the Sun” – The Musical, Mystical Journey of George Harrison. This concert will take place at Hofstra University’s John Cranford Adams Playhouse, South Campus, on Friday, February 11, 2011 at 8 p.m. “Here Comes the Sun” uses music from The Beatles era, Indian Kirtan music and meditative chanting and power point technology to delve into Harrison’s spiritualism and humanitarian interests. The performance offers a fascinating look into the life and legacy of the music legend turned mystic, who passed away from cancer in November 2001. “Here Comes the Sun” has toured the country to sell-out crowds. Hofstra’s Hinduism instructor, Joshua M. Greene, will officiate the concert. Greene studied yoga with Harrison in the early 1970s. The concert is based on Greene’s bestselling biography “Here Comes the Sun,” and his narration through the show reveals Harrison’s trials and triumphs and his excursion into meditation and yoga. In addition to his duties at Hofstra, Greene teaches philosophy at Jivamukti Yoga School and Integral Yoga in Manhattan. Leading The Alan Parsons Project band is popular singer-guitarist Godfrey Townsend, who has performed with such rock greats as Jack Bruce from Cream and John Entwistle from The Who. The band also features Long Island musicians Tommy Williams and John Montagna on guitar, and Mike Bellusci on drums. http://media-newswire.com/release_1140072.html

Voldar: Вполне возможно,что 25 февраля,любимые нами музыканты появятся на Аллее славы в Голливуде около звезды Джоржа. George Harrison legacy to be celebrated in Hollywood on his birthday George Harrison will be remembered at the annual "George Harrison Public Birthday Celebration" from 6 to 8 p.m. Feb. 25 at his Hollywood Walk of Fame Star at 1750 N. Vine Street, in front of the Capitol Records Tower in Hollywood. Admission is free. Fans are invited to bring birthday cupcakes to share and flowers and candles to place at his star. Musicians are also encouraged to bring guitars and instruments and perform Harrison and Beatles tunes. http://www.examiner.com/beatles-in-national/george-harrison-legacy-to-be-celebrated-hollywood-on-his-birthday

Voldar: Remembering George Harrison -- lousy movie with great Harrison music A movie with Madonna and Sean Penn in 1986 should have been gold. But thanks to the two temperments of the stars and a terrible script, "Shanghai Surprise" became a public relations disaster for George Harrison's HandMade Films. But there was one good thing -- George contributed music that included a wonderful theme song. A proposed soundtrack album was never issued. Still, there's this great theme. Here's a video of George recording the song. http://www.examiner.com/beatles-in-national/remember-george-harrison-the-all-star-jam-of-all-time

Voldar: Remembering George Harrison -- the 'Smothers Brothers' surprise George Harrison makes a surprise appearance on "The Smothers Brothers Comedy Hour." Originally broadcast on November 17, 1968. http://www.examiner.com/beatles-in-national/remembering-george-harrison-the-smothers-brothers-surprise

Voldar: Remembering George Harrison - 'Ain't She Sweet' Actually, this is the Threetles during the "Beatles Anthology" taping in June, 1994 with "Ain't She Sweet." John Lennon sang the song in earlier times, but here's it's Paul, George (on his ukelele) and Ringo. The Beatles were always full of love and even here, in 1994, it was still there. Ain't it sweet? Paul and George perform Milton Ager and Jack Yellen 1927 song Ain't she sweet. George plays ukulele. From Beatles Anthology DVD. "Ain't She Sweet" is a song composed by Milton Ager and Jack Yellen in 1927. It became popular in the first half of the twentieth century, one of the smash hit songs that typified the Roaring Twenties. Like "Happy Days Are Here Again" (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were elected to membership in the Songwriters Hall of Fame. Lyrics "Oh ain't she sweet, well see her walking down that street. Yes I ask you very confidentially: ain't she sweet? Oh ain't she nice, well look her over once or twice. Yes I ask you very confidentially: ain't she nice? Just cast an eye in her direction. Oh me oh my, ain't that perfection? Oh I repeat, well don't you think that's kind of neat? Yes I ask you very confidentially: ain't she sweet?". Milton Ager wrote "Ain't She Sweet" for his daughter Shana Ager, who later grew up and became Shana Alexander, who was on television and on radio as a political commentator. http://www.examiner.com/beatles-in-national/remembering-george-harrison-ain-t-she-sweet

Voldar: Tribute to George Harrison Concert Partners with the Caring Community Foundation Triangle - CARY, NC – More than 40 local musicians will “Come Together” on Saturday, February 26 at the Cat’s Cradle in Carrboro to perform If Not For You – A 40th Anniversary Celebration of George Harrison’s All Things Must Pass album. The event organizers have selected the Caring Community Foundation as the beneficiary of all proceeds. The Caring Community Foundation, Inc. is a 501(c)(3) charitable organization that provides financial support to cancer patients in need. Working with Triangle-area clinics and hospitals, the Foundation identifies patients with financial challenges and expeditiously provides assistance with expenses such as rent, utilities, food, prescription medications, nutritional supplements and other items that become even more difficult to manage in the face of cancer treatment. The Caring Community Foundation was created by a cancer survivor from Cary, whose family, friends, co-workers, and neighbors came together to support her during nine months of intensive cancer treatment. The Foundation was generated with the idea that those who receive help have an opportunity one day to “Pay It Forward” and help others. The very people who helped this young Cary mother get beyond cancer now form the volunteer base of The Caring Community Foundation. The George Harrison All Things Must Pass Concert is one of many fun-filled events that take place throughout the year to raise funds to help cancer patients. Donations to the Foundation are tax deductible and all donations by individuals go directly to the Foundation’s patient assistance programs. For more information on the Caring Community Foundation, visit www.caringcommunityfoundation.org. Make plans now to attend this outstanding musical performance. Tickets are $10.00 in advance; doors open at 8:00 pm. Visit www.catscradle.com to purchase tickets; visit www.ifnotforyou.org for more information on this concert event. http://triangle.dbusinessnews.com/shownews.php?articletitle=Tribute%20to%20George%20Harrison%20Concert%20Partners%20with%20the%20Caring%20Community%20Foundation&newsid=228374&type_news=past&s=sbdb

Voldar: В The Top Ten Beatles Songs of All Time от журнала Rolling Stone вошли две песни Джоржа: #6: "Something" #10: "While My Guitar Gently Weeps" остальные можно посмотреть здесь -http://www.rollingstone.com/music/photos/the-top-ten-beatles-songs-of-all-time-20100822/10-while-my-guitar-gently-weeps-35576434

Goldenday: Песни, естественно, прекрасные, но удивляет, что выбраны практически одни баллады, написанные в миноре. Если не знать творчества группы, может сложиться ощущение, что битлы писали одни медляки.

Voldar: Выбор этого журнала вообще чудаковатый,на мой взгляд.Не стоит забывать,что в их топ 500 не попало ни одной работы Джеффа.

Goldenday: Voldar пишет: в их топ 500 не попало ни одной работы Джеффа. Да, это сильно. А у Тома или Роя что-нибудь попало? Постой, дай-ка я попробую угадать: 'American Girl', 'Crying' или может 'Pretty Woman' ?

Voldar: Кроме Джеффа все подельники наши есть. http://www.metrolyrics.com/rs

Goldenday: Voldar пишет: Кроме Джеффа все подельники наши есть. Офигеваю просто! Не то, что подельники - там вообще практически все, кого я знаю, включая самое меньшее по одному лучшему хиту от Юритмикс, Депеш Мод, Юту, АВВА, Чип Трик и т.д. Такое ощущение, что ELO какой-то чиновник просто забыл впечатать. Позор джунглям!!! Как минимум избранный гимном 'Mr Blue Sky' просто обязан быть в этом списке.

Voldar: Ну я тоже не пойму ,чем им Джефф не вышел,то ли очками,то ли шевелюрой.

Борис: Voldar пишет: Ну я тоже не пойму ,чем им Джефф не вышел,то ли очками,то ли шевелюрой. Такие события означают всеамериканский заговор против Линна. Чем он не угодил американцам, мы вряд ли когда-то узнаем. А начало положено в 2001г. С этого времени не спроста концерты прекратились.

Goldenday: Стабильные концерты, если смотреть совсем объективно, прекратились заканчивая 1986-м годом. Пара концертов к единственному за 25 лет (на данный момент) альбому 2001-года - счастливое для нас исключение.

Voldar: 25.02.11. Концерты. Москва. Клуб "Демократия". День Рождения Джорджа Харрисона БитлоДамы и БитлоГоспода! Битлоуважаемая, битлоудивительная публика! Неслучайно – очередной сбор битлолюбивой общественности назначен на 25 февраля 2011 года - День Рождения Джорджа Харрисона В клубе «Демократия» на Цветном бульваре (здание киноконцертного зала «Мир»). Предстоящее действо будет одновременно и первым Pre party XV ежегодно-ежеводно-ежекрышного фестиваля «Улицы Яблочных Лет », который состоится на стыке весны и лета 2011 года, проводится компанией «Репей» совместно с Beatles.ru и Beatlesclub и давно полюбился битломанкам и битломанам. Обладатели билетов на все запланированные Pre party получат фестивальные места со скидкой. Программа предстоящего праздника: * Оптимальный Вариант. Легендарная московская группа, битлоидеинесущая со дня своего основания. Харрисоновско-рок-н-ролльно-яблочная программа. www.optimalvariant.ru ,http://vkontakte.ru/groups.php * Квинт-Ю. Главные претенденты на звание лучшей девичьей битлз-трибьют группы России. Харрисоновско-битловская программа.http://vkontakte.ru/club2371790 * Orange Keepers. Прогрессивная, вдумчивая world music группа. Специальная программа только композиций Джорджа Харрисона в рамках проекта Folkplus.http://vkontakte.ru/club23572513,http://vkontakte.ru/club18114537 25 февраля 2011 года, клуб «Демократия». Адрес - Цветной бульвар, 11, стр.2, тел.: 762-69-80, 624-6638 Сбор гостей – 19-30. Вход – 350 руб., по картам Beatles.ru и Beatlesclub – 300 руб. Встреча вконтактеhttp://vkontakte.ru/event23777998 http://www.beatles.ru/news/announce.asp?id=2824

Goldenday: Счастливые! А я вот что-то в этом году у нас не нашёл ничего...

Voldar: Celebrate the Life and Music of George Harrison 25 февраля с сайта Джоржа будет производиться онлайн трансляция CONCERT FOR GEORGE. http://www.georgeharrison.com/

Daria: ой и Петтичку видно :) к сожалению, мой интернет был слишком медленным для такого события, так что я пропустила все.

Voldar: Roberta Flack celebrates George Harrison Roberta Flack was 27 when the Beatles released their first album in the United States. Then, in the same year that Flack released her debut album, “First Take,” the Beatles put out “Abbey Road.” It would be hard for any musician of that era not to have been influenced by the Fab Four, and Flack, now 74, certainly picked up something from the quartet. These days, she’s putting her own spin on the Beatles’ catalog, readying a cover album and performing at the New York Celebrates George Harrison Concert the day after the late Beatle’s birthday, February 26. amNY spoke with Flack about cover songs and her own songs being covered: Why the Beatles? While I was working during the day and moonlighting in clubs, the songs I was hearing were “Yesterday” and “Something.” So it was natural to be singing these during that time. As someone who has been covered before, how do you approach covering other artists’ work? I approach it by being totally honest. I love stories in songs with a beginning, middle and end. I love it when they’re simple and direct. How did George Harrison’s work, with the Beatles and solo, differ from that of his bandmates? George Harrison was determined to be an Indian mystic. He felt really strongly about that side of himself, and a lot of his songs have a scale that is traditionally Indian. It’s been 15 years since the Fugees released “The Score,” which featured their take on “Killing Me Softly.” With that much time having passed, what kind of lasting impact did their cover have on you? It didn’t change much for me. What it did was make people buy my albums, which is something. But it’s such a great album. And if they had done it like I had, it wouldn’t have worked. But they added that hip-hop beat and the “one time, two times,” and it tapped into that bigger heartbeat. http://www.amny.com/urbanite-1.812039/roberta-flack-celebrates-george-harrison-1.2708307

Voldar: INTERVIEW: Louise Harrison helps keep brother George's legacy alive It's been a long and winding road for Louise Harrison, sister to Beatle George Harrison. She'll turn 80 in August. And she hasn't stopped. She's currently writing her memoirs, which she says will reveal a lot of details about the Beatles' rise to fame that haven't been available before. "It will basically tell what my life's been like, and include all the parts of it where I was involved with my brother," she told us in a recent phone interview. "And I'd also like for the first time to have people know publicly that I was totally involved for that whole first year in 1963 in talking to Brian and George Martin and Dick James and Capitol Records and everything and working very very hard to get them established in the United States. That's something that nobody knows about. It's about time the people at Apple were aware that I was part of the team before my brother and the Beatles had any assets to protect." She says there are things her brother didn't even know. "I never ever told George about it because I was afraid if it didn't work, I didn't want to disappoint him. But I worked really hard with Brian Epstein. I was writing to him just about every week. I was researching all the magazines over here and everything and going to all the radio stations trying to get them played, reporting back to Brian on this whole payola thing that was going on over here in those days. And all of that kind of thing." She currently works with the Beatles tribute group Liverpool Legends, who put on shows in Branson, Mo. at the Mansion Theatre. It's something she's very proud of. "People who come out at the end of the show say to me, "This is the best show I've ever seen. And these are people that go to Vegas and Broadway and everywhere. You know, we're really doing something right." She says she does a segment in the show concentrating on George's music. "One of the things that I have done in our show when I go talk to the audience is just before the end of the intermission I sometimes do an audio version of his lyrics. And one of the things that I worked in at high school and college was dramatic speaking. And so, I will read the words of his songs. I'll say, 'Life goes within you and without you' and really expressing what he's trying to say in a way that people can understand what his lyrics are all about. I'm going to do be doing a whole chapter (in the book) on some of what George was really talking about in some of his songs, which sometimes has been misunderstood." Beatle fans come from all walks of life. They even include U.S. presidents. One is President Bill Clinton. "President Clinton, I've known him and met him several times," Louise says."I actually first met him when my brother died and I was in New York doing a TV show. And he called me at the studio and invited me to his office in Harlem to offer his condolensces. He was really very nice and we had a good talk. I've always been a great admirer of his." Clinton's library and museum in Little Rock, Ark., also has a nice piece of Beatles memorabilia -- a copy of "Meet the Beatles" autographed by all four members on loan from Louise. Another fan is President Barack Obama. "I met him when he was running for senator and I was invited to speak at a gathering in Mount Vernon. And after I'd given my little chat to the people, the mayor of Mount Vernon came over to me with this young fellow. And he said, 'Here's somebody that would like to have his picture taken with you. He's a big Beatle fan.' That's how I got my picture taken with Barack Obama. Not that I was trying to have my picture taken with the president, but the other way around." She says George's music is resonating more than ever. "I can still listen to it over and over and never tired of. What he was trying to say. I remember one time it was around about 'Gone Troppo' or 'Extra Texture.' They weren't selling very well. But he had some songs on them that were really really remarkably insightful. And I can remember talking to him on the phone and saying, 'Hey, you know, it's such a pity they're not selling as well because you're really making some wonderful comments that people really need to hear.' And he said to me, 'Well, as long as one person understands what I'm saying, it's worth doing." And that was his attitude. So long as one or two people understand what you're trying to do, it's worth doing." Harrison and the Liverpool Legends have a sold-out show tonight in Joplin, Mo., the night of George's birthday. They have a one-week engagement at the Mansion Theatre in Branson starting March 15, then return for their regular engagement starting April 19. And Harrison says a big birthday party is planned for her at the Mansion in Branson when she turns 80 in August. http://www.examiner.com/beatles-in-national/special-louise-harrison-helps-keep-brother-george-s-legacy-alive

Voldar: Happy Birthday George Harrison 2011 The weather was wet in Los Angeles Friday night, but that didn't stop George Harrison fans from joining at his Hollywood Walk of Fame star for a 68th birthday tribute to the late Beatle. Organizer Jerry Rubin told us, "About two dozen George Harrison fans braved the rain to celebrate his 68th. Everyone had a fantastic time. Cake, music, poetry, and a closing circle of peace around George's Hollywood Walk of Fame Star as "Here Comes the Sun" played through the cold and wet, but inspirational evening."

Voldar: Producer says soundtrack for Scorsese George Harrison doc nearly finished The latest podcast of Geoff Lloyd's Hometime Show on Absolute Radio in the UK featured a 10-minute segment taped at Abbey Road Studios with Giles Martin, son of Beatles producer Sir George Martin. Martin discussed some of his past projects and current ones. He called working with the Beatles Rock Band game "great fun" and "a great experience." "The weird thing about it was we spent years making sure every single track in the 'Rock Band' game sounding perfect and how exactly it did on record by it. It's a very complicated thing to do. And the weird thing is working in the video game industry anything you do is gone within two months. I went from working from working with Cirque du Soleil and feeling like a nerd because they're all athletes and acrobats to working with computer games people where I suddenly became Adonis," he said. Lloyd asked Martin if working so closely with the Beatles recordings as he has make it impossible to hear them in the same way again. "The way I listen to a Beatles track on the radio I really enjoy it. I've done a lot of hours work on Beatles and there's no better band to work on for a lot of hours." Martin said he's currently working on the soundtrack for the George Harrison Martin Scorsese documentary. "I'm currently working on that, which we're just finishing up, which is really good, really interesting," he told Lloyd. "Music's always been a big part of his (Scorsese) films and he's incredibly precise about what he wants. At the same time, I have to be precise how the Beatles' music should be in 5.1. It's been really good fun." He also said he's working on music for a Cirque du Soleil show about Michael Jackson. Martin called Abbey Road "the best studio in the world" and says he has his own private area in which to work. He also revealed his favorite biscuit is Chocolate Olivers, which his father brought to a Beatles recording sessions. He said John Lennon liked them so much he bought cases of them. http://www.examiner.com/beatles-in-national/giles-martin-says-soundtrack-for-scorsese-george-harrison-documentary-almost-fin-1

Voldar: Вдова Джорджа Харрисона посетила Бангладеш Президент и генеральный директор американского фонда UNICEF Кэрил Стэрн посетила Бангладеш вместе с Оливией Харрисон, вдовой Джорджа Харрисона. "Заканчивается второй день моего пребывания в Бангладеш, и мне очень хочется поделиться своими чувствами и переживаниями" - пишет она в своём письме. Джорджа Харрисона любят здесь, и приезд Оливии расценивается как приезд самого Джорджа. "День для меня начался в местном офисе UNICEF, сотрудники которого достаточно взрослые и помнят концерт Джорджа для Бангладеш." Они выразили свою благодарность Оливии, и та не сдержала слёз. "Что касается детей и подростков, то они тоже помнят Джорджа. Я посетила Центр поддержки беспризорных детей. Дети от 8 до 18 лет приходят в центр, потому что у них нет дома, и им негде переночевать. Здесь они получают образование, навыки для какой-либо профессии, а также отдыхают, например играют на инструментах или танцуют. Старшие помогают младшим, и всё у них хорошо! Они спели для нас. Когда они пели "We shall Overcome", я снова не смогла сдержать слёз", - рассказывает Оливия. А вот что сказала президент фонда: "Для нас Джордж Харрисон - легендарный Битл и благотворитель, так как он использовал свой талант ради пользы других людей. Но мы должны понимать, что для Оливии он прежде всего любимый муж. Это противоречивая поездка. С одной стороны Оливия вновь ощутила гордость за своего великого мужа, с другой, опять почувствовала, как ей его не хватает". Джордж Харрисон организовал один из первых в истории человечества благотворительных концертов. Этот концерт был в 1971 году. Деньги, полученные от концерта, пошли на восстановление пострадавшего от циклона Бангладеш. Жители этой страны до сих пор помнят этот поступок Джорджа, вот почему они так тепло встретили Оливию. http://www.beatles.ru/news/news.asp?news_id=6697

Voldar: 'Concert For George' Blu-ray to include new bonus track, limited deluxe bundle The Blu-ray version of "Concert For George," is coming March 22 -- and with a new bonus track not included in the original DVD. The two-disc Blu-ray set will include the complete concert on the first disc and the original theatrical version featuring concert highlights, interviews with the performers, rehearsals and behind-the-scenes footage on the second disc, as the original DVD did. But also included on that disc will be a previously unreleased interview segment, "Drummers," featuring Ringo Starr, Jim Keltner and Ray Cooper. In addition to the Blu-ray DVD, the film will also be available that day on digital download. The George Harrison website is also offering a special limited edition deluxe package for $59.99 (£36.99 UK) that will include a t-shirt and the original concert program in addition to the DVD. The concert, held at London's Royal Albert Hall on Nov. 29, 2002, a year to the day after the passing of George Harrison, was organized by Olivia Harrison and Eric Clapton, who also acted as music director. Performers included Jools Holland, Jeff Lynne, Paul McCartney, Monty Python, Tom Petty, Joe Brown, Billy Preston, Ravi and Anoushka Shankar, Ringo Starr and Dhani Harrison. The original DVD of the film, directed by David Leland, won a 2004 Grammy® Award for Best Long Form Music Video. CONCERT FOR GEORGE Track Listing 1. Your Eyes - Anoushka Shankar 2. The Inner Light - Jeff Lynne & Anoushka Shankar 3. Arpan - Conducted by Anoushka Shankar 4. Sit On My Face – Monty Python 5. The Lumberjack Song – Monty Python with Tom Hanks 6. I Want To Tell You - Jeff Lynne 7. If I Needed Someone - Eric Clapton 8. Old Brown Shoe - Gary Brooker 9. Give Me Love - Jeff Lynne 10. Beware Of Darkness - Eric Clapton 11. Here Comes The Sun - Joe Brown 12. That’s The Way It Goes - Joe Brown 13. Horse To The Water – Sam Brown 14. Taxman - Tom Petty and the Heartbreakers 15. I Need You - Tom Petty and the Heartbreakers 16. Handle With Care - Tom Petty and the Heartbreakers with Jeff Lynne & Dhani Harrison 17. Isn’t It A Pity - Billy Preston 18. Photograph - Ringo Starr 19. Honey Don’t - Ringo Starr 20. For You Blue - Paul McCartney 21. Something - Paul McCartney & Eric Clapton 22. All Things Must Pass - Paul McCartney 23. While My Guitar Gently Weeps - Paul McCartney & Eric Clapton 24. My Sweet Lord - Billy Preston 25. Wah Wah - Eric Clapton & Band 26. I’ll See You In My Dreams - Joe Brown http://www.examiner.com/beatles-in-national/concert-for-george

Борис: The Blu-ray version of "Concert For George вышел или только планируется?

Voldar: Должен был выйти 22 февраля,на нашем форуме ,мне кажется мы первые об этом сообщили ,не считая издателя

Goldenday: Круто!!! А что за бонус-трек?

Voldar: But also included on that disc will be a previously unreleased interview segment, "Drummers," featuring Ringo Starr, Jim Keltner and Ray Cooper.

Goldenday: Да, я прочёл изначально про интервью, но думал, что в бонусе речь идёт ещё о полноценной песне

Voldar: Здесь обломали.Наверно надо по новой концерт отыграть.

Борис: Что за обломы пошли? Юбилейный концерт Горбачева вроде тоже не состоялся?

Voldar: Облом с бонусом заключается в том,что будет добавлено просто интервью с барабанщиками Ringo Starr, Jim Keltner and Ray Cooper,а хотелось бы конечно какую-нибудь музыку послушать.С юбилеем Горби обломали по полной,а сколько шума было.

Voldar: Bob Dylan recording, and cover, included on Starbucks '40th Anniversary' 2CD set A Bob Dylan master recording, and a well-known cover version of one of his songs, are two of the 40 tracks included on a new 2 CD compilation. Dylan's "Visions Of Johanna", as well as fellow Wilbury George Harrison's cover of the 1970 tune "If Not For You", are featured on Starbucks 40 - A 40th Anniversary Collection by Starbucks Entertainment. The collection - "Forty of our favorite selections that capture the essence of the coffeehouse sound" - is available from the Starbucks Store website. Dylan has previously sanctioned two exclusive releases via Starbucks. A truncated, 10 track version of Bob Dylan: Live at the Gaslight 1962 was released in 2005, and Artist's Choice - The Music That Matters To Him', a hand-picked collection of mostly early blues, country, jazz and R&B sides, saw the light of day a few years later. Here's the complete track listing of the new compilation (Note the first three artists on disc two): Disc One 1. Satin Doll - Duke Ellington 2. Lover Man (Oh, Where Can You Be) - Billie Holiday 3. Just You, Just Me - Nat King Cole 4. In the Still of the Night - Ella Fitzgerald 5. A Kiss to Build a Dream On - Louis Armstrong 6. Fever - Pegge Lee 7. Busted - Ray Charles 8. Bring It On Home to Me - Sam Cooke 9. Bumpin' on Sunset - Wes Montgomery 10. Memories Are Made of This - Dean Martin 11. Summer Wind - Frank Sinatra (Featured on the very first episode of Theme Time Radio Hour). 12. Visions of Johanna - Bob Dylan 13. (You Make Me Feel Like) A Natural Woman - Aretha Franklin 14. Inner City Blues (Make Me Wanna Holler) - Marvin Gaye 15. Peace Like a River - Paul Simon 16. Lively Up Yourself - Bob Marley and The Wailers 17. Constant Craving - K.D. Lang 18. Beyond Belief - Elvis Costello & The Attractions 19. Building a Mystery - Sarah McLachlan 20. Cantaloop (Flip Fantasia) - Us3 featuring Rahsaan and Gerard Presencer Disc 2 1. Woman - John Lennon 2. Every Night - Paul McCartney 3. If Not for You - George Harrison 4. Chan Chan - Buena Vista Social Club 5. New Slang - The Shins 6. Lonestar - Norah Jones 7. How to Fight Loneliness - Wilco 8. Gotta Get Back - Shelby Lynne 9. 9 Crimes - Damien Rice 10. Don't Wait Too Long - Madeleine Peyroux 11. Lost Cause - Beck 12. Put Your Records On - Corinne Bailey Rae 13. Please Read the Letter - Robert Plant & Alison Krauss 14. I Feel It All - Feist 15. Blue Ridge Mountains - Fleet Foxes 16. Don't Forget Me - Neko Case 17. History of Lovers - Calexico and Iron & Wine 18. The Clockwise Witness - DeVotchKa 19. For Emma - Bon Iver 20. Doesn't Mean Anything - Alicia Keys http://www.examiner.com/bob-dylan-in-national/bob-dylan-recording-and-cover-included-on-starbucks-40th-anniversary-cds

Voldar: Pattie Boyd, ex-wife of George Harrison, brings photo exhibit to Catalina Island Pattie Boyd, the British model and photographer who was the focus of several love songs written by her rock star husbands, is bringing her famous photographs to Catalina Island this spring. Yesterday and Today: The Beatles and Eric Clapton as Photographed by Pattie Boyd will open on May 7 and run through July 31 at the Catalina Island Museum. This special exhibition organized by Ms. Boyd features over 50 photographs of The Beatles as well as ex-husbands, George Harrison and Eric Clapton. Pattie Boyd met George Harrison on the set of A Hard Day's Night in 1964 and they were married in 1966. After her separation from Harrison in 1974, she married Eric Clapton. Pattie was the inspiration for the songs "Something", "Layla" and "Wonderful Tonight". Santa Catalina Island is a small island off the coast of California about 25 miles southwest from Los Angeles. The Catalina Island Museum, located at Avalon's Casino, has just finished a renovation. The museum reopened in February. Pattie Boyd will appear at the museum on July 2 from 7 to 9 pm to sign copies of her best-selling memoir, Wonderful Tonight: George Harrison, Eric Clapton and Me, published in 2008. The book signing is free for musem members and $10 for non-members. http://www.examiner.com/pop-culture-in-anaheim/pattie-boyd-ex-wife-of-george-harrison-brings-photo-exhibit-to-catalina-island

Voldar: George Harrison - Any Road "Any Road" is just one of the standout tracks from the acclaimed George Harrison Brainwashed album. The new video of the song (exclusive to PBS through Fast Focus) includes previously unreleased footage that lovingly celebrates George's life. His humor and spirit are captured in the studio, in concert, casual shots and animated footage. "Any Road" is the first George Harrison music video since "This is Love" from Cloud Nine in 1988. Written by George Harrison, "Any Road" is produced by George's son, Dhani and ELO's Jeff Lynne. The video features George on slide and acoustic guitars and banjulele; Jeff Lynne on bass, piano and backing vocals; Dhani Harrison on electric guitar and backing vocals; and Jim Keltner on drums. Rolling Stone has embraced George's final work saying, "... Brainwashed is a Warm Frank goodbye. Fear and acceptance run together in these songs, anger as well as serenity. Most importantly, there are lots of guitars. Harrison died before he could finish the music. But his co-producers - his son Dhani and ELO's Jeff Lynne have completed the album with impressive sensitivity, to the point that Harrison feels immensely present...It is a fine, enchanting epitaph."

Voldar: Revealed: The 'love' note that showed George Harrison had finally forgiven Patti Boyd after she left him for Eric Clapton Beauty and style: Patti Boyd in the 1960s It was the one of the most extraordinary love triangles in British music history, almost destroying the friendship of two music legends. Now Patti Boyd has revealed that despite the heartbreak she caused George Harrison by leaving him for close friend Eric Clapton – he sent them a note to let them know all was forgiven. One of the original 1960s ‘It Girls’, she was photographed by David Bailey and Terence Donovan and was a regular cover girl for Vogue. Her beauty and style caught the attention of Harrison – who she wed in 1966 aged just 21 – and prompted him to pen love song Something for her. But Clapton also fell for her charms famously writing Layla – a song about unrequited love – about Miss Boyd when she was still married to his friend. Miss Boyd said she felt ‘neglected’ by Harrison when she left him after eight years of marriage but also tremendous guilt for walking out. Now 67, she has revealed that she recently rediscovered a message sent to her by the Beatle to clear the air. Harrison wrote the note while he was on tour in 1976 – some two years after their relationship broke down. It said: ‘E+P God Bless Us All, love from G.’ Miss Boyd told the Sunday Times Magazine: ‘George’s note was like a forgiveness. It meant a lot to me. I didn’t feel great about leaving him and it showed me he was happy.’ ‘It was as if the hurt had finally been accepted and healed.’ Glamour couple: Patti and George Harrison on their wedding day in 1966 Clapton went on to write classics Wonderful Tonight and Why Does Love Got To Be So Sad? for Miss Boyd and hailed her as his muse. The couple split after ten years and she now claims that Harrison was her soul mate. She told the magazine: ‘I felt we would always love each other for the rest of our lives. I didn’t see anything final in us splitting up. Forgiven: Patti Boyd and Eric Clapton together at the funeral of Who drummer Keith Moon in 1978 Soulmates: George Harrison and Patti Boyd married when she was only 21 but split after eight years together He always said, if I changed my mind, I could go back’. Miss Boyd admitted she did think about returning to Harrison during her marriage to Clapton, who was an alcoholic, but claimed the singer was too possessive. Miss Boyd, who is now single and lives in West Sussex, said she would consider marrying again. She explained: ‘If a real man, a caring man appeared, I may think twice. There are few around. The nicest are married.’ Miss Boyd has published the note with a reissue of her memoir Wonderful Tonight. The inspiration for Layla: A handwritten note by Eric Clapton to Patti Boyd asking her if she has feelings for him - while she was still married to George Harrison http://www.dailymail.co.uk/tvshowbiz/article-1370462/Love-note-shows-George-Harrison-forgave-Patti-Boyd-left-Eric-Clapton.html

Voldar: Abrams to Publish George Harrison Book Abrams has bought the U.S. rights to George Harrison’s widow, Olivia Harrison’s book about her late husband. Living in the Material World: George Harrison, named for Harrison’s solo album of 1973, will be out this fall, in time for the release of Martin Scorsese’s documentary of the same name. Abrams editor-in-chief Eric Himmel negotiated the deal with Andrew Wylie of the Wylie Agency. The book will be edited by Mark Holborn, with a foreword by Scorsese and an introduction by Paul Theroux. It will draw on Harrison’s personal archive of never-before-seen photographs, letters, diaries, and memorabilia. The book is among the titles Wylie is highlighting this week in London. http://www.publishersweekly.com/pw/by-topic/industry-news/industry-deals/article/46833-abrams-to-publish-george-harrison-book.html

Voldar: Ещё про книжку. George Harrison title for Abrams Abrams is to publish the life of Beatles guitarist George Harrison with never-seen-before pictures. The publisher acquired world rights for the book, entitled Living in the Material World: George Harrison, from his widow Olivia Harrison. Scheduled to be published this autumn to coincide with the release of Martin Scorsese's documentary of the same name, the deal was negotiated by Abrams' editor-in-chief, Eric Himmel, and Andrew Wylie of The Wylie Agency. Living in the Material World will be created by Olivia Harrison and edited by Mark Holborn, with a foreword by Martin Scorsese and an introduction by Paul Theroux. The title draws on Harrison's personal archive of never-before-seen photographs, letters, diaries, and memorabilia to reveal the full arc of his life, including his guitar-obsessed boyhood in Liverpool, the Beatles years—illustrated with George's own photographs—and his days as a solo musician and bohemian country squire. It also chronicles his lifelong commitment to Indian music and his adventures as a movie producer and member of the Traveling Wilburys. Abrams president and c.e.o, Michael Jacobs, said: "This is a publishing event that George's fans all over the world have been waiting for. "He was a touchstone for a generation, and we are thrilled to have been selected by Olivia Harrison to help bring this amazing and beautiful book about George's life to the public." http://www.thebookseller.com/news/george-harrison-title-abrams.html

Voldar: George Harrison amplifier set to go on show at Beatles Story in Liverpool BEATLES experts are appealing for help in verifying the authenticity of an amplifier apparently used on the iconic Revolver album. The 1966 Vox UL730 amp is set to go on display at the Beatles Story, after its owner, Chris Hyam, found George Harrison’s name etched into the chassis. Jerry Goldman, managing director at The Beatles Story, said: “If it really is the amplifier used to record Revolver, then it is a major find. If anyone can prove its authenticity, we would be delighted.” http://www.liverpooldailypost.co.uk/liverpool-news/regional-news/2011/04/15/george-harrison-amplifier-set-to-go-on-show-at-beatles-story-in-liverpool-92534-28524621/

Voldar: Дневники Джорджа Харрисона опубликуют Фрагменты дневников Джорджа Харрисона войдут в книгу "Жизнь в материальном мире: Джордж Харрисон" (Living in the Material World: George Harrison), которая поступит в продажу осенью 2011 года. Об этом сообщается на сайте Contactmusic. Дневники, а также письма и редкие фотографии составителям издания предоставила вдова музыканта Оливия Харрисон. Выпуск книги будет приурочен к выходу на экраны одноименного документального биографического фильма. Режиссером картины является Мартин Скорсезе. Он же написал предисловие к книге. О том, что съемки посвященного Харрисону фильма завершены, Скорсезе объявил еще в мае 2010 года. На работу над фильмом у режиссера ушло около трех лет. Причем параллельно Скорсезе снимал "Остров проклятых" с Леонардо ди Каприо. Оливия Харрисон предоставила режиссеру редкие видеоматериалы из собственных архивов. До Мартина Скорсезе к вдове музыканта уже обращались с предложениями снять фильм о Джордже Харрисоне, однако ранее она отвечала отказом. http://www.lenta.ru/news/2011/04/25/diaries/

Voldar: Concert For George Gets Cinematic Release In Australia The iconic Concert for George is going to see a cinematic release this weekend across Australia. The show took place on November 29, 2002 - one year to the day after the death of the “quiet” Beatle, George Harrison and features music written by and/or loved by George performed by his close friends including Eric Clapton, Ringo Starr, Paul McCartney, Jools Holland, Jim Keltner, Gary Brooker (Procol Harem), Joe Brown, Jeff Lynne (ELO), Monty Python’s Flying Circus, Ravi Shankar’s Orchestra and more. Upon it’s release, there was a film featuring backstage and rehearsal footage of the show on one disc and the full concert on the other. This cinematic release will be the film. May 1 http://www.undercover.fm/news/14535-concert-for-george-harrison-gets-cinematic-release-in-australia

Goldenday: Оказывается, на "торрентс.ру" уже месяц как блюрей "Концерт для Джорджа" выложен. Размер почти по максимуму: 44 гига. Правда, народ не совсем доволен качеством картинки. Но всё равно это круто, а недавно и BDrip появился. Жаль, что наши издатели не сподобились выпустить лицензию с русскими титрами. Некоторое время назад фирма "Никитин" выпустила лицензионный двухдисковый DVD9, абсолютно ничего не добавив к оригинальному изданию. Их лишь один вопрос волнует, как народ на деньги раскрутить.

Voldar: На счёт картинки,похоже какая то хрень,о этом писал ещё наш коллега Джерри,который приобрел издание на BD одним из первых.

Voldar: George Harrison, Dedicated Dallas Fan We're currently reading the second volume of the voluminous diaries of Monty Python's Michael Palin, a good potato chip read that, in this case, covers the 1980s. Among the things we learned: former Beatle George Harrison, he of the mystical interests of the East, he who produced independent films that were rarely standard Hollywood fare, was a diehard, stone-cold fan of the Dallas TV series. Texas represent!! At least the caricature version of Texas. Harrison apparently loved the show so much he'd get annoyed if you happened to call when it was on, Palin reports. An entry for January 8, 1982, about Palin phoning Harrison to discuss one of the several film projects they had going: Call George in Henley at nine o'clock. After a few rather terse exchanges he says "You're obviously not a Dallas fan, then" and I realise I've interrupted a favorite viewing. http://blogs.houstonpress.com/hairballs/2011/05/george_harrison_dallas.php

Voldar: Warszawa będzie mieć aleję Georga Harrisona Już wkrótce jedna z warszawskich ulic zostanie nazwana aleją Georga Harrisona, drugiego po Lennonie Beatelsa, którego pamięć mieszkańcy stolicy postanowili uczcić w ten sposób. A otworzy ją Ringo Starr, perkusista legendarnej czwórki z Liverpoolu. 15 czerwca Ringo weźmie udział w nadaniu ulicy imienia swojego zmarłego kolegi, a wieczorem zagra swój pierwszy koncert w Sali Kongresowej i wykona utwory z dorobku grupy wszechczasów. George Harrison, który jeszcze za czasów Beatlesów, wydał dwie płyty solowe, po rozpadzie zespołu kontynuował karierę muzyczną. Wielkim przebojem był "My Sweet Lord" z jego pierwszego trzypłytowego solowego albumu "Things Must Pass" z 1970 r. Również "All Those Years Ago" (z płyty "Somewhere in England" z 1981) poświęcony pamięci zastrzelonego Johna Lennona, nagrany wspólnie z pozostałymi dwoma Beatlesami, dotarł do 2. miejsca w USA. Trzecim jego solowym hitem, który dotarł nna szczyt listy Billboardu, był utór "Got My Mind Set On You" z albumu "Cloud Nine" z 1987 r. Rok później Harrison założył supergrupę Traveling Wilburys z Bobem Dylanem, Royem Orbisonem, Tomem Pettym i Jeff Lynne, z którą nagrał dwie płyty, cieszące się dużym powodzeniem (pierwsza z nich otrzymała nagrodę Grammy). Ringo Starr, najbardziej znany jako perkusista The Beatles, po rozpadzie grupy w 1970 r., zajął się karierą aktorską i muzyczną; wydał kilkanaście albumów. Największym sukcesem był album "Ringo" wydany w 1973 r., a największymi hitami singlowymi piosenki "Photograph" i "You're Sixteen", które dotarły do pierwszych miejsc na amerykańskich listach przebojów. Jako muzyk sesyjny Ringo wziął udział w nagraniach płyt swoich dawnych kolegów z zespołu - George'a Harrisona (All Things Must Pass, Somewhere in England), Johna Lennona (John Lennon/Plastic Ono Band) i Paula McCartneya (Tug Of War i Flaming Pie). Obecnie występuje ze swoją supergrupą All-Starr Band (Rod Argent, Hamish Stuart, Richard Marx, Billy Squier, Sheila E., Edgar Winter). http://www.wprost.pl/kultura/muzyka/wiadomosci/?tp=wiadomosci&id=11216 гуглеперевод Варшава будет иметь проспект Джорджа Харрисона Вскоре одна из улиц Варшавы будет назван в честь Джорджа Харрисона авеню, уступая только Beatels Леннона, которого память жителей столицы решили праздновать в этот путь. И это открывает Ринго Старр, барабанщик легендарной квартет из Ливерпуля. 15 июня Ринго будет принимать участие в предоставлении улице имя своего покойного друга, вечер будет играть свой первый концерт в Конгресс-холл и будет исполнять песни из достижений всех групп. Джордж Харрисон, который время "Битлз", выпустил два сольных альбома после распада группы он продолжил свою музыкальную карьеру. Большой удар был "My Sweet Lord" от первого trzypłytowego сольный альбом "Things Must Pass", 1970 Кроме того, "All Those Years Ago" (от "Где-то в Англии" в 1981), посвященная памяти Джона Леннона был снят, записанный совместно с Два других "Битлз", дошел до второго место в США. Треть его сольный хит, который достиг верхней части ННА Billboard Charts был UTOR "Got My Mind Set On You" с альбома "Cloud Nine" с 1987 года, год спустя основал Харрисон супергруппы Traveling Wilburys с Бобом Диланом, Рой Орбисон, Том и Джефф Pettym Линн, с которыми он записал два альбома, пользующиеся большим успехом (первый из которых получил премию "Грэмми".) Ринго Старр, наиболее известный как ударник "Битлз" после этого группа распалась в 1970 году, продолжал продолжать действовать и музыки, выпустил несколько альбомов. Самый большой успех был альбом "Ринго", выпущенный в 1973 году, Greatest Hits singlowymi песню "Фотография" и "тебе шестнадцать лет", которая достигла первого места в чартах США. В качестве сессионного музыканта Ринго принял участие в записи компакт-дисков из его бывших товарищей группы - Джордж Харрисон (All Things Must Pass, где-то в Англии), Джон Леннон (John Lennon / Plastic Ono Band) и Пол Маккартни (Tug Of War и Flaming Pie .) В настоящее время там со своей супергруппы All-Starr Band (Rod Argent, Хэмиш Стюарт, Ричард Маркс, Billy Squier, Sheila E., Edgar Winter).

Voldar: На 40-летие движения сознания Кришны в России приедет близкий друг Джорджа Харрисона Неделя торжественных и духовно-культурных мероприятий в Москве, которая пройдет в столице с 12 по 19 июня, станет кульминацией празднования 40-летия Общества сознания Кришны в России. Эта дата связана с приездом в СССР ровно 40 лет назад индийского религиозного деятеля и просветителя А.Ч. Бхактиведанты Свами Прабхупады (1896-1977). Индийскому проповеднику это удалось, несмотря на железный занавес и пристальное внимание тогдашних спецслужб ко всем иностранцам. Их противодействие контактам становилось тем более активным, когда речь шла об инакомыслии, а любая религия на всем протяжении советского века отечественной истории была антиподом официальной идеологии и, мягко говоря, не приветствовалась, отмечается в информациипресс-службы Центра обществ сознания Кришны в России. В фестивале примут участие первые советские вайшнавы (традиционное название кришнаитов). Среди почетных гостей праздничной недели - Шьямасундара дас (Сэм Спирстра), который сопровождал Прабхупаду в его поездке в столицу СССР. Сэм был близким другом Джорджа Харрисона - гитариста "Битлз" и находился рядом с ним по просьбе музыканта в последние мгновения его жизни в ноябре 2001 года. На праздник приедут несколько сот гостей из самых разных регионов России, а также из других стран. По замыслу устроителей, фестиваль 40-летия должен стать точкой встречи вайшнавов разных поколений, попыткой заново взглянуть на роль, задачи, цели и перспективы вайшнавского духовного движения в России и вообще в мире. В ходе фестиваля состоятся встречи, беседы и интервью с пионерами вайшнавского движения, что, безусловно, будет интересно как для тех, кто изучает историю движения, так и для тех, кто недавно знаком с ним. В ходе фестиваля пройдет церемония посвящения в санньяси (высший, монашеский духовный сан в индуизме) сразу двух россиян. Таким образом, число российских санньяси увеличится до четырех. http://www.beatles.ru/news/news.asp?news_id=7101

Voldar: George Harrison’s Widow Says Doc By Martin Scorsese On Beatles Guitarist Will Premiere This Year It’s been a long time coming since it was first announced way back in 2007 but it now looks like Martin Scorsese‘s documentary on famed Beatles guitarist George Harrison is set to premiere later this year—or so says Harrison’s widow, Olivia. “I assume we’re going to announce it sometime soon, the actual [premiere] date, but it will be this year,” Harrison revealed at the 5th anniversary of the Beatles-inspired Cirque du Soleil show “Love” [via LAT]. “I just came from New York and Monday I’m going to see it again. We’re real excited about it. Marty is such a great storyteller, and of course he always finds the story that you don’t expect.” Much of the story will presumably stem from Scorsese’s access to the Harrison estate which opened up its archives to the filmmaker and his crew, with Olivia Harrison having reportedly “spent countless hours poring through her husband’s notes, cassette tapes and photos.” Interviews with musical figures such as Paul McCartney, Ringo Starr, Eric Clapton, Eric Idle, Tom Petty, Yoko Ono and Phil Spector are all expected to be included. “George Harrison’s music and his search for spiritual meaning is a story that still resonates today and I’m looking forward to delving deeper,” Scorsese proclaimed at the announcement of the project, which’ll span from the guitarist’s time with the Beatles to his death in 2001. The doc’s reported focus on Harrison’s spiritual side, meanwhile, was further affirmed by the unveiling of a title: “Living in the Material World: George Harrison.” This is also the title of Harrison’s 1973 album, a record which was noted for its philosophical and religious bent, and one that at the the time was considered a bit of disappointment following All Things Must Pass, though it has since risen in stature. But as usual, Scorsese never stops, and this is just one of a handful of projects he’s got going. The director is busy getting his next feature film, the 3D “Hugo Cabret” finished up and is also working with Kenneth Lonergan on an edit of his long-gestating “Margaret” that will hopefully see some kind of theatrical release by the end of the year. http://blogs.indiewire.com/theplaylist/archives/2011/06/13/george_harrisons_widow_says_doco_by_martin_scorsese_will_premiere_this_year/

Voldar: Beatle Harrison Celebrated At Gretsch Guitar Tribute BAY RIDGE — When George Harrison sang “While My Guitar Gently Weeps” with the Beatles, he very well may have been singing about a brand of guitar that was made in Brooklyn for many years. Harrison’s music was celebrated on Saturday at a Gretsch Day tribute by fans and the Gretsch Company at its flagship store here in Bay Ridge. “My first good guitar was the Duo Jet Gretsch,” he wrote in a foreword to Jay Scott’s 1992 book The Guitars of the Fred Gretsch Company about his 1960 purchase in Liverpool after seeing a newspaper ad. “It was my first real guitar, and I’ll tell you, it was secondhand, but I polished that thing. I was so proud to own that,” said Harrison about his 1957 Duo Jet Gretsch, as told in 50 Years of Gretsch Electrics. Harrison’s love affair with Gretsch saw him through his Hamburg and Cavern days, world tours and many Beatles recordings. The Harrison Gretsch Day Tribute at Street Sounds, the largest authorized Gretsch dealer in the nation, was organized by Rocky Schiano, owner of the store at 9206 Third Ave. He said, “We celebrate George Harrison and his love of the Gretsch guitars that powered his music.” Company owner Fred W. Gretsch and Gretsch product specialist Joe Carducci told stories about the company, founded in Brooklyn in 1883, and Harrison’s connections. Harrison died of cancer at age 58 in November 2001, and was outlived by Paul McCartney and Ringo Starr (as well as original Beatles drummer Pete Best, who was asked to leave the group in 1962). “In 1988 I was pleased to make the acquaintance of Fred Gretsch, who has worked hard at reintroducing some of the ‘classic’ guitars of the past,” wrote Harrison in Scott’s book. While saying that his Duo Jet remained his all-time favorite, he had other models such as a Synchronmatic from the 1950s, a 1957 Tennessean, a Country Gent and a Super Chief. Harrison Tribute in Gretsch Guitar Wonderland Street Sounds was like a Gretsch guitar wonderland with so many beautifully styled guitars hanging on walls. There were guitar-sized posters signed by an array of famous players, including Chet Atkins, Randy Bachman, Duane Eddy and Brian Setzer, among others. After a band played Harrison songs, Gretsch and Carducci told Gretsch guitar stories. Attendees wore “VIP special guests” tags of model Kim Falcon [“The Real Gretsch Girl”] around their necks. Scott’s book contains a photo of Harrison with a group of other famous Gretsch guitar players with this caption: “As if George Harrison’s 1960s contribution to the success of Gretsch guitars hadn’t been enough, he reasserted his tremendous influence on guitar-playing trends and tastes in the 1980s with the Traveling Willburys [an all-star group that made two albums].” The photo shows Harrison with Bob Dylan, Roy Orbison and Tom Petty, all members of the Willburys group. At the celebration, selected photos and memorabilia were posted on a large standup screen, with a receipt of a Harrison guitar purchase slip from Liverpool and other notable scenes paying tribute to Harrison. German immigrant and Brooklyn resident Frederick Gretsch founded the Gretsch Manufacturing Company in 1883 after working with drum and banjo manufacturer Albert Houdlett and Son. The first Gretsch plant was on Middleton Street in Brooklyn, and the company later moved to 104 South Fourth St. In 1916 son Fred Gretsch, Jr. opened the well-known Gretsch Manufacturing Company Factory and Warehouse at 60 Broadway near the Williamsburg Bridge. Gretsch was sold in 1967 to Baldwin Music Company. Since 1985 it has again been family owned under Fred W. Gretsch, the great-grandson of founder Frederick Gretsch. Fred W. Gretsch who was on hand at Street Sounds, as he has been on other occasions. Following the Harrison tribute at Street Sounds, he led a guided tour around the former manufacturing site in Williamsburg, now a condo development. http://www.brooklyneagle.com/categories/category.php?category_id=27&id=44197

Voldar: Вот и обложечка появилась к книге Оливии. Cover for George Harrison tribute book revealed he cover for "George Harrison: Living in the Material World" has been disclosed by the publisher, Abrams Books. (See picture at left.) The book is a companion volume to the eagerly awaited Martin Scorsese documentary on the late Beatle being produced in cooperation with his family and coming later this year. The setting of the picture is somewhat ironic given the title of the book, but it's the type of irony that Harrison and his wry humor would have appreciated. Here's the publisher's official description of the book: "Drawing on George Harrison’s personal archive of photographs, letters, diaries, and memorabilia, Olivia Harrison reveals the arc of his life, from his guitar-obsessed boyhood in Liverpool, to the astonishment of the Beatles years, to his days as an independent musician and bohemian squire. Here too is the record of Harrison’s lifelong commitment to Indian music, and his adventures as a movie producer, Traveling Wilbury, and Formula One racing fan. The book is filled with stories and reminiscences from Harrison’s friends, including Eric Clapton, Terry Gilliam, Eric Idle, Paul McCartney, Ringo Starr, and many, many others. Among its previously unpublished riches are photographs taken by Harrison himself beginning in the mid-1960s. It is a rich tribute to a man who died far too young, but who touched the lives of millions." Olivia Harrison is the author of the book, with Mark Holbrun, who has previously worked on books that included photos from photographers and artists including Annie Leibovitz to Lucian Freud, acting as editor. The 400-page book will have 260 illustrations, according to the publisher. http://www.examiner.com/beatles-in-national/cover-for-george-harrison-tribute-book-revealed

Voldar: Martin Scorsese’s George Harrison Doc Airing On HBO In October After The Last Waltz, which focuses on The Band‘s final concert, No Direction Home, an account of Bob Dylan‘s early life and career and the Rolling Stones concert, Shine a Light, Martin Scorsese has no finalized plans to release his George Harrison doc this year. George Harrison: Living in the Material World will air on HBO on Oct. 5 and 6, 2011 and features interviews with Eric Clapton, Terry Gilliam, Eric Idle, George Martin, Paul McCartney, Yoko Ono, Tom Petty, Phil Spector, Ringo Starr and Jackie Stewart. We’ve previously extensively covered the project here, so just check out the press release via The Wrap below for more information, including comments from Scorsese himself. NEW YORK, July 13, 2011 – HBO has acquired the North American TV rights to Martin Scorsese’s GEORGE HARRISON: LIVING IN THE MATERIAL WORLD from Grove Street Pictures. The film was produced by Scorsese (through his Sikelia Productions banner), Olivia Harrison (through her Grove Street Pictures banner) and Nigel Sinclair (through Exclusive’s documentary label, Spitfire Pictures). Margaret Bodde served as executive producer on the film, which was edited by David Tedeschi, who previously worked with Scorsese, Bodde and Sinclair on “No Direction Home: Bob Dylan,” and with Scorsese and Bodde on “Public Speaking.” Tedeschi also edited Scorsese’s Rolling Stones concert film “Shine a Light.” The documentary will debut in two parts – on Oct. 5 and 6, 2011 – exclusively on HBO. GEORGE HARRISON: LIVING IN THE MATERIAL WORLD focuses the imaginative and inspired eye of one of cinema’s most preeminent filmmakers on one of the world’s most influential men. The film takes viewers on the musical and spiritual voyage that was George Harrison’s life, much of it told in his own words. The result is deeply moving and touches each viewer in unique and individual ways. Academy Award®-winning director Martin Scorsese traces Harrison’s life from his musical beginnings in Liverpool through his life as a musician, a seeker, a philanthropist and a filmmaker, weaving together interviews with Harrison and his closest friends, performances, home movies and photographs. Much of the material in the film has never been seen or heard before. The result is a rare glimpse into the mind and soul of one of the most talented artists of his generation and a profoundly intimate and affecting work of cinema. The film includes interviews with Eric Clapton, Terry Gilliam, Eric Idle, George Martin, Paul McCartney, Yoko Ono, Tom Petty, Phil Spector, Ringo Starr and Jackie Stewart. They speak honestly and frankly about George’s many talents and contradictions. “When Martin Scorsese brings a project to HBO, we all know it is going to be very special, and he has added to that body of work with this monumental film on George Harrison,” says Michael Lombardo, president, HBO Programming. “From rock‘n’roll icon to moviemaker, to spiritual seeker and humanitarian, George Harrison was a true renaissance man. This amazing film will illuminate every aspect of Harrison’s remarkable, multifaceted life.” Comments Scorsese, “Like so many millions of people, I first came to know George through the music, which was the soundtrack of our world. The Beatles’ music, those beautifully lyrical guitar breaks and solos, those unforgettable songs of George’s like ‘I Me Mine’ or ‘If I Needed Someone,’ and the images, in magazines, on album covers, the TV appearances, the newsreel footage, the Richard Lester movies; and then there was the world after the Beatles, when George and his music seemed to open up and flower. I will never forget the first time I heard ‘All Things Must Pass,’ the overwhelming feeling of taking in that all glorious music for the first time. It was like walking into a cathedral. George was making spiritually awake music – we all heard and felt it – and I think that was the reason that he came to occupy a very special place in our lives. So when I was offered the chance to make this picture, I jumped at it. Spending time with Olivia, interviewing so many of George’s closest friends, reviewing all that footage, some of it never seen before, and listening to all of that magnificent music – it was a joy, and an experience I’ll always treasure. Notes Olivia Harrison, “Martin Scorsese’s intuition towards George was evident the first time we met to discuss this project. He sensed what George was about: his music, his strong beliefs, his art, his place in the Beatles’ story and his extraordinary life afterwards. Marty’s wonderful film has found all of that and more. “I always hoped HBO would be our North American partners because of their respect for artistry. I am doubly happy to be working with their excellent team.” “This film was an extraordinary journey for all involved and it has been a sheer pleasure working with Martin Scorsese and Olivia Harrison to bring the amazing story and legacy of George Harrison to life. We have found the perfect partner in HBO Documentary Films and are proud to have them on board to bring this incredible film to North American audiences,” adds Nigel Sinclair. Exclusive Films International, the international sales and marketing arm of Exclusive, represents worldwide rights, excluding the U.S. Scott Pascucci serves as executive producer for Grove Street and is coordinating all aspects of the film’s distribution for Grove Street. Additionally, in late September, Abrams Books will publish Olivia Harrison’s “George Harrison: Living in the Material World,” a personal archive of photographs, letters, diaries and memorabilia from George’s life that reveals the arc of his life, from his guitar-obsessed boyhood in Liverpool, to the astonishment of the Beatles years, to his days as an independent musician and bohemian squire. The book release is intended to coincide with the release of Scorsese’s film. Scorsese’s upcoming feature, “Hugo,” a 3D adaptation of Brian Selznick’s children’s book, starring Sacha Baron Cohen, Ben Kingsley, Jude Law, Chloe Moretz and Asa Butterfield, is due to be released in the U.S. by Paramount Pictures in Nov. 2011. In 1976, Scorsese’s “Taxi Driver” was awarded the Palme d’Or at the Cannes Film Festival, and it was followed by a series of outstanding successes, including “New York, New York,” “Raging Bull,” “The Last Temptation of Christ,” “GoodFellas,” “Casino,” “Kundun,” “The Age of Innocence,” “Gangs of New York” and “The Aviator.” “Shine a Light,” Scorsese’s documentary of the Rolling Stones in concert, was released worldwide in April 2008. His most recent feature was the acclaimed psychological drama “Shutter Island.” Scorsese’s artistic excellence has been recognized with many honors, including the Golden Lion from the Venice Film Festival, the AFI Lifetime Achievement Award, a Directors Guild of America Lifetime Achievement Award and a Kennedy Center Honor. In addition to his work as a filmmaker, he has also been a staunch advocate for film preservation. He is the founder and chair of The Film Foundation, a non-profit organization dedicated to the preservation and protection of motion picture history, and in 2007, he launched the World Cinema Foundation (for which he serves as both founder and chair), dedicated to the preservation and restoration of neglected films from around the world. Olivia Harrison is a producer and philanthropist. She administers the Material World Charitable Foundation, and received a Grammy Award for her video of the 2002 “Concert for George,” which she organized to benefit the Foundation in memory of her husband. She also administers the George Harrison Fund for UNICEF, and received the 2010 UNICEF Spirit Of Compassion Award in recognition of her family’s assistance to the children of Bangladesh. http://thefilmstage.com/2011/07/13/martin-scorseses-george-harrison-doc-airing-on-hbo-in-october/

Voldar: Beatle’s $600,000 Ferrari on Sale; Art-Market Confidence Rises A Ferrari 365 GTC is for sale priced at 375,000 pounds ($600,000) after its owner discovered that the car once belonged to the musician George Harrison. A search of registration records showed that the blue coupe had been bought new by the Beatle for 4,000 pounds in 1969, according to the present seller, U.K. classic-Ferrari specialist Talacrest. The car inspired Harrison’s friend, fellow guitarist Eric Clapton, to become a Ferrari collector. “I’d never seen one in the flesh before and my heart melted,” Clapton wrote of the car in his autobiography. “It was like seeing the most beautiful woman on earth.” Even though he could not drive at the time, he soon acquired the first of several Ferraris, also for 4,000 pounds. Harrison sold his GTC in the mid-1970s. Some exceptional cars are making record prices at auctions, especially those with links to celebrities. A 400GT 2+2 Lamborghini described as being owned by Paul McCartney fetched 122,500 pounds earlier this month. Last October, RM Auctions sold a 1972 Lamborghini Miura, whose first owner was the singer Rod Stewart, for 694,400 pounds, beating an upper forecast of 560,000 pounds. http://www.bloomberg.com/news/2011-07-19/beatle-s-ferrari-priced-at-600-000-as-confidence-grows-art-market-buzz.html

Voldar: George Harrison's Bangladesh show keeps giving (CBS News) George Harrison's concert for Bangladesh will celebrate its 40th anniversary on Monday. The concert wasn't just a historic event for the drought and famine-ravaged region - it was also a historic event for musicians everywhere. When Harrison took the stage at New York's Madison Square Garden on August 1, 1971, he hadn't performed publicly since the Beatles' last concert in 1966. But, as they say, he got by with a little help from his friends. The famous concert and its recordings raised millions for the broken country; it also changed the face of celebrity activism. The problem was a humanitarian crisis in Bangladesh, "Early Show" co-anchor Jeff Glor reported. The friend who asked Harrison for help was Indian musician Ravi Shankar. Andrew DeCurtis, of Rolling Stone magazine said of the concert, "Back in 1971, the idea of seeing any of the Beatles on the stage was a pretty electrifying concept. They had not performed as a band since 1966." Jon Taplin, producer of The Concert for Bangladesh, told CBS News, "(Harrison) called me and said, 'I want to do this live show, and I want to get as many of our friends together as we can,' and so I said, 'OK, I'm in, I want to do it." Legends like Bob Dylan, Eric Clapton, Leon Russell and Ringo Star showed up to help Harrison with the concert. "(The stars who signed on) generated a huge amount of excitement and a huge amount of attention, which of course, it was meant to do," DeCurtis said. Caryl M. Stern, chief executive officer of UNICEF, told CBS News, "I don't think anyone in the world has ever done anything on that scale before, but he brought together musicians and he used music for good." That day - almost 40 years ago - Harrison and his friends helped put Bangladesh on the map. What's more - they gave musicians a new way to give back. "The template was set by Bangladesh," DeCurtis said. "It becomes sort of the emotional backdrop I think for, you know, Live Aid and all the other concerts that have come over these few decades." In 1985, nearly two billion people across 150 nations watched Live Aid, a televised, dual-city concert held in London and Philadelphia Later that year came Farm Aid, the brainchild of Willie Nelson. The show was such a success that Nelson has hosted one almost every year since, raising millions and continuing what's now a trend: whenever there's a national or international crisis, musicians unite. Stern, of UNICEF said, "They understand that there are people who live in places that many of us can't find on a map, whose voices won't get heard, who don't have a microphone to sing through." U2 frontman Bono took aim at the G-8 in 2005. He helped organize Live 8, a set of eight concerts in eight cities, involving more than 1,000 musicians. Inspired by Live 8, Al Gore decided to go even bigger. On July 7, 2007, Live Earth aired, a 22-hour, globally-broadcast series of concerts held one-by-one, on each continent. Madonna said during her concert in the Live Earth, "These concerts all around the world aren't just about entertainment, they're about starting a revolution." DeCurtis said, "I don't think George Harrison thought of this as a revolutionary idea. Let's have these massive concerts. 'What can I do? I'm a musician, I've got these friends. Let me just call them up. We'll play a show.'" Taplin added, "That was a good thing, a benefit, literally a benefit concert." The concert began as a favor for a friend and ended up redefining the way the world responds to a crisis. Glor added on "The Early Show" the concert itself generated $250,000 for Bangladesh, but sales of the album afterward generated $15 million for UNICEF. Apple Records and UNICEF have joined forces to celebrate the concert's 40th anniversary. Starting today, the 1971 Concert for Bangladesh is available for free streaming on iTunes through Monday. The hope is that people will see the concert and then download the album. All proceeds go towards the George Harrison Fund for UNICEF, which is now being used to help children in the troubled Horn of Africa region. http://www.cbsnews.com/stories/2011/07/29/earlyshow/leisure/celebspot/main20085430.shtml

Voldar: Artist releases limited ed. George Harrison print to honor Bangladesh concert Artist Shepard Fairley, a fan of the Beatles and George Harrison, is paying tribute to the 40th anniversary of the Concert for Bangladesh today with a new limited edition art print of Harrison at the concert. "George Harrison has been an inspiration to musicians and me across the world. I love the Beatles, and George's album 'All Things Must Pass' is one of my all time favorites," he said in a statement. "What I also love about George is his political consciousness because I'm a passionate believer in using creativity for social good. "In 1971, George's friend Ravi Shankar asked him to help the children of Bangladesh. George took action by hosting the Concert for Bangladesh in support of UNICEF. I have created an art print that celebrates George Harrison and The Concert For Bangladesh. I am proud to join the anniversary celebration and honor George’s legacy by supporting the George Harrison Fund for UNICEF." The signed and numbered screen prints of Henry Diltz's photo of Harrison, titled "Friendship and Support," will be available starting Aug. 8 and are limited to an edition of 450 and measure 18" x 24″. Cost is $65 each and proceeds go to UNICEF. http://www.examiner.com/beatles-in-national/artist-releases-george-harrison-print-to-commemorate-bangladesh-concert

Voldar: SCORSESE'S HARRISON DOCUMENTARY SELECTED TO OPEN SAN SEBASTIAN GEORGE HARRISON will return to the big screen from beyond the grave - MARTIN SCORSESE's documentary about the late BEATLE is set to premiere at the 2011 San Sebastian Film Festival in Spain. The music documentary, George Harrison: Living in the Material World, will open the annual event when it kicks off on 16 September (11). It will receive its TV debut on America's HBO cable network in October (11). http://www.express.co.uk/posts/view/264350/Scorsese-s-Harrison-documentary-selected-to-open-San-Sebastian

Voldar: Уже и трейлер к фильму выпустили. Trailer for Martin Scorsese's GEORGE HARRISON: Living In The Material World

Voldar: Popular Seattle band to perform George Harrison Jam to honor 10th anniversary August 15, 2011, Seattle, Washington - The tenth anniversary of George Harrison’s death will be honored in a concert in Seattle, Washington on November 12, 2011. Seattle’s popular Beatle tribute act, Apple Jam, will perform Harrison’s songs at the Triple Door, including favorite Beatle tracks as well as solo years. Steve Roseta, of Roseta Productions, said the show will also include some more obscure tracks and never released material of Harrison’s. Apple Jam performed a George Harrison Jam for the 5th anniversary of Harrison's death in December of 2006. (Read my review here) The band is devoted to the accuracy of the Beatles sound; they have done John Lennon Jams as well as McCartney tributes. The McCartney tribute was done in July of 2010, and the most recent John Lennon Jam paid tribute to the 30th anniversary of John’s death, December 8, 2010. George Harrison passed away November 29, 2001 of cancer. it's hard to believe it's been ten years. When he passed away, age 58, in Los Angeles, his family issued a statement saying: "He left this world as he lived in it, conscious of God, fearless of death, and at peace, surrounded by family and friends. He often said, 'Everything else can wait but the search for God cannot wait, and love one another."' http://www.examiner.com/john-lennon-in-national/popular-seattle-band-to-perform-george-harrison-jam-to-honor-10th-anniversary

SLQ: Latest Rolling Stone looks inside private life of George Harrison The latest issue of Rolling Stone magazine, #1139, which hits the stands today, features a cover story on George Harrison that looks at him as a member of the Beatles and his life away from the stage. The eight-page story by Brian Hiatt, tied to the Martin Scorsese film "George Harrison: Living in the Material World" which premieres this fall on HBO, features several unseen rare early pictures, including a young George visiting a racetrack in 1955, puffing a cigarette in 1960 and at the Empire State Building during his 1963 pre-fame visit to the United States. Another image, taken in Tahiti in 1964, is almost a current image of his son Dhani and points out how much the two resemble each other. It also includes comments from family and friends, including George's widow Olivia, his son Dhani, Paul McCartney, Tom Petty, his first wife Pattie Boyd and Ravi Shankar. The anticipation for "George Harrison: Living in the Material World" can only get stronger after seeing this story. Фотографии из номера Харрисон играет в теннис с Диланом. Боб Дилан Больше тут http://www.rollingstone.com/music/photos/the-private-life-of-george-harrison-20110902

Voldar: Парни довольно прикольно играют в теннис.

Goldenday: Взгляд Дилана больше подходит для бадминтона

ТНЮ: Это действительно бадминтон, даже ракетки типичные.

SLQ: Martin Scorsese's new documentary reveals the candid truthRecollections by surviving Beatles and second wife Olivia cast new light on the emotional intensity that drove his music Vanessa Thorpe and Ben Dowell The Observer, Sunday 4 September 2011 Article history Previously unseen private letters, home movie footage and intimate personal recollections of George Harrison are set to radically correct public perceptions of "the quiet Beatle" in a new documentary by Martin Scorsese. Revelations include the fact that Harrison's widow, Olivia, struggled to keep the relationship with her wayward husband on track. In the film Eric Clapton also talks about how he felt consumed with envy as he fell in love with Pattie Boyd, Harrison's first wife. Scorsese, who has focused his camera in recent years on musical subjects, from his history of the blues to a concert film of the Rolling Stones and an acclaimed study of Bob Dylan, No Direction Home, now sheds light on the self-confessed "dark horse" Harrison. Living in the Material World shows a man who – as well as being the stylish hippy of popular perception – had a caustic wit and a talent for deep friendship as well as an abiding obsession with his music. Olivia Harrison, who produced the film with Scorsese and allowed unprecedented access to the family archive, talks candidly about her late husband's "challenging" attitude to other women and about the stranger who broke into the couple's home and nearly ended Harrison's life shortly after he had recovered from the first bout of the cancer that would eventually kill him. She reveals that, although she and Harrison "seemed like partners from the very beginning" and shared a strong interest in meditation, their marriage survived a series of "hiccups". "He did like women and women did like him," she says. "If he just said a couple of words to you it would have a profound effect. So it was hard to deal with someone who was so well loved." Paul McCartney also speaks about his old friend's appreciation of women: "I don't want to say much, because he was a pal, but he liked the things that men like. He was red-blooded." Endurance was the key to the second, long-lasting Harrison marriage, according to his widow. "You go through challenges in your marriage and here is what I found: the first time we had a big hiccup in the road, we came through things, and then you go, 'Wow!' There is a reward at the end of it," said Olivia Harrison. "There is this incredible reward because you have lived through more and you have let go of something." By the end, when her husband was ill, she was glad that they had "worked this through together. Through all these things that came between us." She also reveals Harrison's fury at John Lennon's murder in 1980 at the hands of Mark Chapman. "He was angry John did not have a chance to leave his body in a better way," she says. A few years later the Harrisons were to face danger themselves at the hands of a stranger. An attacker in what Olivia Harrison recalls as "a florid, psychotic state" smashed a window at their Friar Park home during the night and seriously injured them with a knife. "[George] thought that, after everything that had happened to him, 'I am going to be murdered in my own home.'" Interviews with Phil Spector, who produced Harrison's first solo work, and with Sir George Martin reveal Harrison's central concern with music. Spector remembers an emotional intensity and an attention to detail. "Perfectionism is not the word. It went beyond that." Harrison's widow says that his most important relationships were conducted through music and recounts that some of the lyrics to the song I'd Have You Anytime, written with Bob Dylan, were addressed to Dylan himself, whom Harrison felt had retreated from their friendship. Clapton talks about the Camelot-like world of the Beatles and of feeling like he was an envious Lancelot. "I had become more and more obsessed with [George's] wife, Pattie," Clapton admits, describing how he confessed to his friend, "who was very cavalier" about it, almost giving him "carte blanche". Clapton adds: "To be honest there was a lot of swapping and fooling around." Interviews with Eric Idle and Terry Gilliam confirm Harrison's crucial role in funding the Monty Python film Life of Brian by mortgaging his home. Harrison, through HandMade Films, went on to produce other leading British films such as The Long Good Friday, Mona Lisa and Withnail and I. Ringo Starr is brought to tears on screen by the memory of his final conversation with Harrison who, dying in a Swiss hospital bed, still managed a bleak joke. Starr had to leave because his daughter was undergoing emergency brain surgery in Los Angeles. "George said: 'Do you want me to come with you?' They were the last words I heard him say." George Harrison: Living in the Material World is released on Blu-Ray and DVD on 10 October and will be broadcast by the BBC later in the year

Voldar: George Harrison's life unfolds in exhibit, film, book Beginning Oct. 11, the Grammy Museum in Los Angeles will display George Harrison: Living in the Material World, the first major museum retrospective of the late musician's life and career. The exhibit corresponds with two other projects of the same name: a Martin Scorsese-directed documentary, which HBO will run in two parts Oct. 5-6, and a book from Harrison's widow, Olivia, out Sept. 27. Harrison also is the subject of a new Rolling Stone cover story. Scorsese and Olivia Harrison uncovered so much during the five-year process of making the documentary that "it seemed a shame not to share that," she says. "There was just too much material that Marty didn't use — ephemera, letters. It lent itself to a pictorial arc of George's life." Grammy Museum executive director Bob Santelli says the exhibit will illustrate the complexity of the late Beatle from both professional and personal perspectives. "This was a man who was intensely spiritual," Santelli says. "But as kind and gentle as he was with gardening and the natural world, he was ferociously competitive with Formula One race cars. There's this wide cross-section of George Harrison surprises that we put in the exhibit for people to see up close and personal." Many of the artifacts have not left Friar Park, Harrison's home in Henley-on-Thames, England, since he died from lung cancer in November 2001 at 58. The exhibit will feature the guitars he played on Beatles and solo recordings (including his Gretsch Duo Jet), as well as stage costumes (suits worn at Shea Stadium and the Concert for Bangladesh), handwritten lyrics to unheard songs, photographs, letters and journals. "Most interesting are his journals, particularly as a youngster," Santelli says. "We found evidence of all kinds of very sophisticated ideas as to what this band called The Beatles might look like, in terms of their outfits and the guitars that he would play. And we're talking about 1960, '61, '62 — well before the advent of Beatlemania." The Grammy Museum will host Living in the Material World (free with museum admission) through the Grammy Awards on Feb. 12, after which the exhibit will travel. "We are finalizing the cities, but it will tour a few places in the States and then spend some time in Europe, including London," Santelli says. Harrison expects the exhibit to offer fans a more complete picture of her husband of 23 years. "With the book and the movie, it tells a story," she says. "I think you'll know more about what he was thinking and feeling while he was being quiet — which wasn't a lot of the time, to be honest. It's really the inner journey. His outward persona was music, but he was a really deep-feeling, thinking person. Maybe that's why people perceived him as being quiet, because he was very introspective." http://www.usatoday.com/life/music/news/story/2011-09-02/George-Harrisons-life-unfolds-in-exhibit-film-book/50231886/1

Voldar: George Harrison guest appearance featured in ex-Rolling Stones member's box set A new box set of post-Rolling Stones work by Bill Wyman will include tracks with appearances by George Harrison and former Ringo Starr All-Starr Band members Peter Frampton and Gary Brooker, plus fellow former Rolling Stone Mick Taylor, Eric Clapton, Mark Knopfler, Chris Rea, Nicky Hopkins and percussionist Ray Cooper, among many others. The five-disc "Bill Wyman Collector's Edition Box Set," which collects four studio albums by Bill Wyman and the Rhythm Kings, will be released in the U.S. on Proper American Records on Oct. 25. Harrison plays slide guitar on the track "Love Letters" from the 2001 Bill Wyman and the Rhythm Kings' album "Double Bill." Also on the track are Wyman on bass, Georgie Fame on organ, Tommy Emmanuel on guitar, Graham Broad on drums, Terry Taylor on guitar, Frank Ricotti on percussion, Janice Hoyle on backing vocals and Beverley Sweets on vocals. The track was recorded in late 2000, according to Kristofer Englehardt's "Beatles Deeper Undercover." Wyman's group did their own version of a Harrison Beatles song, a cover of "Taxman," on "Living in the Material World: A Tribute to George Harrison," which released in 2003. Ringo Starr made a guest appearance in the 1985 live video by Willie and the Poor Boys, which also featured Wyman. Both Bill Wyman and the Rhythm Kings and Ringo Starr and the All-Starr Band are groups set up basically for the fun of playing. As Wyman, who left the Rolling Stones in part because he didn't want to travel much anymore, says, "We have a really nice time playing music that grabs us and we go home with smiles on our faces, just like the audience does. That’s really all it’s about.” http://www.examiner.com/beatles-in-national/george-harrison-guest-appearance-featured-new-bill-wyman-box-set

Goldenday: Сегодня, 10 октября, фильм М.Скорцезе 'Living In The Material World' официально выходит на DVD и Blu-ray. Интервью с Линном на DVD издано в качестве бонуса.

Voldar: Кино вроде можно будет глянуть в прокате,но странно что интервью с Джеффом вошло только в качестве бонуса(опять наших обижают).

Voldar: На офсайте Джоржа выложено двенадцать клипов ,среди которых есть и кусочки нового фильма. http://www.georgeharrison.com/#/media/videos/love

Voldar: Touring George Harrison's 'Material World' at the Grammy Museum The Grammy Museum’s new exhibition “George Harrison: Living in the Material World” offers an unusually intimate look into the public and private lives of one of the most intensely public and private people in pop music history. The exhibition opened Wednesday with a press preview during the day, followed in the evening by an invitation-only VIP event hosted by Harrison’s widow, Olivia Harrison. Guests included Ringo Starr and wife Barbara Bach, Harrison’s Traveling Wilburys cohort Jeff Lynne, Doors drummer John Densmore, actor Edward James Olmos, veteran studio and touring drummer Jim Keltner (who played on most of Harrison’s solo projects), Recording Academy President Neil Portnow and longtime Grammy Awards telecast executive producer Ken Ehrlich, according to museum Executive Director Robert Santelli. Olivia Harrison has loaned a large batch of items that span her husband’s life, from notebooks he used as a schoolboy in Liverpool to iconic instruments (his Gretsch Duo Jet electric guitar, the Gibson acoustic from “A Hard Day’s Night” and rosewood Fender Telecaster from “Let It Be, ” among several) clothing (his original Shea Stadium suit) from his years with the Beatles to signature pieces from his life after the Beatles (the cream-colored Nudie Cohn suit he wore at the Concert for Bangladesh). If may seem ironic to put the spotlight on material objects associated with a musician who spent much of his life emphasizing spiritual over temporal matters. But as Olivia Harrison put it when she spoke to me recently about the exhibit as well as the Martin Scorsese documentary of the same title that premiered last week on HBO, “George was also into material things because he lived in the material world. He wasn’t a mendicant going around holding a bowl, although he might have ended up that way if he had lived longer. You never know.” The aspect Harrison himself might have had the most trouble with was seeing his guitars safely ensconced within Plexiglas display cases. “Fans have been wanting to see these things,” Olivia Harrison said. “The guitars are beautiful, and I know they should be seen and shared. George always said that instruments should be played. When he came across somebody who had collected a thousand instruments, he thought it was wrong that they were kept locked away in a warehouse somewhere. Maybe one day we’ll be able to have it where people can actually pick up and play some of them.” That’s not an option at the Grammy Museum exhibition, but there are hands-on aspects, notably three listening stations at which visitors can manipulate the sound mix on his 1973 hit “Give Me Love (Give Me Peace On Earth).” The stations are equipped with all eight tracks drawn from the original master tapes, so listeners can isolate Harrison’s vocals, his slide guitar, drums, bass, percussion or backing vocals or balance them to their own preferences. Santelli said that at Tuesday night’s VIP opening, Starr spent several minutes playing producer with the track. He said Starr told him, “Now I’m going to give George Martin a run for his money.” Other elements of special interest to longtime Harrison fans will be displays of several of his signature songs in his own handwriting, some appearing to be original drafts including corrections, revisions and in some cases, words or even entire verses that he omitted from the final version. The show runs through Feb. 12, 2012, and then is expected to move on to other museums around the world. http://latimesblogs.latimes.com/music_blog/2011/10/george-harrison-material-world-grammy-museum.html

Voldar: George Harrison's Death To Be Marked With Two Liverpool Concerts The 10th anniversary of the death of George Harrison is being celebrated by two concerts in Liverpool. The concerts, set to take place in Harrison's home city at St. George's Hall and the Cavern Club, will feature a wealth of bands he signed to The Beatles' Apple Label, including Brute Force and The Radha Krishna Temple, The Mersey Beatles, Singh Strings, Andre Barreau from The Bootleg Beatles and The Dovedale School Choir. The St. George's Hall concert will be free and visitors from the Radha Krishna Temple will feed all the performers and audiences at both concerts free of charge, reports BBC News. In addition, Living in the Material World, the Martin Scorsese directed documentary on Harrison, will see its release on DVD on October 11. Harrison passed away November 29, 2001 at the age of 58 from lung cancer. http://www.rttnews.com/Content/EntertainmentNews.aspx?Section=2&Id=1731556&SM=1

Voldar: Eunarchy in the UK: George Harrison's first movie Long before The Life of Brian, George Harrison funded an award-winning film stuffed with British talent – so why has it taken 40 years to surface? In 1979 George Harrison purchased, almost on a whim, what Terry Jones would later call "the most expensive movie ticket of all time". After a single reading of the script of Monty Python's Life of Brian, he mortgaged his own luxury mansion and sank the resultant funds into a project that had been abandoned, days before shooting started, by its original backer, Bernie Delfont of EMI. Why did he do it? "Because I liked the script and I wanted to see the movie," said Harrison later. A Beatle can do that. From that almost informal exchange of favours between good friends sprang arguably the most interesting British production company of the 1980s, Handmade Films, backed by Harrison and his producing partner Denis O'Brien. Handmade gave us Brian and Withnail & I, The Long Good Friday and Mona Lisa, and the early work of Terry Gilliam. That legend is well known; less well known is that Brian was not Harrison's first foray into film production; that distinction belongs to Stuart Cooper's superb adaptation of David Halliwell's play Little Malcolm and His Struggle Against the Eunuchs, retitled Little Malcolm. It was made in 1973, won the Silver Bear at Berlin in 1974, and then was lost to public view for nearly four decades as one of the many contested assets of what Cooper today calls "the Beatles' divorce". "George never said this to me," says Cooper, "but I definitely got the feeling that Little Malcolm may have been the first and last time George ever went to a play. But he was a big, big fan of it and also a big fan of [its star] Johnny Hurt, so he was in our corner already. Also, at the time, the other Beatles all had a film gig, John had done Imagine, Paul, I guess, directed Magical Mystery Tour, and Ringo was in Candy and The Magic Christian. So the only one without a film gig was George. He financed Malcolm through a company called Suba Films, which existed solely to receive profits from the animated Yellow Submarine. It was financed entirely by Yellow Submarine! It wasn't a big budget, somewhere around a million, million and a half pounds – not expensive. He financed it top to bottom. He stepped up, wrote the cheque, and we made the movie." Cooper, then 31, hailed from wealthy Newport Beach, California, and had won a scholarship to Rada, one of six Americans chosen. Although Cooper always planned to become a director, among his classmates was Anthony Hopkins, and just graduating were Hurt and David Warner, soon to become friends, both of whom would later appear in Little Malcolm. Mike Leigh, who in 1965 would direct the first stage version of Little Malcolm (running five hours and starring the apparently cuts-averse Halliwell), was a little younger. The Leigh production flopped, but a two-hour version ran in the West End later that year starring Hurt. Harrison saw this one and loved it. It's easy to see why. Malcolm is an impotent, powerless nobody sustained by hopeless compensation-fantasies, a recently expelled art student who sees himself as at war with what he calls "the Eunarchy" of social conformists and the sexually timid. All his art is self-portraiture while his pseudo-radical groupuscule, the toothsomely named Party of Dynamic Erection, is camouflage for the knock-kneed terror that its members – Wick, Irwin and Nipple (Warner) – all feel in the presence of women. Hurt's magnificently verbose, quasi-fascist ranting and his fondness for loyalty tests, public shaming and show trials ("Do you plead guilty or very guilty?") soar aloft on language that's part-Beckett, part "free love" advocate Wilhelm Reich, with more than a hint of the Beatles' beloved Goons. In some moments there are clear pre-echoes of David Thewlis in Naked and the mad squabbling of Withnail & I. This is a 40-year-old movie that hasn't dated an hour. After filming in Oldham in gas board buildings emptied out by a strike, using Kubrick's great cinematographer John Alcott, Cooper says it seemed only moments after the final cut was printed that the movie was impounded. "In the end, we got hung up by the Beatles' breakup, when all of the Apple and Beatles assets went into the official receiver's hands. So Little Malcolm just basically sat there for a couple of years. Whatever heat and buzz we generated was all lost. It didn't diminish the movie but it stopped the momentum. George had to fight to get it back. "Berlin was the first airing we managed, but it won best direction and the response was incredible. We got great reviews from Alexander Walker and Margaret Hinxman, but by then it really didn't have any legs. It was a film that got lost, and I had to put it on a shelf and say to myself, well, there might be a day for that one day – and here we are now, after so many years." Little Malcolm won the Silver Bear at Berlin in 1974 (Cooper's next movie, the sombre and chastening Overlord, won another Silver Bear in 1975), and the post-ceremonial bacchanals were memorable indeed. "We partied with Fassbinder the night we won the Silver Bear in '74," laughs Cooper. "He loved Malcolm, and watching him - I think everyone has a pretty clear idea of how Fassbinder looked at that point; scruffy, sunglasses, leather, unkempt beard - watching him drinking with Johnny Hurt with his horrible scruffy beard, and still dressed like Malcolm, really - they could have been twins! Fassbinder could have played Malcolm!" http://www.guardian.co.uk/film/2011/oct/30/george-harrison-little-malcolm-handmade?newsfeed=true

Voldar: Так это Джорж оказывается во всём виноват... How George Harrison split the Beatles Biographer Hunter Davies remembers the Quiet Beatle - whose ambition was the real reason for the band’s breakup George had been sitting for a long time cross-legged on the floor. He was putting new strings on his sitar while telling me about his spiritual life, about transcendental meditation, about reincarnation and stuff. I might well have been ever so slightly dozing off. This was 1968 and we were in his ranch-style bungalow in Esher, Surrey. George was in one of his more spiritual periods. The telephone rang. George picked it up. I could hear muffled giggling noises. “Esher wine store,” barked George, affecting a cockney accent. And hung up. He laughed at his own trick. Then went back to telling me how much I was missing in my spiritual life. This was the thing about George. He could be intensely, often achingly, serious one moment, then break out of it, laughing, well aware of himself. Remember that excellent song he did on the Sgt Pepper album – Within You Without You – which is full of Indian music and instruments. When it comes to an end you can hear the other Beatles burst out laughing. People at the time thought it rather nasty of them, mocking George’s earnestness. In fact it was George’s own idea. “After that Indian stuff,” as he told me, “you want some light relief after five minutes of sad music. You don’t have to take it all that seriously, you know.” George was a late developer, which comes across clearly in Living in the Material World, Martin Scorsese’s two-part documentary on his life being screened by BBC2 this weekend. He was not just younger than John and Paul, he was far less mature, physically and sexually, and clearly had talent but lacked confidence. A puzzling thing about George’s early years was that, despite having passed the 11-plus and gone to a top grammar school, the Liverpool Institute (which was where he met Paul, a year ahead), he left at 16 and became a humble apprentice electrician. A sign, perhaps, of lack of ambition or some sort of inferiority. Or perhaps in a way he was just asleep, waiting. When George joined the Quarrymen, he seemed to trail in their wake for the first few years, in awe of the other two. John was an art student, Paul a sixth-former, men of the world, with ambitions and status, writing songs, having sex, while George just seemed like, well, Little George. When I was working on their biography, back in the 60s, I talked to many people – John and Paul themselves, other early members of the Quarrymen, Cynthia (John’s first wife) and Astrid, their Hamburg friend – and they all had the same visual memory. They all remembered George walking down the street, one step behind John. Paul and John had each other to spark them, to combine and compete against, but George, when he slowly started writing songs, was on his own, and became self-conscious that his lyrics weren’t quite as good as their creations. That’s what he felt – and for a long time it was probably true. On the other hand he was happy enough with his music, though he worked obsessively on it. Paul and John gained from each other, bashing and hammering into shape both their words and their music. George became the Quiet Beatle, got overlooked in the noise and commotion. On stage, you could see his deadly concentration, not showing off or flirting with the audience as Paul and John did. He maintained he had to concentrate as he was carrying the music along. Even when they were at their height, I don’t think many people realised just how much George was contributing. Yes, we knew about the Indian influence, but it is remarkable, when you look back, just how many George numbers were on the Beatles albums, right from their second one, With the Beatles, back in 1963, when he contributed Don’t Bother Me. Not a classic, but they got better, all the time. On Revolver I was surprised, when I started to count up, that three of the songs were his - Taxman, Love You To and I Want to Tell You. One of the joys of the Scorsese film – along with unseen home-movie footage and the interviews with Ringo, Paul and George’s widow Olivia talking about his last years – is having George’s music all the way through, both his Beatles and post-Beatles music. You realise then just how much he wrote. Personally I could do without the old TV clips of David Frost and Malcolm Muggeridge chuntering on yet again, but the film does manage to capture George’s spiritual life, without grinding on too much. George was the first, from my observation, to get pissed off by being a Beatle. He had by then developed – ahead of them. Long before the Apple rows or before Yoko came into John’s life, or Linda into Paul’s, elements usually listed in their break-up, George was desperate to move on and leave them all behind. He’d done all that, that phase in his life was over, and found wanting. He was, in many ways, the late developer who developed most, right to the end of his life. The other three, at various stages, went on to mark time, but George was always seeking, studying, gardening, making, thinking, doing. It made it hard for me, at the time, to get him to concentrate and think back to the early days of the Beatles, when the subject bored him stiff. It was spiritual matters that he really wanted to talk about. When I finished the book, he was the only one who moaned about wanting more in – about his spiritual views. I talked him out of it, saying it would unbalance the book. At the same time he was always a realist, and also still tempted by the weakness of the flesh, which Olivia – without spelling it out – indicates very clearly continued to go on. “He did like women and women did like him,” she says in the film. And his combination of seriousness and humour was always there. His passion for Monty Python, and saving their Life of Brian film, was done for his own amusement because he wanted to see the finished film – despite being such a seriously religious person himself. The Beatles, when I was writing their biography, came to our house in north-west London to have tea or a meal. At the time, they had become vegetarians. When Ringo came, my wife had prepared an amusing ratatouille and some clever dish with aubergines and nuts, which Ringo pushed away. By vegetarian, Ringo really meant baked beans and corn flakes, which is what he had practically survived on for years in the backs of vans. George was of course more sophisticated, in all his tastes. He was also the only one of them all who brought a present when he and Pattie arrived – nothing madly original or expensive, just flowers and chocolates. I often used to think he was off in the clouds, not concerned or aware of this world, but he could be well aware of the little worldly everyday things. http://www.radiotimes.com/news/2011-11-12/how-george-harrison-split-the-beatles P.S. Это между прочим написал официальный биограф битлов - Хантер Девис.

Goldenday: Ну дела.... Теперь, оказывается, на Джорджа можно всё валить.

Voldar: Apple Jam honors George Harrison in sell-out concert at Seattle's Triple Door November 14, 2011, Seattle, Washington – George Harrison, the “quiet”Beatle, was honored Saturday night at the Triple Door in Seattle with a rousing and memorable concert by the popular Seattle tribute group Apple Jam. The concert was organized in remembrance of the tenth anniversary of Harrison’s death November 29, making this concert a moving experience for fans in attendance. Tickets to this event were sold out over a month prior, and the venue was packed without a seat to spare. The Triple Door’s swank atmosphere offered nice seating, food and drinks. The stage set up featured a large life-size standup of Harrison surrounded by gnomes and sunflowers, paying homage to his estate at Friar Park and his love of gardening, as well as replicas of his favorite guitars. Apple Jam came on the stage at 8pm after some introductory videos of Harrison brought back great memories of the ex-Beatle with the incredibly dry sense of humor. The footage shown in the beginning and also intermission included the Saturday Night Live announcement by Loren Michaels inviting the Beatles to perform 3 songs for $3000, Harrison’s humorous music video to Crackerbox Palace, as well as the ode to his courtroom battles over My Sweet Lord entitled This Song, and Harrison’s appearance as a reporter in a Rutles movie. The mood now set for a night with George Harrison, the audience was treated to an evening of expertly performed Harrison songs from the Beatles years as well as the first part of his solo career (1970-1974) from his first four albums--All Things Must Pass, Bangladesh, Living In the Material World, and Dark Horse. Apple Jam’s set list included the most well-known songs from Harrison’s work as well as some lost pieces buried in obscurity—lost pieces embedded in the less popular albums that the casual fan would be unfamiliar with. However, devoted Harrison followers were on “Cloud 9.” Harrison history and trivia were shared with the audience during song introductions. The band opened the show with one of George’s gems from All Things Must Pass--Wah-Wah, followed by What Is Life. Two Beatles songs followed—Do You Want To Know A Secret, written by John Lennon and given to George to sing. (John’s reasoning for this “gift” was backhanded---John said in interviews that “it only had three notes and George wasn’t the best singer.”) Apple Jam told the audience that Lennon wrote it in 1963 for his wife Cynthia who was pregnant at the time. The pregnancy and the marriage at the time were kept a big secret in fact, from fans. The next song was George’s earliest compositions, Don’t Bother Me. Front man Rick Lovrovich then told the audience that the next song was actually George’s very first—You Know What To Do. It didn’t make it onto the Beatles album A Hard Days Night but was discovered much later and included on Anthology. The song was recorded by Apple Jam on their Off The Beatle Track CD. New band mate Robbie Christmas made his official debut as he stepped forward to sing While My Guitar Gently Weeps, as Mike Mattingly did phenomenal guitar work, receiving cheers from the audience. (see video at left) Other big highlights of the evening featured popular Harrison tunes All Things Must Pass, What Is Life, If Not For You, My Sweet Lord, Bangladesh, Here Comes The Sun, Tax Man, and Something, as well as the little New Year's ditty, Ding-Dong Ding-Dong. Multi-talented Jon Bolton alternated between drums and acoustic guitar and did lead vocals on many songs. While his drumming is phenomenal enough, always standing out with his performances, his attention to detail on vocals is equally amazing. It includes making his throat raspy enough to sing Dark Horse, he says, “authenticly.” (Harrison was so ill during the recording of the album, that critics called it “Dark Hoarse.”) Bolton notably came on stage wearing a George Harrison shirt, and in the second half, sported an orange T-shirt sporting the words, “Extra Texture (Read All About It)” for George’s 1975 album that very few remember. Some of the more obscure pieces of the night were 1974’s So Sad from Dark Horse, a song that Jon Bolton announced was “so sad, I can’t sing it without crying,” Awaiting On You All (All Things Must Pass), and That Is All (Living In The Material World.) Another song that was quite a surprise was Badfinger’s Day After Day (1971), included because George produced it and did lead guitar for the song. It Don’t Come Easy, usually credited to Ringo Starr, was given to Harrison on this night, because as Lovrovich said, “We think George actually wrote it.” (In fact Ringo has said that George co-wrote the song--the guitar riffs and reference to Hare-Krishna in the chorus of course is a dead giveway.) Apple Jam’s Beatle shows are immensely popular in Seattle’s music scene, as well as around the world, including Liverpool’s Beatle Week. True to their reputation, they delivered a fantastic show. The lineup, featuring Rick Lovrovich, Jon Bolton, Mike Mattingly, and Johnny Jones (whose new haircut and specs are fab), introduced newcomer to the group, guitarist Robbie Christmas. Robbie is the replacement for Kurtis Dengler, who moved earlier in the year. (Read this article for their full history including bios and past shows) Mark Mattingly, Mike’s brother, sat in on drums while Bolton was on guitar. It was a beautiful night devoted to the Quiet One, one that memorably highlighted the sometimes hidden work of George Harrison. I’ll admit that despite the valuable Harrison education we received at the show, I missed hearing songs from George’s later albums, like Blow Away (George Harrison, ‘79), All Those Years Ago for John Lennon (Somewhere in England,’ 81), the songs from Cloud 9 and Brainwashed, and Traveling Wilburys. But they only had a couple of hours….perhaps they can do a Harrison tribute Part 2? SET LIST: First set: Wah-Wah, What Is Life, Do You Wanna Know A Secret, Don’t bother Me, You Know What to Do, I Need You, While My Guitar Gently Weeps, If Not For You, So Sad, Dark Horse, My Sweet Lord, Ding Dong, Ding Dong, Give Me Love,I Me Mine. Second set Piggies, For You Blue, It Don’t Come Easy, Here Comes The Sun, Something, All Things Must Pass, Day After Day, Taxman, Bangladesh, That Is All. http://www.examiner.com/john-lennon-in-national/apple-jam-honors-george-harrison-sell-out-concert-at-seattle-s-triple-door

Voldar: George Harrison and India: The Real ‘Magical Mystery Tour’ It’s hard to believe that we are coming up on the tenth anniversary of the tragic death of George Harrison. The former Beatle’s passing -- at the premature age of 58 from lung cancer on Nov. 29, 2001 -- came less than three months after the monumental 9-11 terrorist attacks, which may have somewhat overshadowed the importance of his untimely demise. As a lifelong Beatles’ fan, George was one of the most important and influential pop culture figures of my life -- however, as a person of East Indian descent, my view of ‘The Quiet Beatle’ is rather complicated. For better or worse, George Harrison inadvertently became the greatest promoter of Indian culture and Hinduism to the Western world during the 20th century. This had its good and bad aspects. First, a little background. By most accounts, George first became interested in Indian music when he picked up a sitar during a break in the filming of The Beatles’ second movie, “Help!,” in 1965. (I have never been completely satisfied by this story, since, like many tales about The Beatles, it may be apocryphal). If you recall, that movie (which The Beatles reportedly disliked and didn’t take too seriously) featured an absurd ‘plot’ that included cartoonish villains who looked vaguely like Indians. The film also had certain other Indian symbols and ambience. (By this reckoning, if ‘Help!’ had depicted, say, Chinese or Arab villains, perhaps 1960s history would’ve been dramatically different). In any case, an interest in the sitar (which made its wobbly Western pop music debut in the song ‘Norwegian wood’ later that year) led to a meeting with Indian musician/virtuoso Ravi Shankar, which in turn led to George’s infatuation and ultimate deep immersion into Indian culture, food and Hinduism. These chance events would ultimately make a significant impact upon The Beatles, and, by extension, Western pop culture. By the late 1960s, The Beatles had engineered another pop culture revolution (at least in Europe and North America) by wearing Indian-style clothing, spouting religious and philosophical aphorisms that seemed to borrow from ‘Eastern’ thought, and later even visiting India for a highly-publicized training session to learn Transcendental Meditation with the fraudulent ‘mystic’ Maharishi Mahesh Yogi. For John Lennon, Paul McCartney and Ringo Starr, their interest in Indian/Hindu culture was rather fleeting and temporal -- although it may have led John and Paul to become vegetarians. Ringo (God bless him) just went along with the fad, wore colorful clothes for a while, but remained, at his essence, an ordinary, unpretentious Northern English lad who never really changed his working-class attitudes and customs. But for George, India completely overhauled and changed his life permanently. He learned to play the sitar, he read Hindu texts, he meditated, he chanted, he frequently visited India, he dressed in Indian-style clothes, and he became deeply involved in the ‘Hare Krishna’ consciousness movement. And because he was a Beatle -- part of the most popular, powerful and influential pop culture force the world has ever known -- his thoughts and activities influenced millions of others around the globe. Indeed, tens of thousands of Westerners (of various ages, but mostly the young) became interested in India, learned about yoga (which itself, ironically, eventually metamorphosed into a billion-dollar industry); and many journeyed to India. And it all occurred because of a poor Irish Catholic boy from Liverpool with no education and a nasal voice. Ironically, Westerners had been fascinated by India for centuries – but such interest was limited to scholars and academics like Max Müller, John Muir, Edwin Arnold, William Jones, and others. They had little influence over the broader society. As a result, Westerners remained largely ignorant of or indifferent to India. That changed when a long-haired rock guitarist burst onto the scene in the 1960s. Unlike those 18th and 19th century academics, George Harrison had a ready-made global audience of hundreds of millions due to The Beatles’ immense fame and popularity and the instantaneous power of global mass media. Plus, George was handsome, smart and charming -- an ideal ‘P.R. man’ for something as remote and incomprehensible as Indian/Hindu culture. However, it might not all have been for the best. For many Westerners, India and Hinduism was nothing but a fad, a temporary (very superficial) infatuation that led nowhere. Most disturbing, in some circles, Indian culture somehow became associated with drugs and free sex (i.e., the hippie movement). For people like my parents, they were baffled and outraged by this misappropriation, cheapening and corruption of Indian culture. Therefore, we must wonder -- was George’s immersion in India really genuine? Yes, I believe it was… with some reservations. The lifestyle of a Western rock-and-roll star (use of drugs & alcohol; sexual promiscuity, etc.) are anathema to conservative, traditional-minded Indians. These two poles are simply not compatible. However, here we must make a distinction between “Hinduism” and “Indian culture.” Unlike Christianity, Judaism and Islam, Hinduism (which is itself a vague and arbitrary term coined by Westerners), has no fixed precepts of human behavior. There is nothing analogous to the ‘Ten Commandments’ within the broad umbrella of Hindu philosophy. Thus, customs and practices that Westerners associate with Hinduism are actually Indian traditions (the two things are, of course, deeply intertwined). For example, Hindus worship the cow and refrain from eating beef not because their holy books forbid it; but rather because at one point in ancient times, a cattle shortage led people to preserve and protect the valuable livestock. Over the centuries, this became part of the fabric of Indian society. At its essence, Hinduism, like Buddhism, simply believes that as long as people are ensnared in physical addictions and have any kind of ‘desire,’ they will be endlessly reborn on earth to suffer the fates and arrows of the material life. Once a person’s consciousness evolves beyond earthly desires (a state of ‘Nirvana’), he or she will be freed from this cycle of birth and re-birth and enter a joyful, painless everlasting existence in the spiritual sphere. That is quite a long row to hoe -- for anyone -- much less a wealthy British rock star with all the temptations and pleasures of the material world laid out at his feet. Indeed, even after his introduction to Indian/Hindu culture, George continued drinking alcohol, abusing drugs (although he apparently stayed away from heroin), amassed a huge fortune, and had innumerable affairs with women who were not his wife. No real devoted “Hindu” would behave in this way. However, I don’t blame him for that at all – if I were in his shoes, I would do much the same. Still, by claiming to be so ‘spiritual,’ George became subject to charges of hypocrisy. George’s apparent obsession with money (‘Taxman’) also would appear to contradict and undermine his spiritual aspirations. Then again, many self-proclaimed ‘Hindus’ are also hypocrites -- some to appalling degrees. Yet, I still believe that George tried the best he could to live his life in a spiritual way – within the framework of his privileged life as a very wealthy celebrity. For one thing, he explicitly and repeatedly decried the meaninglessness of fame and wealth (i.e., the ‘material world’). Clearly, he was searching for something beyond the physical reality and found it in Hinduism. Reportedly, George once said: “Through Hinduism, I feel [like] a better person. I just get happier and happier. I now feel that I am unlimited, and I am more in control.” As I recall, George’s embrace of India and Hinduism caused him much grief – critics complained he and his music became boring, sanctimonious and exasperating. From a purely musical point of view, George’s exploration of Indian music and culture produced a decidedly mixed impact on his career as a rock star. While songs like ‘Norwegian wood’ (which mildly incorporated the sitar) worked exceedingly well, George’s purely “Indian” productions like ‘Love you to,’ ‘Inner light,’ ‘Blue Jay Way’ and ‘Within you without you’ were tiresome and simply did not belong on Beatles albums. (Reportedly, Lennon, McCartney and producer George Martin were very reluctant to include such songs on The Beatles’ records.) In 1969, George produced the single ‘Hare Krishna Mantra,’ which was performed by him and the devotees of the Radha-Krishna Temple in London. Amazingly, the chanting tune entered the top 10 record charts in Britain and elsewhere. After The Beatles broke up and George was finally free to make his own records, he enjoyed some initial success (including, the mega-popular ‘All Things Must Pass’ album), but eventually he petered out. By the mid-1970s, George (just a little over 30 years old) was finished as a vital, meaningful force in pop music and pop culture. I believe the very peak of George’s career (and perhaps his life) was an event that took place in the summer of 1971 and shattered the boundaries between and East and West and represented the very best example of combining entertainment/pop culture with a noble cause. ‘The Concert for Bangladesh’ featured George and a number of other top recording stars and sought to raise money for millions of refugees who were fleeing the deadly civil war in Bangladesh (formerly East Pakistan). For an Indian boy of Bengali descent who was also a Beatles fan, the ‘Concert for Bangladesh’ was a stunning and life-changing event. I was actually too young to understand what the concert meant at the time, but in retrospect, I see it as possibly one of the greatest moments of post-war global cultural exchange. What on earth did some long-haired, bearded Western rockers have to do with the impoverished nation called Bangladesh thousands of miles away? Absolutely nothing… and that was the beauty of it. Without George Harrison and Ravi Shankar it would have never been possible. I get chills and almost teary-eyed today watching a video of the concert. To see George, Ringo, Eric Clapton, Bob Dylan, Leon Russell and others singing songs to raise awareness about a place most people in the Madison Square Garden audience probably knew nothing about was wonderfully bizarre, poignant and moving. Even more impressive, the cover of the album of the concert did not depict George or any of the musicians who appeared on stage. Rather, it depicted a black-and-white photo of a small, anonymous, starving, bug-eyed Bengali child sitting in front of a plate of food (he likely died shortly thereafter). It was an image as far from the “glamorous” world of showbiz and rock-and-roll as possible – and yet, that photo and the album found itself at the very center of Western pop culture that year. Although his old band-mates John and Paul were more widely celebrated for their songwriting skills, ‘Bangladesh’ placed George at an exalted position in pop culture that the other two arguably never reached. From my perspective, there is yet another interesting aspect to George’s obsession with India. During the late 1960s (as The Beatles and hippies celebrated India), Britain was embroiled in a deep debate over immigration from the Commonwealth countries (i.e., India, Pakistan, Jamaica, etc.) Right-wing politicians demanded a halt to such immigration, while extremists called for their deportation. In fact, the Beatles alluded to this in one of their biggest songs. ‘Get back’ was originally a song called ‘Don’t dig no Pakistanis’ which spoofed the anti-immigrant stance. Thus, while the ‘beautiful people’ of London enjoyed and promoted Indian culture, many ordinary British people became increasingly anxious over the presence of so many Indian (and other) immigrants in England. George, who lived a privileged life of a wealthy rural country squire, did not concern himself with such mundane details of British life. Sadly, after ‘Bangladesh,’ George spent the next thirty years of his life largely in obscurity (mostly by choice). In any case, George’s connection to India only deepened as he aged, raised a family, and went into semi-reclusion as an eccentric gardener. After he passed, it was reported that he left behind £20-million for the International Society for Krishna Consciousness. His corpse was also cremated and his ashes immersed in the Ganges River, near the holy city of Varanasi. George had finally come ‘home.’ http://www.ibtimes.com/articles/251345/20111117/george-harrison-beatles-india-hinduism-lennon-mccartney.htm

Voldar: McCartney tribute band marks 10th anniversary of passing of George Harrison Это не Пол,а Mike Miller. New England-based McCartney tribute band "One Sweet Dream: The Paul McCartney Experience!" will be performing a special concert next Tuesday, November 29th, which is the 10th anniversary of the passing of George Harrison. Along with the usual format of Paul's Beatles and solos, One Sweet Dream will be performing a special set of George Harrison's Beatles and solos, including Traveling Wilburys. Mike Miller as Paul is noted in the media at being one of the best at capturing the look, sound and persona of Sir Paul. The show takes place at a movie theatre in Mystic, Connecticut with a stage in front. Montage videos of Paul and George will be showing on the screen throughout the concert. "One Sweet Dream: The Paul McCartney Tribute for George Harrison" happens at Mistick Art Cinemas which is located at 27 Coogan Blvd. in Mystic, CT with doors opening at 8 pm. Tickets are $12 with proceeds with benefiting the Oral Cancer Foundation. To purchase or reserve tickets, go to www.MaccaTribute.com for your options but hurry, the show is rapidly approaching and you will need a few days for ticket delivery if paying with check or credit card. http://www.maccatribute.com/

SLQ: Louise Harrison reminisces about brother George Harrison and the BeatlesBy Gerry Galipault, Herald-Tribune Monday, November 28, 2011 For more than 40 years, Beatles fans have asked Louise Harrison to write a book about her famous younger brother, George. Now she has finally relented. George Harrison holds his infant son, Dhani, who was born on Aug. 1, 1978. (Photo provided by Walt Kane) Toddler Dhani Harrison sits on his father George's shoulders. (Photo provided by Walt Kane) The 80-year-old former Sarasota resident has finished most of the text for a book to be released next year or 2013. Now she’s scanning never-before-published photos, letters and documents that will fill the rest of the pages. “So much garbage has been written about George and the Beatles,” Harrison says from her home in Branson, Mo., where she created Beatles tribute band Liverpool Legends six years ago and oversees its stage production. “Half of the stuff has been written by people who spent maybe an hour on a plane with the Beatles. Now I think it’s my duty to get the truth out. There’s been all kinds of myths and fantasies written about them. At least I have some facts to go on, because I was there — from even before they were the Beatles.” George Harrison died 10 years ago Tuesday from lung cancer at age 58. For Louise, memories of her “kid brother” remain intact. “We were very fortunate to have such great parents,” Louise says. “They kept us grounded. Even when George became a public figure, as did I, so to speak, my parents would receive thousands of letters from fans all over the world thanking them for having George. They took very good care to answer them all — they felt they were creating a global family for Beatles fans. “They had so much love within them, and they shared that love with everyone.” Louise Harrison doesn’t want to give away too many details about her involvement with the Beatles’ meteoric rise to fame (“You’ll have to read the book,” she says, with a laugh). But she will say she had a finger on the pulse of the United States in the early 1960s. “That’s because I was already living in the U.S. in 1963,” she says. “I would relay information over to (Beatles manager) Brian Epstein. I told him that the Beatles weren’t getting any airplay over here, that they really needed to play on ‘The Ed Sullivan Show,’ which they had never heard of but it was the most popular show on television, and that they needed to find a major record label here.” When the Beatles performed on “Ed Sullivan” in 1964, kicking off the British Invasion, George Harrison was quickly dubbed the “quiet Beatle.” There was a reason for that, Louise says. “First off, he wasn’t quiet,” she says, laughing. “But the weekend they flew into New York to do ‘Ed Sullivan,’ George was very sick. They were staying at the Plaza Hotel, and we got him to see the hotel doctor, Dr. Gordon. Dr. Gordon said, ‘This is a very sick kid. He’s got a 104-degree temperature and has strep throat.’ “He was given some shots and vaporizer treatments, and I was in charge of watching over him. George was told to use his voice as little as possible. That’s why at all the press conferences he was so quiet, and so the press thought he was the quiet one. George used to have a good laugh about it.” For her book, Louise Harrison is getting help from an unlikely source: ex-husband Walt Kane. The two were introduced at a bar in New York City, married in 1973 and divorced in 1983. They moved to Sarasota in 1980, and Kane has lived here ever since. “I loved George Harrison,” Kane says. “He was a very nice man. I can’t say enough good things about him.” The 66-year-old Kane, now retired from a career in sales and marketing, has fond memories of hanging out backstage with Paul Simon and Lorne Michaels during Harrison’s “Saturday Night Live” appearance in November 1976, and staying at Harrison’s sprawling English manor in Henley-on-Thames. In addition to recounting his marriage to Louise Harrison and memories of George for the book, Kane is providing her with his unpublished photos of George, including some taken at his estate and such personal moments as George holding his newborn son, Dhani, in 1978. “George was always happiest at his estate, which he renamed ‘Crackerbox Palace,’” Kane says. “It was a beautiful place, 30-plus acres of moats and caves and gardens. It was a maze of shrubbery. It had 120 rooms and a huge recording studio. And there were no locks on the doors.” That changed when Harrison’s former Beatle band mate, John Lennon, was gunned down by an obsessed fan in December 1980. “After Lennon was killed, George electrified the fences and hired a bodyguard,” Kane said. “He said, ‘It takes only one maniac to take me out.’ He got tired of the fame; he just wanted to be a gardener. He said he was planting for the next generation.” Despite the increased security at Harrison’s mansion, an intruder broke into his home and stabbed him in late 1999. Louise Harrison says her brother became more cautious but not paranoid. “But he did say to me, ‘Don’t be too out in the public, because I don’t want some lunatic to have their 15 minutes of fame.’ He was more worried about his family than himself. That was George.” http://www.ticketsarasota.com/2011-11-28/featured/louise-harrison-remembers-brother-george-harrison-and-the-beatles/

Voldar: В память о 10-й годовщине смерти Джоржа на ВСС2 будет снова выйдет в эфир передача ; George Harrison: What Is Life Michael Palin presents a tribute to his friend George Harrison, who died in November 2001. It features archive interviews with George, as well as contributions from his wife and son, Bob Geldof, Jim Keltner, Jeff Lynne, Brian May, Gary Moore, Tom Petty, Ringo Starr, Ravi Shankar and the Beatles' producer George Martin. The programme highlights George's contribution to the extraordinary and enduring legacy of the Beatles. Although John or Paul would usually sing the lead vocal, George played a vital role in the distinctive harmonies that enhanced the Beatles' records. Guitarist Gary Moore demonstrates the brilliance of George's solos on their records. And Ravi Shankar talks about how George's love for Indian music and culture influenced Beatles records. After the Beatles split in 1970, all four released solo records but - to the astonishment of many - it was George who initially achieved the most commercial and critical success. His single My Sweet Lord was a worldwide number one in 1971 and returned to the top of the UK chart in 2002. He organised the Concert for Bangladesh and the triple album of the recordings topped charts around the world. This event, and George Harrison's understanding of the power and responsibility that rock musicians could wield in the world, have had a lasting influence. George's solo career had periods of great productivity and also two phases when his profile dipped below the horizon. He enjoyed a late 1980s 'comeback' with his hit album Cloud Nine, released the number one single Got My Mind Set On You and two albums with his supergroup The Traveling Wilburys (featuring Bob Dylan, Jeff Lynne, Roy Orbison and Tom Petty). The year after George died Brainwashed was released, which featured the music he had worked on since his last solo album in 1987. Among them was the beautiful instrumental Marwa Blues, which won a Grammy Award. First broadcast on Radio 2 in 2009. http://www.bbc.co.uk/programmes/b00mf12v

Voldar: Машины Джоржа очень неплохо продаются,тем более он знал в них толк. George Harrison’s 1965 Aston Martin DB5 Surprises Auctioneers with $549,045 Winning Bid Legendary lead guitarist of The Beatles, George Harrison, whose musical skills promise to sweep the audience off their feet has now surprised the Coys auction house, who sold a 1965 Aston Martin DB5 formerly owned by Harrison. The car, along with a huge collection of movie posters, was auctioned at the Coys True Greats auction, which was held at Royal Horticultural halls in London on Wednesday, December 7. The car fetched an astonishing £350,000 or about USD 546,000 / ?410,000 after a fierce bidding among the fans, which was far more than the estimated price of £225,000 – £260,000. George Harrison’s DB5 was manufactured in the year 1964 and was delivered to him on January 1, 1965. In the late 1980’s, when Harrison sold this car, it found its way into a museum in Tokyo, Japan. In 1995, it was purchased by a Japanese collector residing in Germany. The DB5 has been maintained in a largely original and unrestored condition with a recorded mileage of just over 22,000 miles. The winning bid was made by an anonymous Beatles and Aston Martin fan from Houston in Texas who said: “George Harrison would be amazed about all the money his car is going to raise for Christian causes”. Other vehicles sold at Wednesday’s auction included a Cord 810 Phaeton owned by Jimmy Page (of Led Zeppelin fame) and entrepreneur Duncan Bannatyne, Mercedes Benz 300 SL Roadster that hadn’t seen the light of day for almost a quarter of a century, and a Mercedes Benz 540K once owned by Formula One Management CEO Bernie Ecclestone. http://www.nitrobahn.com/news/george-harrison%E2%80%99s-1965-aston-martin-db5-surprises-auctioneers-with-549045-winning-bid/

Goldenday: Глядя на очертания, сразу фильмы о 007 вспоминаются

Voldar: Британский фан клуб битлов с родины героев,выпустил первый номер журнала.Не знаю,насколько это символично,но он посвящен Джоржу. Harrison Exclusive Tribute The BBFC has produced an exclusive 80-page A4 size full-colour magazine, HARRISON EXCLUSIVE, a tribute magazine with a difference. Packed with features by top quality writers, including some of those who knew George personally, HARRISON EXCLUSIVE covers George's life and career, from his childhood through to his untimely passing in 2001. Статья оттуда: TALKING GEORGE HARRISON By Spencer Leigh Over the past 30 years I have been fortunate enough to interview music personalities for my BBC Radio Merseyside programme, On The Beat. Invariably, I seek out any Beatle connections and if there aren’t any, I ask for a favourite Beatles track. It sounds as though I do my interviews on autopilot but by asking for a favourite Beatles track, I find I receive all kinds of different answers and they are rarely the same. By way of a tribute to George, here are some comments from my guests about George Harrsion. Session guitarist and former member of Wings, Laurence Juber told me, “When I worked with George Harrison, he told me that when he was 13, he had some jazz guitar lessons from someone on the boats who was familiar with Django Reinhardt. Those diminished chords that George uses came from Django, so he was a very sophisticated guitar player.” Chris Curtis, drummer with the Searchers: “George was wonderful on the guitar. His little legs would kick out to the side when he did his own tunes. He’d go all posh and say, ‘I’d like to do a tune now from Carl Perkins, ‘Everybody’s Trying To Be My Baby’, and it’s in A.’ Who wanted to know what key it was in? But he always said that.” Billy Kinsley of the Merseybeats: “The Beatles sang ‘A Shot Of Rhythm And Blues’ in unison and then broke into a little harmony with some backing vocals from George. ‘Some Other Guy’ was also in unison and it became a Liverpool thing to sing in unison. George had a monotone Scouse accent and he sang like that when doing harmonies, which was the perfect way to do it. You wanted that in there because John and Paul were so melodic. That was good luck – they thought, ‘Doesn’t it sound great?’ and did it.” With The Beatles contained the first George Harrison song, the sulky and self-protective ‘Don’t Bother Me’. Bill Harry, the editor of the Mersey Beat newspaper, says, “When everyone was going on about the Lennon-McCartney partnership, I felt that the others should come to the fore in some creative way. I kept on at George Harrison by saying, ‘Look, the first original number the Beatles ever recorded was one of yours, ‘Cry for a Shadow’ in Hamburg, so why don’t you write some more?’ He would say, ‘I can’t be bothered.’ That led to him writing ‘Don’t Bother Me’ ’cause I was always on his back. When I met him after its release, he said, ‘Thanks very much. I’ve already made £7,000 in royalties.’” In the US, George Harrison bought a 12-string guitar, which he used in A Hard Day’s Night. Roger McGuinn of the Byrds: “George Harrison was playing a Rickenbacker 12 string and he gave me the idea for getting one too. His method of playing lead was to play up and down the G string as he got more punch out of it. I emulated that style and it sounded really good.” Rory Gallagher: “I liked the Beatles a lot, particularly the way they revived an interest in Carl Perkins and Buddy Holly. Most of the string bending came from Paul, and John was a very powerful rhythm player. George Harrison was an underrated slide player, very accurate and very good in the Carl Perkins vein. He worked within the song and he had unusual phrases and didn’t fit into the Eric Clapton/ Jeff Beck area. He could play great ethnic rock’n’roll and rockabilly guitar.” Music writer Paul Du Noyer: “George Harrison came out of Liverpool, unlike the other guitar heroes of British rock who were nearly all Home Counties boys like Eric Clapton and Jimmy Page. They had been brought up on the blues but Liverpool was steeped in country music and so Chet Atkins was a bigger influence on George. You can hear that single note picking, rather than long, sustained blues notes, in his early work. It gave the Beatles a very different sound and once it was developed you get ‘Ticket To Ride’ and ‘Day Tripper’, which have very intricate guitar playing. George had taken what he had learnt and put it into a new dimension. The southern boys went for the blues and that developed into psychedelia and heavy rock.” Neville Marten, lead guitarist with Marty Wilde’s Wildcats: “I was turned onto music by George Harrison. John and Paul were casual, easy-going musicians but George was very studious, always taking great care, and I thought, ‘That’s the guy I want to be’. It was said that the Stones could play and the Beatles could write songs but George Harrison played some lovely guitar on their records. The solo in ‘Something’ is a classic, a song within a song. ‘And I Love Her’ on the classical guitar is an absolute example of understanding an instrument as it relates to a song, which is what many guitarists fail to understand today.” The Hollies recorded George’s song, ‘If I Needed Someone’ for a single: it scraped into the Top 20 but deserved to go higher. Allan Clarke: “The only Beatles number that the Hollies ever did was ‘If I Needed Someone’. It was written by George Harrison and we got slated for it. Even George said it was terrible and we didn’t like that ’cause it dented our egos. It was a lovely song that had the Hollies’ ingredients written all over it but somehow the public didn’t accept it. They accepted the Rolling Stones doing a Beatles song but not us.” Graham Nash, also from the Hollies: “I was sad that George didn’t like it as we certainly didn’t want to upset him. We were honouring his songwriting and it was a great song and we did a good job of it. We did it a little too fast but the harmonies are pretty good.” Barbara Dickson: “I recorded ‘If I Needed Someone’ in 2006 and I thought it was a very good song, very up-tempo and so not as fundamentally thoughtful as some of his songs. I sing it in concert in memory of George Harrison as he gets overlooked so much of the time. If he had been in another band, he could have been as big as Lennon or McCartney but he was overshadowed by them. He was such a sensitive soul and I love him for that.” Ian McNabb, formerly of the Liverpool band, The Icicle Works: “George Harrison was into Chet Atkins and he was getting to be a really good guitarist around 1966. ‘Taxman’ can’t have sat too well with his Indian gurus as you’re not supposed to be bothered with worldly goods if you’re into Gita.” Beatles historian, Mark Lewisohn: “I like ‘Taxman’ for several reasons. First and foremost, it’s George Harrison’s writing. He had been writing a few songs over the years and although they’re very pleasant, there’s nothing especially great about them. They hadn’t got the depth that Lennon and McCartney’s songs had but that changed with ‘Taxman’, which is a very clever composition and typically George Harrison because the stories of his fascination with money are legion. He always wanted to know what they were owed and what they were earning. The fact that they were paying a great deal in tax rankled George a lot more than it did Paul, John or Ringo, so he wrote this stinging song to show how bitterly he felt about it all and he rounded it off with some of the best playing on any Beatles record.” Bill Nelson from Be Bop Deluxe: “I loved jazz guitar and I looked down a bit on the earlier Beatles stuff and then, when they did Rubber Soul and Revolver and became more experimental, they got my attention. Now I love the early stuff as well as I can see the value of it. I liked George Harrison as he was a big fan of Chet Atkins and he played a Gretsch Chet Atkins guitar which I lusted after when I only had cheap guitars. The productions were so inspiring. My all-time favourite is ‘Baby, You’re A Rich Man’. I just love the vibe of it.” Actor Victor Spinetti: “I said to George Harrison, ‘I can’t get it together with Eastern music’, and he said, ‘Vic, don’t listen to it. Let it happen to you. Western music is all maths, but Eastern music is the flow and you can jump in and out whenever you want.’” Mike Heron from the Incredible String Band: “I loved everything that George Harrison did. It’s very clever to write songs that are commercially acceptable and yet have spiritual messages. I’ve tried to do that but he was a master at it.” EMI historian, Brian Southall: “‘Only A Northern Song’ was George’s dig at Northern Songs having his publishing. John and Paul as co-owners and directors and shareholders in Northern Songs earned almost as much as George Harrison did from his songs and that caused resentment. George felt he had been conned and it is true that he wasn’t given any independent advice. Seemingly, every lawyer and every accountant who advised the Beatles was retained by NEMS, which was Brian Epstein’s management company.” Jackie Lomax from the Liverpool band the Undertakers recorded George’s song, ‘Sour Milk Sea’: “I was signed to Apple Publishing with a view to writing songs for other artists to record. George Harrison heard my stuff and wanted me to work with him. I had to wait for him to come back from India where they had been with the Maharishi. George had written ‘Sour Milk Sea’ out there about the ages of the world. They believe that every 26,000 years, the world changes. In between there is a just a sour milk sea where nothing happens. It was a heavy driving rock song at a time when everyone was doing ballads and we thought it would be a hit. Apple released four singles on the same day and mine got lost in the crush.” When Jackie Lomax’s album was issued on CD in 1991, Billy Kinsley from the Merseybeats was on the bonus cuts. “‘Going Back To Liverpool’ was great because George Harrison produced it. George was a wonderful producer as he was very methodical and never looked at his watch: he just wanted everything to be precisely right. Paul could be like that too, but he also went for feel. If it sounded okay, that was fine. ‘Going Back To Liverpool’ is a wonderful track and I remember doing the backing vocals with George, Billy Preston and Tim Rennick. That is when I realised how high George could get with his falsetto. We had a competition to see who could get the highest, but I can’t remember who won.” Billy Kinsley also saw the animosity between the Beatles: “George Harrison had a big bar of Cadbury’s Fruit and Nut and he gave pieces to me, Pete Clarke and Derek Taylor. Paul McCartney walked in and saw us all eating chocolate and wanted some. George, very deliberately, put the last piece in his mouth. (Laughs) It’s childish, and I’ve done things like that in the Merseybeats, but Paul was really annoyed that George didn’t give him his last piece of Fruit and Nut. (Laughs)” The film, Wonderwall, was a psychedelic love story starring Jane Birkin. Its director was Joe Massot: “I asked George at the opening of the Beatles’ boutique if he would like to do the music for Wonderwall. I told him that it was a silent film and his music would provide the emotion for the characters. Quincy Jones told me that it was the greatest soundtrack he had heard but the movie was too far out for some audiences. It did well in London though.” Donovan: “George introduced me to Indian music and he gave me a tambura, and it is still making music. I put it on ‘Hurdy Gurdy Man’ and it is the drone in between the verses. George did write a verse for that song, but because of the guitar solo, we didn’t include it on the record. I include it in my concerts now. Yeah, George.” Billy Bob Thornton: “I like George Harrison’s songs, and ‘Here Comes The Sun’ is one of my favourite Beatles songs. It’s a fantastic song. George seized his chance on Abbey Road: ‘Quick, while the others aren’t looking!’” Richie Havens: “I thought ‘Here Comes The Sun’ was the happiest, simplest, clearest wishing well for the world of all the songs that they had ever done. It is a message for all of us. The sun is going to come up tomorrow, no matter what. You’ve got to be prepared, it’s going to be all right. Things are not as hard as you’re making it. That was the message of the time that needed to be heard. I said that to George and he said, ‘It is a song about finding the light, the real light, the sun.’” Donovan: “All psychedelia points to one thing and one thing only: there is a spiritual path that the world needs and it was the singers and painters and dancers and filmmakers and poets that presented this path to the world. Now the doors of perception are open and George pointed the way by singing, ‘Here comes the sun, And I say, It’s all right.’” Louise Harrison: “George wasn’t particularly made up that Frank Sinatra had recorded ‘Something’. Once I was staying with him at the Plaza in New York and he spent the night hiding from Frank’s guys who were after him. Sinatra wanted him to write a whole album for him and he felt that these weren’t the sort of people you said no to.” John York of the Byrds: “The power struggle helped George grow as an artist in a strange sense so that when he put out All Things Must Pass, everyone went ‘Wow’, because he had been held down.” Alan White, whose drumming was featured on All Things Must Pass: “I don’t agree that George had copied the Chiffons’ ‘He’s So Fine’ for ‘My Sweet Lord’. That song changed so much in the studio and to me, it was and always will be legitimate. George was the sweetest guy in the world. A really, really great guy and he wouldn’t harm anyone or anything. The vibe and the atmosphere when we recorded ‘My Sweet Lord’ were incredible. We played music all day every day for three weeks and it was a great group of people.” Joe Brown’s late wife, Vicki, was a fine singer in her own right, having an uncredited No.1 with J J Barrie on ‘No Charge’. Vicki Brown: “George lived five minutes away from us and when he was doing the soundtrack for Shanghai Surprise, he asked me to help to demo a song for Madonna. He had worked out some great harmonies and we did the duet. Two weeks later, the producers wanted Whitney Houston to do it instead, but he said, ‘I think you should do it.’ We sang it on the soundtrack but they didn’t release it as a single as the film flopped.” Klaus Voormann recalled going to see George in 2001: “George Harrison was in Austria and he was in bad shape. It was a lovely day and the sun was shining and we were sitting outside. Olivia explained about his treatment and it took him ages to come down because he was so weak. He couldn’t get up easily and getting shaved and dressed was agony for him. He wore a gardening hat and he took it off and he had no hair, but he was happy. He was laughing. His concern was to make me feel good. It was the opposite of what I expected, that is, for me to try and make him feel good. He said, ‘If I die, that’s okay, and if I live on, that’s okay too. My body in not important, that is just my shell. My spirit will stay with you always.’ It was lovely that he felt like that and he wasn’t scared. He was still fighting for his life but he knew he was going somewhere better. If everybody could feel that way, it would be great.” ‘Goodnight, George’ at the end of Fate’s Right Hand by the singer/ songwriter Rodney Crowell is a reference to George Harrison. “We were rehearsing the song ‘This Too Will Pass’ and I got a phone call from my daughter Hannah who lives in Los Angeles and is an incredible Beatles fan. She was in tears because George had died. I went back and told Pat Buchanan and Michael Rhodes who were on the session with me and as we were recording the play-out at the end, I just said, ‘Goodnight, George’. It was just an emotional thing. We went into the control room and Pat had tears down his face and he said, ‘Do you realise how similar this song is to All Things Must Pass?’ I hadn’t thought about it until that moment, but he’s right. We left ‘Goodnight, George’ on the song and decided to end the record that way.” Klaus Voormann remembered his final meeting with George Harrison: “That last day I met him, he had had a video of himself when he went to the dentist to have a tooth out and he was singing, ‘How does it feel to be one of the beautiful people?’” http://www.britishbeatlesfanclub.co.uk/2011/12/harrison-exclusive-tribute.html?spref=fb

Voldar: Мартин Скорсезе конечно получил очередной пирожок,но я думаю скорее из уважения к герою фильма и честно говоря, ждал от столь маститого режиссёра работы получше. Scorsese scores at Critics’ Choice Awards Legendary helmer Martin Scorsese received two honors last night at the 17th Annual Critics Choice Movie Awards – one for his most recent documentary, and another recognizing his efforts in combining music and film. Scorsese’s George Harrison: Living in the Material World, a loving tribute to the multi-faceted Beatle and solo artist, was named best documentary feature during the ceremony in Los Angeles. Also, the director received the second annual Music + Film award from the Broadcast Film Critics Association (BFCA). The second honor is presented to filmmakers who have, in the words of the BFCA, “heightened the impact of film through the brilliant use of source and soundtrack music.” While Scorsese certainly meets that criteria with his scripted features, his work in documentary – specifically with such films as The Last Waltz, which documented the final performance by The Band, and the Bob Dylan doc No Direction Home – also fits the bill. To that end, Dylan performed “Blind Willie McTell” as a special musical tribute to the director, who received the award from George Harrison’s widow Olivia and Leonardo DiCaprio. Scorsese’s latest scripted feature, Hugo, was also up for best picture. While it did take an award for best art direction, it lost the best picture nod to The Artist. Next month, Scorsese will be presented with the British Academy of Film and Television Arts’ Academy Fellowship at the BAFTAs ceremony. Read more: http://realscreen.com/2012/01/13/scorsese-scores-at-critics-choice-awards/#ixzz1jdRO7DZr

Goldenday: Voldar пишет: честно говоря, ждал от столь маститого режиссёра работы получше. Я вот, честно говоря, не почувствовал почерка Скорцезе в картине. Фильм нормальный, но если бы в титрах стояло любое другое имя, и разницы не заметил бы. Хотя снимать документальное кино, наверное, нужен определённый навык и талант, а Скорцезе всю жизнь снимал игровое, так что судить не берусь.

Voldar: Goldenday пишет: Хотя снимать документальное кино, наверное, нужен определённый навык и талант, а Скорцезе всю жизнь снимал игровое, так что судить не берусь. Дык в том и дело, что это не первое док кино для Мартина, и устроить на половину экранного времени слайдшоу, по-моему, не очень интересно.

Goldenday: Может, у него реально материала не хватало?

Voldar: Ну Джорж,хоть и был самый "тихий",но думаю на любого битла материала столько,что каждый год можно по доку выпускать.

Goldenday: Вообще да, ты прав.

Voldar: The Guitar Collection: George Harrison iPad App To Be Released February 23 BANDWDTH Publishing, in conjunction with the George Harrison Estate, announces the release of a special iPad app celebrating the guitarist and his historical guitar collection. The Guitar Collection: George Harrison iPad app will be released through iTunes on February 23, two days before George’s birthdate. The app brings George Harrison’s private guitar collection to life through photographs, detailed descriptions, audio, and video footage. For the first time, with the help of unique 360° imaging by photographer Steven Sebring, fans can see the scratches, dings, and worn threads on the guitars as if they were themselves holding the instruments. Fans will be able to examine Harrison’s private guitar collection, through personal audio recordings from Harrison himself as he introduces many of the guitars and plays sections of songs. The history of each guitar is laid out in great detail; including the origin of the guitar, when and how it became part of Harrison’s collection, modifications he made to it and why each was so important in creating his distinctive sound. Songs from his catalogue are organized by the guitars used on each track, which allows the user to appreciate the personalities of each instrument. The video section of the app contains footage of Ben Harper, Josh Homme, Mike Campbell, and Dhani Harrison each playing and showcasing the guitars and exploring their feel and tone. In addition, Conan O’Brien and Dhani discuss what make these guitars so exceptional. Also in this section, guitar great Gary Moore shares his views on what made George Harrison such a distinctive and influential guitar player. The app will sell for $9.99 at the Apple App Store. http://www.thebeatles.com/#/news/The_Guitar_Collection_George/

Voldar: Док Скорсезе все продолжают продавать,вот и выставку устроили. Living in the Material World: George Harrison exhibit at the Grammy Museum at LA Live LOS ANGELES, Ca, January 23, 2012 - Honoring the ten-year anniversary of the passing of legendary Beatle George Harrison, the Grammy Museum at LA Live in downtown Los Angeles hosts an engaging and powerful exhibit featuring many of the musician’s personal effects, iconic pieces of wardrobe, letters, sketchbooks and of course many of the renowned musician’s instruments. The exhibit, located on the museum’s second floor features handwritten lyrics to songs like “Something,” “While My Guitar Gently Weeps,” and “All Things Must Pass.” Fans can run their eyes across the carefully written words as the songs play in their fullest expression in the background. In addition to the many guitars Harrison used while playing with The Beatles, fans can find other instruments that were a rich part of Harrison’s life as well. While he is most commonly known as the lead guitar player for the Beatles, Harrison spent much time in India learning to play the Sitar under the tutelage of Sitar master Ravi Shankar. Harrison was also a fan of the ukulele, usually traveling with two at a time so that his friends could play with him. Harrison’s ukuleles, ukulele banjos, and his sitar are also on display at the museum. The exhibit is opened in conjunction with the release of “Living in the Material World,” a book of photography and quotes about George put together by his wife Olivia. The book is released along with the Martin Scorsese documentary which originally aired on HBO and will be available on DVD at a later date. While the exhibit offers much insight into Harrison as a musician, what one unfamiliar with the complex life of the shy Beatle will quickly see that there is much more to Harrison than his decade as a member of one of the world’s most influential bands. http://communities.washingtontimes.com/neighborhood/payne-full-living/2012/jan/24/living-material-world-george-harrison-exhibit-gram/

Voldar: The Beatles ‘Here Comes The Sun’: Lost Solo Discovered Here comes the Son. Dhani Harrison, the son of George (the late and great Beatles guitarist) visited Abbey Road studio with long-time Beatles producer George Martin and his son, Giles to discover something sacred. Deep in the master tracks of “Here Comes The Sun” from 1969′s Abbey Road, Dhani stumbles upon a lost solo from his father’s ballad. It completely changes the texture of the song, not to mention how freakin’ cool it is. It’s chilling, but doesn’t compare to the moment when George Martin turns to Dhani and says, “You’re like your father.” http://www.andpop.com/2012/01/28/the-beatles-here-comes-the-sun-lost-solo-discovered/

Voldar: George Harrison's sister heads to the Grammys SARASOTA, Fla. - How does a trip to California sound? One that includes attending the Grammys, where a CD you've worked on is nominated? It may sound like a dream, but it's a reality for one Suncoast woman. When Louise Harrison was eleven years old, her younger brother George was born. She didn't know it then, but George of course became part of one of the most famous bands in history. "There's probably not much I can tell you that people think they do not know about George Harrison of the Beatles," says Harrison. And although George may now be gone, Louise makes sure his memory is keeping on, with a CD called "Fab Fan Memories: the Beatles Bond". Last year, Louise was the narrator of the CD, which is a compilation of stories of how the Beatles touched so many lives. "I'm so proud to be apart of something so positive," says Harrison. And the project is actually nominated for a Grammy this year. So on Friday, Louise will be packing her bags and leaving Sarasota for California. "It's in the spoken word category," says Harrison. She says the CD is just another way to keep the Beatles music alive. When she returns home from the Grammys, she will continue work with her non-profit organization to help keep music alive in the schools. For more information on Louise's organization visit www.liverpoollegends.com. http://www.mysuncoast.com/news/local/story/George-Harrisons-sister-heads-to-the-Grammys/vjhHgVu4fUOyBqEfw8qHRQ.cspx

Voldar: 9th Annual Tribute to George Harrison in Westport this Saturday The 9th Annual Tribute to George Harrison will take place this Saturday, February 18, 2012 at Whites of Westport, in Westport, Massachusetts beginning at 6:00 (Doors open at 5:30). This annual event is a night filled with music from the 60's, focusing around George Harrison and the Beatles, and includes Beatles memorabilia and artwork available for purchase and raffles. This year's line up include The British Yankees, Sherman & the Waybacks, Psychedelic Relics, Wayne Cabral (former member of Octopus's Garden, a John Lennon Songwriting Contest semi-finalist and performer at the 2011 New England Pop Festival), the Oh Nos, a plastic sporko band! (featuring members of the band GIRL, the first all female Beatle Tribute band to play the Cavern Club in Liverpool). Also appearing will be Beatletracks, the Mockers (Fred Grady and members of CBNE and Stacy Pedrick of THE FOOLS) and from New Jersey, The Cryers (backing band for Denny Laine of Wings and Terry Sylvester of the Hollies) with special acoustic welcome starting at 5:40 by 10 year old guitarist Thatcher Harrison. http://www.beatlesnews.com/blog/the-beatles/201202141008/9th-annual-tribute-to-george-harrison-in-westport-this-saturday.html

Voldar: Louise Harrison keeping the Beatles spirit alive in schools When Beatlemania burst forth in the early 60's, Harold and Louise Harrison responded warmly to the multitude of Beatle fans worldwide who wrote letters to and about their son, thus becoming Mum and Dad to a warm and loving Global Family of Beatle People. During 1964 and 1965, Louise Harrison, the first child and only daughter of Harold and Louise Harrison, who was born in Liverpool but by then was living in Illinois, found herself writing and broadcasting daily Beatle reports nationwide, due to public demand for news of The Beatles. When her parents passed away in the late 1970s, Louise became Mum, known by many as "the flying mum," to what she fondly refers to as her Global Family. Louise keeps that connection alive these days as manager of the Beatles tribute band Liverpool Legends. She told Beatles News, "Amongst the many financial problems appearing, we heard that education was suffering very badly and especially the music and arts departments. Being closely involved with a group of compassionate and caring musicians it seemed a logical move, to find a way for our band to try to help keep music alive for the students in our schools." And Louise and the Liverpool Legends are helping to make that a reality, as they have recently given fundraising concerts at five high schools in the U.S. including, Moline, Davenport, two in Chicago and one in Cape Cod. At these shows, student musicians and singers join in, filling in on the instrumental accompaniment and background vocals. Louise said, "Each of these shows was a great success and we feel very encouraged that as we proceed, and with the ardent support already pouring in from my Beatles family, we shall be able to show the world that the Beatles legacy is still a very positive one." Now that effort is official, with "Louise Harrison's Help Keep Music Alive, Inc.," her new non-profit organization that is dedicated to help bring music and the message of the Beatles to kids. Louise incorporated the new non-profit in the State of Florida on Jan 23rd of this year. But she needs your help. The goal of "Louise Harrison's Help Keep Music Alive, Inc." is to bring her broadway class Liverpool Legends show to schools, and have the music students play a large role in the second half of the concert by playing on stage with Liverpool Legends. The proceeds of each of their previous high school shows went to the respective schools where the concerts were held, minus the costs of putting on the show, like travel costs and hotel rooms. Through the new non-profit organization, Louise is now looking for sponsors to help defray these costs, so that more of the money taken in at these concerts can go directly to the actual school's music department. Louise wants to hear from you if you're a school music director or school administrator and you'd like to arrange for one their shows to happen at your school. Also, please contact Louise if you're part of a company that can sponsor services to Louise's cause, like air fares and hotel rooms. Louise can be reached at louise@lh-hkma.org or visit their website at www.lh-hkma.org. You can also learn more about the band Liverpool Legends at their official website, www.liverpoollegends.com. Louise says, "In the same way that my Mum and Dad would sit down and answer fan letters for hours and hours hours, they answered hundreds of thousands of fan letters in those early days, and they considered all of the kids across the world as part of their family, I have adopted that same attitude for Beatles people, they are my extended family. I'm just very gratified all these years that whenever I have tried to do something that is in the spirit of the Beatles, that inevitably, my Beatles family all over the world have rallied around and helped me. I'm hoping that this will happen again, because I don't ever want to let my family down, and if I can get the right kind of help, we'll be able to do something really good in the next few years." http://www.beatlesnews.com/news/the-beatles/201202151059/louise-harrison-keeping-the-beatles-spirit-alive-in-schools.html

Voldar: Celebrating George Harrison at Mercury Lounge This Sunday, Mercury Lounge is putting on a birthday celebration for my favorite Beatle, George Harrison. He may have been known as “the quiet one” to the young teen girls of the 60’s, but Harrison was really the driving force for many of the Beatles’ most memorable songs, like “While My Guitar Gently Weeps,” “Taxman” and “Here Comes The Sun.” A largely introspective, spiritual person with an insatiable appetite for knowledge and new experiences, he is credited with guiding the group towards eastern music and mysticism, which would have a huge impact on their subsequent albums. Harrison, of course, was much more than one of four Beatles, and went on to experience success as both a solo artist, collaborator and an inspiration for countless musicians through multiple decades. Harrison became close friends with famed sitar player Ravi Shankar, and teamed up with Shankar in 1971 to put on the all-star “Concert For Bangladesh,” which became a model for future celebrity charity events. Not to say that Harrison was wholly serious, as he was well known for his dagger-pointed jokes, even going so far as to create a film production company to back the filming of Monty Python’s “Life of Brian,” simply because he wanted to see the movie. He remained relevant during the 80’s with some short, poppy singles like the unforgettable “Got My Mind Set on You.” But in forming the Traveling Wilburys in 1988, you really got the sense that Harrison truly relaxed and had the most fun of his illustrious career. The group was made up of Harrison and fellow luminaries Bob Dylan, Jeff Lynne, Roy Orbison, and Tom Petty. Together they created a signature barn-stomping jam sound that weaved together gravelly harmonies with rhythm & blues guitar riffs. A humble artist who transcended the pitfalls of fame and the pigeonholing of the entertainment industry, George Harrison is certainly deserving of the Mercury’s birthday celebration in his honor. http://www.thelodownny.com/leslog/2012/02/kens-music-picks-george-harrisons-birthday-celebration-at-mercuty-lounge.html

Voldar: George Harrison’s Beloved Guitars, Gently Weeping on Your iPad Some music fans understandably regard the guitars owned and played by George Harrison, in his Beatles career and as a solo artist, as sacred relics that may still contain fragments of their former master’s spirit. Dhani Harrison, the son and only child of George Harrison, appreciates why the instruments he inherited from his father are so venerated but sees things slightly differently. “It’s not like Spinal Tap,” he said recently, referring to that satirical rock ’n’ roll troupe. “ ‘Don’t point at it, don’t even look at it.’ They’re not quite like that.” He added: “Paintings should be in museums and should be able to be seen. Instruments should have to be played every once in a while. Otherwise they’ll perish.” While he can’t share his father’s guitars with anyone who would like to pick them up and play them, Mr. Harrison is providing iPad owners with an interactive way to pore over the cherished instruments. On Thursday a new iPad app that Mr. Harrison helped to create, called The Guitar Collection: George Harrison, is scheduled to go on sale. At a cost of $9.99, the app will offer users detailed 360-degree studies of some of his best-known gear; their histories and other background information; and multimedia of the guitars in action. Mr. Harrison, who is 33 and a rock musician in his own right, said in a telephone interview from Los Angeles that he too reveres the instruments, having grown up with them as if they were members of the family. “I’ve learned to love this equipment firsthand through seeing my father play it and through seeing it used on every great bit of footage ever,” he said. “If anyone needs anyone to look after a psychedelic piano, give it to me,” he added. “I know what to do with it.” The best way to show respect for his father’s musical trove, he said, is to make it available to others, at least in a virtual capacity. “It means that I can play around with these things every day,” he said, “when I’m on the bus or in the car, and not have to worry about scratching them.” The app, which is authorized by the George Harrison estate and developed by Bandwdth Publishing, works like a miniature showroom and includes digital replicas of seven of the guitars. Images of George Harrison’s 12-string Rickenbacker 360/12, or the Fender Stratocaster he painted in DayGlo colors and named Rocky, can be manipulated and rotated from every angle; numbered details show the modifications he made to the instruments and, in accompanying audio files, Harrison tells stories of how he acquired the guitars (like the Gretsch Duo Jet he says he bought from a sailor in Liverpool for about £70 in 1961). Users can see every Beatles or solo track Harrison used the guitars on and play them through the app. (Songs already in your iTunes library can be played in full; otherwise you’ll hear a short excerpt.) The 360-degree guitar models are the creations of Steven Sebring, the photographer and filmmaker who helped create a similar app based on his documentary “Patti Smith: Dream of Life.” Last fall Mr. Sebring traveled to Friar Park, the Harrison mansion in Henley-on-Thames, England, to photograph the guitars with a camera on a turntable apparatus that he operates with his own software. The guitars were supported by plexiglass stands that Mr. Sebring started designing before the trip, basing their dimensions on copies of Harrison instruments he found in music stores. But when he arrived at Friar Park, Mr. Sebring said, he discovered “they weren’t really exact replicas out there.” So, he added, “we were literally sitting on the dining room floor in Friar Park with some plastic adhesive glues and creating these stands for these guitars, hoping to god that they would fit.” The Harrison guitars were later sent to Los Angeles for an exhibition at the Grammy Museum, where performers like Ben Harper, Josh Homme and Mike Campbell, as well as the late-night host and guitar geek Conan O’Brien, were invited to play them for video segments seen on the app. Mr. Campbell, a guitarist who performs with Tom Petty and the Heartbreakers, said that picking up Harrison’s Rickenbacker and playing the chords to “You Can’t Do That” resulted in “an out-of-body experience.” “I had to stand up for a second, it was so intense,” Mr. Campbell said. “It was that instrument and that sound that inspired me so much as a kid. And there I was, hearing it up close. It was a pretty special moment, really.” For admirers who can’t have the same hands-on experiences, Dhani Harrison is already planning other offerings. More of his father’s guitars will be added to the app, he said, in the weeks after it is released. (The additional guitar upgrades will be free to people who have already purchased the app.) And he said he would like to create other apps that would display the guitar collections of rock stars like Eric Clapton (George Harrison’s longtime friend), Jimi Hendrix, Pete Townshend of the Who, and Angus Young of AC/DC. “I don’t know how well I’d do, sitting there photographing the white Hendrix Woodstock Stratocaster,” Mr. Harrison said. “Then it’ll be me that’s in tears, and everyone else will be going, ‘It’s O.K.’ ” For all the worship bestowed on the Harrison guitars, Mr. Campbell said his own encounters with the quiet Beatle suggested he was not especially precious about them. “I was talking to him about how much I loved the guitar sounds on their early records, the Gretsches and the Rickenbackers,” Mr. Campbell recalled. “And he went: ‘Oh, yeah. They were kind of clunky and hard to play. If we had Fenders, we could have been really good.’ ” http://www.nytimes.com/2012/02/23/arts/music/new-ipad-app-the-guitar-collection-george-harrison.html?_r=2&ref=technology

Voldar: Интересно,что бедных янки обидели.На носителях фильм Скорсезе у них выйдет только 1 мая. U.S. DVD release of George Harrison doc in sight if online clues correct Though there's been no official announcement, the long wait for the U.S. release of the Martin Scorsese film "George Harrison: Living in the Material World" may finally be coming to an end, assuming some online listings are accurate. Amazon.com has a listing for the U.S. DVD/CD Blu-ray bundle for release on May 1. A regular DVD version is also listed, but without a price or release date. Advance listings don't always have complete information, so this should be corrected in time. Also listed on the site for May 1 is "Early Takes Volume 1: Music From The Martin Scorsese Picture Living In The Material World," a separate release of the CD of rarities released in the UK with the deluxe bundle. A vinyl version of the album will also be released, according to the listings. The lack of information with the regular DVD release could be an indication there is no bundle for the regular DVD, meaning anyone wanting the CD will have to buy it separately. Amazon isn't the only place listing the May 1 date. MusicTap.net, which runs news of upcoming releases, has also said May 1 is the release date for the Blu-ray DVD/CD bundle. It should be noted again that the advance product listings such as those on Amazon.com are not official. Advance listings aren't always reliable and have been known to be wrong. The U.K. release came shortly after the film aired late in 2011. The U.S. has had to wait an incredibly long time. That appears to be nearing an end, finally. This much is true, though: With the advance listings and reports already online, an official announcement should be coming soon. Perhaps very soon. We'll report the official announcement, so check in with us for the latest information. http://www.examiner.com/beatles-in-national/possible-u-s-release-date-for-scorsese-george-harrison-doc-found-online-clue

Voldar: The Sunday Conversation: Ravi Shankar You were an organizer of last month's Indian Music and Dance Festival in Delhi. In our center, every year, we have a four-day festival for which I get young musicians and elder, established musicians. It started in memory of George's birthday. We still keep that day, starting on Feb. 24. Every year we do that. I miss him very much. What do you remember most about him? We became very, very dear to each other in the sense that it started with my teaching him sitar. And then gradually I saw his interest in Indian religion and more than religion, actually, philosophy and the old culture. And I helped him get many books to read, and that's how it started. And he got so deep into it and he was so sincerely in love with India and the Indian religion, because he was more into the philosophical aspect of the old system. This plus music, we became such good friends. He became like part of me. http://www.latimes.com/entertainment/news/la-ca-conversation-20120318,0,3948381.story

Voldar: Ничего такой домишко был у Джоржа в Швейцарии. Beatle George Harrison's Swiss Manor Hits Market "I don't care too much for the money," crooned the Beatles in their 1964 hit song, "for money can't buy me love." What it can buy you though, is Beatles lead guitarist George Harrison's sprawling, stately mansion in prestigious Montagnola, Switzerland. Exactly how much money though, we're not entirely sure. The listing agents at Christie's International affiliate Wetag are keeping mum about how much the late Beatle's digs are going for. But we're assuming a ballpark figure of a whole lot (apparently, Harrison had purchased the estate for $10 million, back in 2001) because it's out of this world. http://realestate.aol.com/blog/2012/03/20/beatle-george-harrisons-swiss-manor-hits-market/

Voldar: George Harrison ‘Early Takes’ Album Announced Although known to fans as “the quiet Beatle,” George Harrison left behind a wealth of legendary albums upon his death in 2001. Fans have also been exposed to a number of unreleased demo tracks over the years through unofficial releases, including solo demos recorded in the waning days of the Beatles as he transitioned to working on his debut album, ‘All Things Must Pass.’ Some of those demos, along with other rarities, will see a U.S. release on May 1 with the release of ‘Early Takes Vol. 1,’ a set of ten songs featured in Martin Scorcese’s October 2011 documentary on Harrison, ‘Living In The Material World.’ Both DVD and blu-ray editions of the documentary are due for release on the same day. Many of these tracks appear similar to those released on the famous Beatle bootleg ‘Beware of ABCKO,’ at least one of which also turned up on the Beatles’ ‘Anthology 3′ release. Harrison’s collaborations with Bob Dylan are also spotlighted, including an early take of their co-written track ‘I’d Have You Anytime’ and Harrison’s demo of Dylan’s ‘Mama You Been On My Mind.’ Rarities from later albums such as ‘Thirty Three and 1/3′ and ‘Living in the Material World’ also appear on the collection. The set will be available in both vinyl and CD incarnations and should be available for pre-order soon from Amazon. Harrison fans with iPads will also want to check out the singer-songwriter’s guitar collection in the exclusive ‘The Guitar Collection: George Harrison’ app, available through iTunes. Here’s the track listing for ‘Early Takes’: 1. My Sweet Lord (demo) 2. Run Of The Mill (demo) 3. I’d Have You Any Time (early take) 4. Mama You’ve Been On My Mind (demo) 5. Let It Be Me (demo) 6. Woman Don’t You Cry For Me (early take) 7. Awaiting On You All (early take) 8. Behind That Locked Door (demo) 9. All Things Must Pass (demo) 10. The Light That Has Lighted The World (demo) http://ultimateclassicrock.com/george-harrison-early-takes-album-announced/

Voldar: Больше информации о пропавшем соло Джоржа. Lost George Harrison 'Sun' guitar solo on 'Material World' film Tucked in among about a dozen bonus audio and video features on the May 1 home video release of Martin Scorsese’s documentary “George Harrison: Living in the Material World” is a session that’s bound to generate excitement among Harrison and Beatles aficionados: a missing George Harrison guitar solo from one of his most celebrated songs, “Here Comes the Sun.” It surfaces during in-studio conversation between Harrison’s son, Dhani, longtime Beatles producer George Martin and his son, Giles Martin, who has overseen recordings used in the film and on an accompanying CD. The three are listening to, and fiddling with, tracks from the original multi-track recording of “Here Comes the Sun,” one of the two Harrison songs on the Beatles’ “Abbey Road” album in 1969. Giles Martin brings up the orchestral score his father created for Harrison’s song, noting that the elder Martin hadn’t done much composing previously for songs written by “the quiet Beatle.” They’re isolating different aspects of the track -- the strings, George’s voice -- when Dhani pushes another button on the studio console and up comes the sound of Harrison playing a guitar solo not included on the final mix. “That’s totally different to anything I’ve ever heard before,” says Dhani, his eyes immediately widening. “We never used that,” George Martin responds. “I’d forgotten about that.” “I never even knew about it,” Dhani says. That snippet is included in the bonus DVD material, but isn’t on the bonus audio disc featuring 10 Harrison tracks from his post-Beatles career, including early or alternate takes of several songs from his watershed “All Things Must Pass” solo album, some of his latter-day material and some covers. The CD will be packaged with the deluxe DVD-Blu-ray edition of the film, and sold as a stand-alone album. Calendar will have a more extensive interview with Giles Martin and Harrison’s widow, Olivia, closer to the release date of the package, which will be available in two-DVD set and single-disc Blu-ray editions, and the deluxe version with both formats and the audio CD. It has been released previously outside North America, but because HBO screened the film domestically, the home video was delayed in the U.S. until May. http://latimesblogs.latimes.com/music_blog/2012/03/george-harrison-martin-scorsese-guitar-solo-here-comes-the-sun-living-in-the-material-world-documentary.html

Voldar: Во оно как.Наверно в лучшей песне Ринго не обошлось без друга. Ringo Starr's 'It Don't Come Easy': the George Harrison connection Ringo Starr's "It Don't Come Easy," released as a single on April 9, 1971, was his first solo hit. The song topped out at number 4 in 11 weeks on the Billboard charts. And it's been one of the most enduring songs of his solo career that he's performed live many times, including at the Concert for Bangladesh. But one fascinating side note to the song is George Harrison's part in it. According to Chip Madinger and Mark Easter's "Eight Arms to Hold You," Starr has said Harrison helped him in writing the song, though he was never credited. More fascinating, though, is a guide vocal version that has floated around collector's circles for years with Harrison singing the song. (See the video spot at left.) The backing track is a different mix than Ringo's, and Harrison's arrangement features a few differences from Ringo's version. The casualness of the vocal clearly says it was meant for demo purposes. t would be interesting, though, to guess what Harrison's contribution to the song is. It's become one of the cornerstones of Ringo's "peace and love" trademark. ("Peace, remember peace is how we make it, here within your reach, if you're big enough to take it.") But Harrison's singing also shows the song's spiritual side. "It Don't Come Easy" may sound like a common complaint, but it becomes a philosophical statement thanks to Harrison. It's a collaboration that, you can say, "worked out nice, again Continue reading on Examiner.com Ringo Starr's 'It Don't Come Easy': the George Harrison connection - National Beatles | Examiner.com http://www.examiner.com/beatles-in-national/it-don-t-come-easy-the-george-harrison-connection#ixzz1rlGj694c

Voldar: Чего то я не вкурил в чем дело.Уже второй дом Джоржа продается. Magic and mystery of George Harrison’s former Blue Jay Way home Southern California offers so many a celebrity home, we have a hard time getting excited when yet another one hits the MLS. But in this case, we got excited, because this isn’t just a celebrity listing, it’s a Beatles listing. Well, sort of. It’s the former rented home of George Harrison. An oasis close to, but hardly touched by, the bright lights and buzz of LA’s Sunset Strip and Century City, the 3 bedroom, 2.25 bath home is over 4000 square feet of history. For without 1567 Blue Jay Way, the Magical Mystery Tour wouldn’t be the album it is. According to CurbedLA, the song “Blue Jay Way” came to Earth via the magical mystery mix that was a late Beatles pressman and a Beatle with sudden time on his hands. Back in 1967, there was a fog upon LA and George Harrison was waiting in his rental house up in the Hollywood Hills Bird Streets for Beatles pressman Derek Taylor to show up (but he and his wife had lost their way: “We’ll be over soon they said/Now they’ve lost themselves instead.”). He noticed his landlord had left a Hammond organ in the house and sat down and wrote ”Blue Jay Way.” Beatles lovers should consider themselves lucky George didn’t fill his time some other way in this house, so full of delights as it is. A swim in the pool or soak in the spa? A movie in the theater? The chance to spill some wine on acres of white upholstery? Take a (magical mystery) tour, readers, and see if you’re similarly inspired. You need a few gold records to buy this pad though: listing price is $4,599,000. http://blog.sfgate.com/ontheblock/2012/04/17/magic-and-mystery-of-former-george-harrisons-blue-jay-way-home/?tsp=1

Goldenday: За такие домики только на одни налоги тонна зелени ежегодно уходит. Может, Оливии надоело или опять мировой финансовый кризис ...

Voldar: Похоже,Оливия и Дхани взялись за наследство по серьезному. Treasure trove of George Harrison music unwrapped Olivia Harrison and a few trusted collaborators are going through the guitarist's massive archive and bringing the best of it to the public “He loved to record, he was always doing more and more demos at night,” says his widow, Olivia Harrison. “But he’d always say, ‘I’ll never finish them. I’ll have to give them to (producer) Jeff Lynne (to finish).’ He knew he was going to be in his garden in the daytime, so they wouldn’t get done. But he was discovering the singer-songwriter thing again and really doing a lot of recording. He was just getting to the point of getting some sessions together. Sadly, time ran out.” Now, Olivia Harrison and a few trusted collaborators, including Giles Martin, the son of Beatles producer George Martin, are going through the guitarist’s massive archive and bringing the best of it to the public. The first in what is projected to be a series of recordings is due out May 1, “Early Takes: Volume 1” (UMe), a collection of mostly acoustic demos documenting the early days of Harrison’s solo career. It will accompany the release on DVD and Blu-Ray of Martin Scorsese’s 2011 Harrison documentary, “Living in the Material World.” “Early Takes” focuses on the era around the guitarist’s 1970 solo debut, “All Things Must Pass,” including demos or early takes of the title song, “My Sweet Lord,” “Behind That Locked Door,” “Awaiting On You All,” “Run of the Mill” and “I’d Have You Any Time” (cowritten with Bob Dylan). Another gem is an acoustic version of the then-decade-old Everly Brothers hit “Let It Be Me.” In the documentary, producer Phil Spector says he was stunned to find Harrison had “hundreds” of unreleased tracks when the two began working on “All Things Must Pass.” And perfectionist that he was, Harrison left behind alternate versions of countless songs. Among the documentary’s bonus footage is a scene showing Giles and George Martin seated in front of a mixing board with Harrison’s son, Dhani. They pull up a version of Harrison’s Beatles hit “Here Comes the Sun” and play a previously unheard guitar solo by the songwriter. “I never even knew about that,” Dhani Harrison remarks as he hears his father’s guitar-playing pour through the speakers. There’s plenty more where that came from, as Olivia Harrison and Giles Martin describe in an interview: Q: Did the Scorsese documentary meet your expectations? Olivia Harrison: It’s so rich, it so captured a deep part of George. Maybe some years from now I may think of something I wish was in it. But for now, as Dhani said, ‘You’re off the hook, mom.’ I do feel like that. I was doubtful, before I met Marty, that anyone would be able to capture this part of George that was so unique, so different, the deep part of him. I thought that side was too private, too personal, but Marty managed to bring it out. So I’m grateful he did. Q: Did you have the final say on what went into the documentary? OH: No, not really. Marty thought really long and hard before even accepting to do this, because he needed to express what he thought all this material meant, what the story was. There were times when I was emotionally not ready to put things out into the public. We’d have conversations about it, and he’d say why it needed to be in there. It always made sense. He never wanted to do anything that would hurt anyone. We didn’t want to be flinching about something 10 years down the line over this. It was a good balance. But Marty pretty much got to do what he wanted to do. Q: George said after the “Beatles Anthology” came out in the ‘90s that he wanted to do his own documentary one day, right? OH: He did say, “I want to do my anthology.” When you have four people you have four different perceptions. All of them were interested in different things, and George had a different attitude toward some subjects. He was into Indian classical music, meditation, things he thought were important in life to help you get through the madness. Those things he wanted to express. He had a list of things that he wanted to do. This was one of them. In fact, he had a note -- I shouldn’t say this, but I will – he had this piece of paper saying, “Exploring my own twisted mind, Part One.” That would’ve been his title for the first half of the documentary. He wanted to share certain things with people. So I felt pretty free to follow through on this project. Q: Did any of the material in the documentary surprise you? OH: It surprised me that Marty chose a certain body of music that would be a narrative for George’s entire life. It wasn’t just linear, we didn’t go through the music of the ‘80s and ‘90s. Outside of maybe one or two things, he didn’t use any music beyond 1973, and that was a surprise. Q: Do you feel some more of George’s later music should’ve been in there? OH: No, because it was really rich what Marty did. He uses the music to take you out to sea, and then he leaves you there in this very deep water. He takes you to a place you don’t expect, and not everybody wants to go there. But that’s what he does. I respect him for that, and I think it was the right thing to do. The most surprising thing about the documentary was that it doesn’t end where you expect. It’s about life, but it’s also about death. Living and dying. It doesn’t leave you where you expected. Giles Martin: Musically, it’s not chronological. The music reflects George’s personality and what he was thinking at the time, which is more interesting and makes it more timeless in a way. Q: How did the CD of rarities come together? OH: There was no plan. It was very ambitious just to do the documentary, dealing with an archive of ephemera, all these images, and the music. Marty was very interested in George’s creative process. When you hear “My Sweet Lord” take one, Marty wanted to know where did it go from there? To hear that is very revealing, aside from being an intimate experience for the listener. You can imagine George sitting on a chair singing and playing that song. It’s very intimate and it’s also revealing about the creative process. GM: He sings beautifully. There is something different about a take that wasn’t designed to be the master take that has an excitement about it. When you think about “My Sweet Lord” or “All Things Must Pass,” that was the first time he was playing those songs with a band. It was just a three-piece band, but you get an energy that doesn’t come when things are more considered down the line. It’s like falling in love for the first time. You can’t duplicate that in subsequent takes. Q: How did you winnow down all the material for this CD? OH: I was just overwhelmed with tapes. I still am (laughs). There was a huge amount of material we listened to for the director to decide what we could offer. We had reel-to-reel tapes of people up all night talking, hanging out, business meetings, demos, George and John (Lennon) working together, George’s mother singing. For a year, Giles and (recording engineer) Paul Hicks were here at George’s studio plowing through all these things that we thought Marty could use or might use. Marty was very specific about what drives the narrative. My goal was to make an archive parallel to the film. WGN Radio Now alerts by e-mail or text GM: We were talking at the Beatles’ “Love” show (in Las Vegas a few years ago), and Olivia said, “We’ve got this project coming up. We have all these tapes, and a lot hasn’t been listened to.” So the task was working through it all. You get very excited when you see a tape box marked, “George, Eric (Clapton), Ringo (Starr) and Klaus (Voorman),” and then you listen and realize it’s just hours of them chatting in the studio. But other times you stumble across something really great. You are digging for gold, and there was a lot there. Q: How did you focus the material for the CD? GM: This collection reflects where we are at the moment. There is more we discovered. But we wanted to link this disc to the documentary. The feel of it has a nice timeline that reflects the work Marty did. Olivia’s mission and therefore my mission was to steer or inspire people away from the records and open a door to George’s creative process. We didn’t want to jump around too much. The key with this disc is to show his acoustic guitar playing and voice, as a singer-songwriter, essentially. He loved singer-songwriters, people like Bob Dylan. That’s where he took his inspiration. But people don’t often think of him like that, so it’s pretty exciting to present him this way. Q: Did you think of broadening the scope? OH: Initially I thought it could be a two-disc thing, but some things don’t go together. He sang a lot of songs during this time, some very obscure, by people like Nina Simone and this local girl Charlie Dore. But they didn’t really mesh, didn’t fit. We didn’t want a nine-CD set. We settled on these very intimate songs, that were so important to him at the beginning of his solo career, his emergence as a solo artist. That’s what we’re trying to present here, that particular period of his life. Q: Did George consider putting out some of these more stripped-down recordings in his lifetime? OH: Yeah, but he didn’t have time. He was gathering up all the bootlegs. At one time he had his engineer, Ken Scott, putting together all his bootlegs. They were piled high. He was well aware that there were people who wanted to hear some of them. But he wouldn’t ever do it to compete in the marketplace. He wouldn’t just throw it out there. He might have been a little shy about some of these demos, even from later in the ‘80s and ‘90s. … (The acoustic demo for) “Run of the Mill” was one of my favorite things. I would always say that to him. “Just play and sing and put it out because it’s beautiful.” “Really?” he’d say. “Yeah.” I think we could’ve talked him into it if we’d had more time. Q: Will there be subsequent volumes of rarities? OH: It would be nice. That’s why we called it “Volume One.” George wouldn’t have put just anything out, he didn’t like to scrape the bottom of the barrel. But there are things far from the bottom that we’ll put out later down the line. http://www.wgnradio.com/entertainment/chi-george-harrison-archive-music-20120420,0,799126.column?page=2

Voldar: George Harrison still a hero in Bangladesh DHAKA, Bangladesh — Hidden from view along a side street in this dusty, traffic-choked metropolis of 12 million people, Dhaka’s Liberation War Museum seems an unlikely place to honor the memory of George Harrison. Yet here, in a second-floor gallery crammed with glass cases full of aging rifles, machine guns, spears, bayonets and other weapons of war is a bronze plaque dedicated to the “quiet Beatle” who preached love and compassion. “Author, composer, peacemaker, gardener, lyricist, musician, philanthropist, poet,” reads the inscription. “Established the Material World Foundation to explore diverse forms of artistic expression and to support charities and those with special needs. Devotee of Krishna who found peace in his garden. Passed away Los Angeles USA, 29 November 2001. Our love and gratitude always.” The plaque, donated in February 2009 by British singer and Harrison fan Danis Theophilus, is a testament to the former Beatle who organized the world’s first showbiz charity event — a full 14 years before Bob Geldof staged the 1985 Live Aid concert to raise money for Ethiopian famine victims. Harrison’s Concert for Bangladesh, which was actually two benefit concerts held Aug. 1, 1971, was attended by more than 40,000 people at New York’s Madison Square Garden. Ticket sales from the concert itself generated $243,000 in emergency assistance for starving refugees at the height of the country’s 1971 war of liberation against Pakistan — and sales of the boxed three-record set and a subsequent 99-minute film, “The Concert for Bangladesh,” have since raised $15 million for UNICEF projects around the world. In the film, Harrison is asked by a reporter: “With all the enormous problems in the world, how did you happen to choose this one to do something about?” His simple reply: “Because I was asked by a friend if I would help, you know. That’s all.” That friend was Ravi Shankar, the venerated Bengali sitarist. Former Beatles drummer Ringo Starr, who performs June 24 at Baltimore’s Meyerhoff Symphony Hall, also participated in that groundbreaking 1971 event. So did Bob Dylan, Eric Clapton, Billy Preston and Leon Russell. (The two other ex-Beatles, John Lennon and Paul McCartney, declined for their own personal reasons). “Every Bangladeshi has respect for George Harrison. All of us can recite the words to his songs,” said the country’s information secretary, Hedayetullah Al Mamoon, who was a 13-year-old war refugee at the time. He noted proudly that the country’s national TV network traditionally re-broadcasts parts of the concert every year on two occasions: Independence Day (March 26) and Victory Day (December 16). With nearly 160 million people crowded into an area the size of Maryland and Virginia combined, Bangladesh is the most densely populated country on Earth. While its people are no longer on the verge of starvation, the nation faces tremendous challenges including poverty, corruption and the ravages of climate change. And nearly a third of its citizens are under 15 — too young to remember the extravaganza that put their country on the map for tens of millions of people around the world. The concert marked Harrison’s first appearance before a paying audience since the Beatles’ last tour five years earlier, and included live performances of his classic tunes, ”Here comes the Sun,” “My Sweet Lord,” “Something” and “While My Guitar Gently Weeps.” “George Harrison was a very powerful and influential man, and a good friend of Bangladesh,” says Mahbubul Alam, the museum’s general manager, and a former “freedom fighter” who recalls those painful days all too well. “I was in the war, fighting on the front against the Pakistani Army. We had only a one-band radio and that was for getting information from the outside world. After liberation, we came to know that a concert for Bangladesh had been held in Madison Square Garden,” he said. “That concert acted like a catalyst. The U.S. government did not support Bangladesh, but we got the people’s support, and that concert helped a lot.” That the big event took place at all was a testament to the persistence of Ravi Shankar, whom Harrison reverently called “the godfather of world music.” Born in India of Bengali parentage, it was Shankar who persuaded Harrison to use his influence to help relieve the suffering of his people in East Pakistan, as Bangladesh had been known prior to independence from West Pakistan — more than 1,000 miles to the west. For nine months, they bore the brunt of an all-out war that would eventually kill three million Bengalis and turn another eight million into desperate refugees in neighboring India. “I was very disturbed and wanted to do something for the people of Bangladesh, something on a very large scale that might bring in a lot of money and also, you know, awareness,” Shankar wrote. “So I thought I would ask George, even if he could not take part himself, if he would advise me, ask other artists about it, write or talk about it. Then maybe we could do a big function where we could raise $25,000 or $50,000. He was very deeply moved and said he would be glad to help in the planning — even to participate.” Shankar continued: “Things started moving very fast then. George called Ringo in Spain where he was working in a film, and he talked to Leon Russell and all of these wonderful musicians from the west coast and east coast who came to play. And he contacted [Allen] Klein, who has taken care of the business and administration … In a period of only four or five weeks, all of this was done.” Even though Shankar knew some money would be raised from the concert, “when you think of the amount being spent on almost eight million refugees, and so many of them children, of course it is like a drop in the ocean. Maybe it will take care of them for only two or three days. But that is not the point.” Maryland resident Alif Laila is a prominent sitarist who was born and raised in Dhaka. Earlier this month, she performed at a Bangladeshi Embassy function marking the 40th anniversary of diplomatic relations between her country and the United States. “Music is a very powerful tool, and that concert re-energized our cause,” said Laila, who has met Ravi Shankar backstage several times — most recently at a Shankar performance in Baltimore four years ago. “We were going through a very dark time, and it made us feel good.” George Harrison’s four-minute hit single, “Bangla Desh,” released a few days before the concert itself, “is more than a song,” the country’s English-language Daily Star recently editorialized. “It is testimony to a great soul empathizing with a nation fighting for independence.” The song’s opening lyrics tell the whole story: “My friend came to me With sadness in his eyes He told me that he wanted help Before his country dies Although I couldn’t feel the pain I knew I had to try Now I’m asking all of you To help us save some lives.” Ziauddin Tariq Ali, 68, is a trustee of the Liberation War Museum. Interviewed in Dhaka, he said “the concert raised the consciousness of young people in the United States about Bangladesh. Before that, they were not aware what was going on here.” Even people in Bangladesh didn’t know that George Harrison had organized a fundraiser on their behalf. They were too busy trying to survive the aftermath of 1970’s Cyclone Bhola, which had killed anywhere from 300,000 to 500,000 people, as well as wartime atrocities committed by Pakistan, whose military regime was determined not to let the country’s repressed eastern part secede to form a new nation. “At that time, the Pakistani newspapers didn’t report on the concert, but nobody believed what the Pakistani media were saying anyway about our country,” Ali said. “They claimed that everything in East Pakistan was fine, that there was no war.” Granted, Harrison wasn’t the only big-name personality to bring the plight of Bangladesh to the forefront of the nation’s agenda. Joan Baez’s 1971 “Song of Bangladesh” speaks hauntingly of it: “Students at the university Asleep at night quite peacefully The soldiers came and shot them in their beds And terror took the dorm awakening shrieks of dread And silent frozen forms and pillows drenched in red.” In November 1971, Beatnik poet Allen Ginsburg visited squalid, overcrowded camps in India housing millions of Bangladeshi war refugees. The resulting poem, “September on Jessore Road” was a damning critique of official U.S. indifference to their suffering. The late Sen. Edward Kennedy also earned the eternal affections of Bangladeshis by visiting those camps. Upon his return to Washington, he blasted the Nixon administration — which supported anti-Soviet Pakistan — for ignoring “the brutal and systematic repression of East Bengal by the Pakistani army” and for turning a blind eye to “one of the most appalling tides of human misery in modern times.” Writes Amazon.com reviewer Sam Graham: “1971 was a bleak period in rock history; the Beatles had broken up, Hendrix, Joplin and Morrison were dead, Woodstock was a distant memory. The Concert for Bangladesh shone like a beacon, a revelation of the better angels that reside within us all. And it still does.” Shankar, now 92 and still touring, said the concert — which ended with the very song he inspired — exceeded everyone’s wildest expectations. “Overnight, everybody knew the name of Bangladesh, all over the world,” he recalled later in life. “What happened is now history; it was one of the most moving and intense musical experiences of the century.” Mohamed Mijarul Quayes, the country’s foreign secretary, was an 11-year-old boy living in Islamabad, Pakistan’s capital, when the famous Beatle and his friends made music together that August evening in New York. “More than money, it gave Bangladesh visibility. George Harrison had a huge global following, and Ravi Shankar is an icon in our part of the world,” he told us. “In those days, you did not have CNN. It was BBC Radio that informed people, and All-India Radio. And that concert really touched peoples’ emotions.” Dulal Chandra Biswas is director-general of the Press Institute of Bangladesh. Only seven years old at the time, he says even small children today are taught in schools about the concert and its implications. “At the time, Bangladesh was helpless and the country was fighting a war against Pakistan,” he said. “This concert actually helped raise awareness internationally. George Harrison represented the consciousness of the great American people.” In the past 12 months, interest in the concert has been revived thanks to Martin Scorcese’s 2011 documentary, “George Harrison: Living in the Material World.” Coincidentally, on Oct. 25, Rhino released a DVD of the concert, the same day Capitol issued a remixed, remastered CD of the project. All artists’ royalties from the sales of the DVD will go to the George Harrison Fund for UNICEF — which is raising money to fight malnutrition in Africa. One more piece of good news for Harrison fans: Bangladesh’s Liberation War Museum will soon move from its cramped quarters to a spacious new home, following a $9 million fundraising effort. The new ultramodern facility, located in the Dhaka district of Agargaon, is expected to be inaugurated in late 2014. “The new museum will be 20 times the size of the current one,” said Ali, adding that artifacts and documents never before shown to the public will finally be put on display. “We want to give George Harrison the proper space he deserves.” http://baltimorepostexaminer.com/george-harrison-taught-the-world-about-bangladesh/

Voldar: George Harrison’s widow releases book with personal memorabilia George Harrison’s widow Olivia hopes to add more perspective on the reticent Beatle with her new digital book, and fill in the blanks left by Martin Scorsese’s recent documentary. Based on Scorsese’s George Harrison: Living in the Material World, the multi-touch book of the same name is available Tuesday on iBookstore. It includes audio, video material from the film along with personal photographs, letters, and memorabilia never seen by the public (a traditional print edition of the book has been in stores). Along with the multi-touch book, the DVD of the documentary also comes out on Tuesday. Scorsese’s three-and-a-half hour film on Harrison shows his spiritual side, from his early days with the Beatles to his exploration of Eastern music and religion, and also includes his death in 2001. In a telephone interview from London, Olivia Harrison, who served as one of the film’s producers, said she loved the message of the film, but felt it didn’t cover her husband’s other “sides.” “Marty chose the music for the narrative and it drives the story. I think he fit the music perfectly in there, but there was a point when I realized, ‘Oh wow, we’re not going to get past 1975,’” Harrison said. She noted the absence of the song “Taxman” and his 1987 comeback album, “Cloud Nine.” “It was clear, pretty quickly, that we could not fit everything,” she acknowledged. And she notes that the Harrison documentary, which aired last year on HBO, includes more of the ex-Beatle’s career in comparison to Scorsese’s “No Direction Home: Bob Dylan,” which covered Dylan from when he arrived in New York in 1961 to his eventual switch to “electric.” “You know, that documentary ends in 1966. That’s it. And you know the volume of music that Bob (Dylan) has produced since then,” Harrison said. “Both are three-plus hour movies, yet this one covers a bigger span of George’s life.” The documentary covers his early years with the Beatles and post-Beatles solo career. Much of the emphasis is on the former Beatle’s travels to India as he explored both the spirituality and music of the country, as well as his collaboration with Ravi Shankar. Giles Martin, son of the Beatles legendary producer George Martin, did some of the music production on the film. He said Harrison enlightened his father when it came to Eastern music and instrumentation. “He pushed the boundaries with his journey through Indian music,” Martin said. “My dad said when George brought (his song) ‘Within You Without You’ to (the Beatles album) ‘Sgt. Pepper’s Lonely Hearts Club Band,’ he didn’t know what to make of it. In that context in that time, 1966, world music wasn’t readily available,” he added. “So he introduced my dad to the sitar.” Harrison said her husband’s ability to translate what he felt in the world in a way that speaks to everyone was at the heart of his gift. “I think it was the dilemma of life, and where you find yourself, that appealed to him most,” Harrison said. http://books.hindustantimes.com/2012/05/george-harrisons-widow-releases-book-with-personal-memorabilia/

Voldar: Материал в билборде про ту же книжечку,но фотка оттуда мне понравилась. http://www.billboard.com/news/george-harrison-s-widow-hopes-book-will-1006937752.story#/news/george-harrison-s-widow-hopes-book-will-1006937752.story

Goldenday: Художественный снимок.

Voldar: Paul McCartney may be approached about collaborating on unfinished George Harrison song We’ve already seen the remaining members of the Beatles convene to complete two of the late John Lennon songs, as part of their mid-1990s anthology series. Now, Paul McCartney could be approached to do it again with one of George Harrison’s unfinished works. Harrison, who died at age 58 in 2001, has been in the news this week as the subject of a lavish documentary directed by Martin Scorsese. Included in a new expanded DVD package of the film was a CD of demos called Early Takes Vol. 1, overseen by Harrison’s widow Olivia. That’s actually the second posthumous Harrison project, following 2002′s Brainwashed, which was finished by his son Dhani and longtime friend and recording partner Jeff Lynne, of Electric Light Orchestra fame. The two releases focus on the creative output on either end of Harrison’s solo career, after the Beatles split in 1970. Early Takes Vol. 1 focuses primarily on sessions work for his seminal 1970 triple album All Things Must Pass, while Brainwashed included songs finished in the last year’s of the former Beatles guitarist’s life as he battled cancer. That leaves nearly decades of possible demos and partials songs. Olivia Harrison confirms that additional song fragments remain, and she suggested in an interview with Spinner that perhaps McCartney — or another sympathetic artist — could be approached about completing the tune. “There is some more material,” she tells Spinner. “There may be a minute of something he was writing and it will never be finished. I had an idea of giving unfinished songs to different people – giving one to Paul, maybe, or giving one to somebody else and saying: ‘Here are the bones of a song, would you like to finished it?’ I think that would be a nice idea.” Of course, acoustic tracks from Harrison have been steadily leaking out since the celebrated 1985 Beatles bootleg Sessions, created from an EMI test pressing of a project that would finally see completion in the mid-1990s Anthology series. That set’s solo take on “While My Guitar Gently Weeps” was but prologue for the homespun charms of 1994′s Beware of ABKCO, a release-quality boot which featured Harrison doing early-session run throughs for All Things Must Pass, along with a number of tracks that never made the album. http://somethingelsereviews.com/2012/05/11/paul-mccartney-may-be-approached-about-collaborating-on-unfinished-george-harrison-song/

Voldar: Giles Martin on George Harrison's Early Takes, track-by-track “We thought it would be good to follow the Dylan co-write with a cover of a Dylan song. I like the vibe of this. He recorded it at home in Friar Park at some point during the ‘80s, and it originally had programmed drums and loads of keyboards on it, and George had overdubbed himself for a three-part vocal harmony. “I asked Olivia if it would be OK to break it down a bit, I thought it sounded a lot better stripped to its bones. You can still hear a bit of the drum sound in the background, because there was bleed on the tape - probably coming through from George’s headphones.” “The Beatles were always big Everly Brothers fans, but I’m not sure if they ever played this one in the early days. However, George did go to see them at the Royal Albert Hall on their reunion tour in 1983, and I think he went home afterwards and recorded this the same night. “We first came across him singing this on one of the demo reels, but then we found this multi-track version a bit later. On first listen I thought it might have been George harmonising with Jeff Lynne, I didn’t realise it was two Georges, but Olivia put me straight. “I tried mixing this a few times, because it sort of sounded wrong - but at the same time it sounded right, if you know what I mean. There’s a claustrophobic quality to it that I wanted to keep, so it’s the track I worked on the most, to make sure it sounded bad, but good! It’s kind of creepy, in a way.” “For me, this is a great example of rootsy George, and it shows him playing acoustic guitar in way that you don’t normally hear him play. “You can see why people like Alvin Lee and Eric Clapton loved him so much; George was never really considered a guitar god, he was always incredibly economical, and it’s perhaps surprising that all these virtuosos were such big fans of his style. I like the fact that you can actually hear him dig in and play. “This is one of the earliest recordings on the album, and we’ve been trying to figure out who else plays on it. Working from the recording date and who George would have been with at the time, we think it might be a guy who worked for Apple called Jonathan Clyde playing Jew’s harp.” “In much the same way as we were reluctant to manipulate anything so that it was more in time or in tune, because the point of the record was to keep the personality, to make the listener think they’re sitting with George in Friar Park, we wanted to keep the spoken intro to a track wherever there was one. “He actually gets the title wrong here, he calls it Awaiting ‘For’ You All. I think this is really cool, it’s got a good basic band groove, I think of it as George breaking down a wall of sound. George used to say he hated what Phil Spector did to the song Wah Wah, in that he took a good band recording in the studio and spoiled it with a lot of reverb.” “George is an interesting singer, in that he often doesn’t sound like he’s singing. His pitch is great, the harmony he brought to The Beatles was extraordinary, but there’s a kind of conversational intimacy that he brings to a song. This is a great example of that kind of folk-tinged spoken word quality he had. You or I probably couldn’t get away with it without sounding like William Shatner.” “It’s such a big song on the album of the same name, but this particular version kind of takes you back into the lyrics again. “George liked to write about things that were happening to him at that moment in time, and this was obviously written while he was going through the ending of The Beatles, so to hear him doing it pretty much on his own transports you to where his head was on the day he laid it down.” “I honestly wasn’t sure about this recording, because it’s a bit rough at the end, but there’s something about it that appeals. It sounds like he’s playing it to just one person late one evening, which is very George, it’s what he would do, Olivia tells me. "It’s a little bit special; it shows how George could make something simple sound very spiritual, almost dreamy in a way. Even though the sequencing of album tracks in a specific order is becoming more irrelevant in these download days, I think this works beautifully as a closer.” What’s next? How soon can we expect to hear Early Takes Volume 2? “There’s a lot of material. In my toothcomb kind of way, I got as far as going through the songs that were first released on Living In The Material World, so there’s still an awful lot of stuff that we’ve yet to look at. We’re not working on a schedule of having to deliver the next record by a certain date, and I think it’s important we take our time and do the music justice. George was very prolific at home, it’s quite a formidable output, so who know what treasures lie ahead?” http://www.musicradar.com/news/guitars/giles-martin-on-george-harrisons-early-takes-track-by-track-544713/12

Voldar: John Lennon, George Harrison memorialized in Memorial Day weekend radio series John Lennon and George Harrison are among a large group of rock 'n' roll stars of the past featured in a weekend radio series available online. The online shows come from the syndicated rock radio show “In The Studio: The Stories Behind History’s Greatest Rock Bands.” as part of their Medium Rare Online Only program series. Three parts are available now and three more will be added Friday. Those featured in the series are John Lennon, George Harrison, Brad Delp of Boston, Jimi Hendrix and Mitch Mitchell of the Experience, Richard Wright and Barrett of Pink Floyd, Jim Morrison, Roy Orbison and Keith Moon and John Entwistle of The Who. Also discussed are Randy Rhoads, Ronnie Van Zant, The Outlaws’ Hughie Thomasson, Jerry Garcia, and Stevie Ray Vaughan. Those interviewed include Waters, Ray Manzarek of The Doors, Tom Petty, Ozzy Osbourne, Gary Rossington of Lynyrd Skynyrd, Steve Miller, Henry Paul of The Outlaws, Bob Weir of the Grateful Dead, and Eric Clapton. You can hear the first three parts of the special on the program's website. The final three will be posted Friday. http://www.examiner.com/article/john-lennon-george-harrison-memorialized-memorial-day-weekend-radio-series

Voldar: Don't waste your money on 'George Harrison: The Lowdown' A new CD set about George Harrison called “George Harrison: The Lowdown” popped up on Amazon recently. Without having heard it, we did something we rarely do. We bought it. We usually know better with these unauthorized sets. Most of them are usually repackages. In this case, that is definitely true. View slideshow: "George Harrison: The Lowdown" The new packaging hides the fact that both of the discs have been out before. Half of the set is “Maximum George Harrison,” an CD biography from Chrome Dreams that's been around since at least 2002. It's so memorable no one has reviewed it on Amazon. The disc, a CD biography with a mini poster, is included fully shrink wrapped. The other half is called “George Harrison: The Inteview.” It's a single CD with a 74 minute mishmash of various audio clips. The CD carries a copyright date of 2011. But the disc begins “Welcome to disc 3,” giving away this is a repackage from a past and bigger set. And it is. It's disc 3 from “The Beatles: As It Happened,” an interview set that's been around for many years and which is advertised in the booklet for “Maximum George Harrison.” The pictures on the new CD are lousy. On the back side, George looks like he's stoned. In any event, there's really no 'lowdown' on “George Harrison: The Lowdown” and no reason to waste your money. http://www.examiner.com/review/don-t-waste-your-money-on-george-harrison-the-lowdown

Goldenday: Апрельский номер 2012 года "From Me To You" порадовал отличным интервью Джорджа от 25 августа 1987 года. Частично оно пересекается со старой публикацией в журнале "Ровесник", но полнее и отличается подробностями. Немало слов Джорджа посвящено работе с Джеффом.

Voldar: Petition for George Harrison statue in Henley-on-Thames С таких фото - иконы писать,а не то что статуи лепить. (С) A petition calling for a George Harrison statue to be erected in the town where he lived until his death in 2001 has been launched. James Lambert, 42, from Henley-on-Thames, Oxfordshire, started the petition to recognise the former Beatle's links to the town. He said: "He really is an icon in Henley. "It seems strange that nothing has been created to acknowledge his presence and the work that he did for the town." Mr Lambert said he envisaged a statue similar to the one of Roosevelt and Churchill sat on a bench on Bonn Street in London. Harrison, who wrote the hits Something and My Sweet Lord, moved to the town in the 1970s when he bought a large stately home called Friar Park and saved it from demolition. "George really got involved in a lot of community matters," Mr Lambert said. "He helped to try and save the local cinema, he worked with a lot of local businesses and communities to try and raise their profiles... he rescued the local garden centre by buying all the plants." Town councillor Martin Akehurst said he would support the idea. "I think there is a price to be paid for fame and yet still he was able to do a lot for the town," he said. http://www.bbc.co.uk/news/uk-england-oxfordshire-18490468

Voldar: Deep Beatles: “I Want to Tell You” (1966) As the Beatles’ career progressed, George Harrison gradually developed into a first-class songwriter on a par with the formidable John Lennon/Paul McCartney partnership. One of Harrison’s more unusual compositions, “I Want to Tell You,” fits in perfectly with Revolver’s experimental vibe. The pounding piano, pervasive dissonance, and a subtle reference to Harrison’s increasing interest in Indian music and culture add up to a classic and offbeat track. In 1980, Harrison described the lyrics as addressing “the avalanche of thoughts that are so hard to write down or say or transmit.” Indeed, the verses paint a picture of someone constantly struggling with language. “My head is filled with things to say,” Harrison sings, but “all those words they seem to slip away.” He fears offending the person he’s having the conversation with, explaining that “if I seem to act unkind, it’s only me, it’s not my mind that is confusing things.” His mind is clear and pure, but the body cannot move as quickly as the mind. For me, the best lines in the song remain “I feel hung up and I don’t know why; I don’t mind, I could wait forever — I’ve got time.” That sentiment fits in well with other songs on the album, as Lennon also advocates a laid-back lifestyles without worries in tracks like “Tomorrow Never Knows” (“Turn off your mind, relax and float downstream” and “Surrender to the void”) and “I’m Only Sleeping” (“Keeping an eye on the world going by my window … taking my time”). While Harrison’s lyrics are clever, the instrumentation further distinguishes “I Want to Tell You” from other rock songs of the time. The galloping piano accents the rhythm through dissonant harmonies, and Ringo Starr’s drumming easily navigates through some offbeat tempos. According to Allan K. Pollack, author of the “Notes On” series, Starr re-energizes the track with his driving percussion. “If you feel the momentum beginning to sag toward the end of this section, dig how that sudden burst of rapid triplets at the very end of the bridge helps to re-jump-start your momentum for the verse that follows,” writes Pollack. Other percussion can be heard, including tambourine and handclaps. As usual, the Lennon/McCartney/Harrison vocal harmonies sound tight, often singing entire lines instead of emphasizing certain words. As with many Beatles songs, the group experiments with beginnings and endings. Similar to “Eight Days A Week,” the track gradually fades in, this time over the distinctive guitar riff. Even more interesting, the ending fades out over the repeated phrase “I’ve got time,” and McCartney adds an unusual touch. As the sound fades, McCartney breaks into, as Pollack states, “free Indian-flavored melisma.” In other words, he sang the word “time” while oscillating among various notes. The move adds a touch of sophistication and world-music influence to the rock track. Harrison often found it difficult to title his songs; according to Mark Lewisohn’s seminal work The Complete Beatles Recording Sessions, the cut’s working titles included “Granny Smith,” “Laxton’s Superb” (another type of apple, foreshadowing later years) and “I Don’t Know.” On June 2, 1966, the Beatles entered the studio to lay down virtually all the track’s elements; they put the finishing touches on “I Want to Tell You” the following day. Mixing was completed on June 6. “I Want to Tell You” was never released as a single, and lingered in relative album track obscurity until years later. While touring in Japan with Eric Clapton in 1992, Harrison resurrected the song — to the delight of audiences. That version, which features extended guitar solos, appeared on the Live in Japan album chronicling the brief tour. Appropriately, ELO founder and frequent Harrison collaborator Jeff Lynne performed the track at the Concert for George ten years later. It may have taken over four decades, but “I Want to Tell You” is finally receiving deserved recognition for its sophisticated arrangement and Harrison’s creativity in manipulating language. http://somethingelsereviews.com/2012/08/08/deep-beatles-i-want-to-tell-you-1966/

chimike: Rock FM Друзья, завтра на экраны российских кинотеатров выходит документальный фильм Мартина Скорсезе "Джордж Харрисон: Жизнь В Материальном Мире". Не пропустите! Напомним, предпремьерный показ этой ленты состоялся в начале августа на кинофестивале "Rock Out!", организованным нашей радиостанцией

Voldar: Мдя,долго он до нас добирался.

Goldenday: И наверняка будет без бонус-приложения с Джеффом :(

shangri: Фильм Мартина Скорсезе "Джордж Харрисон: Жизнь В Материальном Мире" Часть 1 будет сегодня демонстрироваться по 1 каналу в 23:45. http://www.1tv.ru/documentary/fi7798/fd201210122345

Voldar: Спасибо,Наташа.Я правда уже видел целиком это кино и честно говоря ожидал от Мартина большего.

shangri: Ну зато можно развалиться на диване и спокойно созерцать. Лишь бы не уснуть к этому времени. :)

SLQ: Я планирую посмотреть, хотя у меня на диске все есть. Но раз уж нам делают такой подарок, то надо его глянуть.

Voldar: У Джоржа и Оливии оказывается есть домик и в австралийской деревне. George Harrison’s Haven The Australian Home of the Late Beatle and his Wife George Harrison, the Beatles lead guitarist who died in 2001, and his wife, Olivia, built an isolated sanctuary on Australia’s Hamilton Island in 1987. They planted the property with dense tropical vegetation. “George always had a major conflict between the trees and the views,” says Olivia Harrison. “Every few years I would persuade him to cut back some foliage to reclaim the views.” The couple first visited the island for the Australian Grand Prix. “I wasn’t at all enthused,” Harrison remembers. “But one visit to the Whitsunday Islands opened up a continent entirely new to both of us.” The musician worked closely with landscape designer Malcolm Hunt on the gardens and pool area. “George handpicked the big boulders from around the island,” says Harrison. The compound has three guest huts, at right, and the main house. “George sketched his ideas for Roger Parkin, the architect, and together they designed the house,” says Harrison. Waterfalls feed into the organically shaped pool. “We swam a lot in the natural ponds in Hawaii and tried to create that feeling.” http://www.architecturaldigest.com/celebrity-homes/2007/george-harrison-home-slideshow#slide=9

Voldar: 25 Years Ago: George Harrison Releases ‘Cloud Nine’ For most of the ’80s, George Harrison seemed content to let Paul McCartney and Ringo Starr represent the surviving Beatles on the pop charts — but that changed in a big way with the release of his 10th studio album, ‘Cloud Nine.’ By the time ‘Cloud Nine’ debuted on Nov. 2, 1987, Harrison’s solo career had been more or less on hiatus for five years; he hadn’t released a proper album since the poorly received ‘Gone Troppo’ in 1982, and in the intervening years, he seemed more interested in other pursuits, such as his production company, Handmade Films. Happily for his fans, however, Harrison hadn’t lost the musical bug, and in late 1986, he hired Electric Light Orchestra frontman Jeff Lynne to help supervise the sessions for what would become his wildly successful comeback effort. Settling into Harrison’s home studio, the duo enlisted a top-shelf corps of musicians to help them bring ‘Cloud Nine’ to life, including famous friends (Eric Clapton and Elton John), session ringers (drummer Jim Keltner, percussionist Ray Cooper, and sax player Jim Horn), and a former bandmate (Starr). The end result was an 11-song set of some of the loosest, most energetic music Harrison had turned out in years, including the surprise hit ‘Got My Mind Set on You.’ Released as the album’s leadoff single a little under a month before ‘Cloud Nine’ arrived in stores, ‘Got My Mind Set on You’ topped the Billboard charts in the U.S. and peaked at No. 2 in Harrison’s native UK, reaffirming his status as a viable recording artist and giving him his biggest hit since ‘Give Me Love (Give Me Peace on Earth)’ reached No. 1 in 1973. While none of the album’s subsequent singles would achieve similar success — the most successful of the bunch, the Beatles nostalgia number ‘When We Was Fab,’ broke the Top 40 — ‘Cloud Nine’ attained further significance by presaging a period of renewed creativity for Harrison, who unwittingly founded the Traveling Wilburys when he got together with Lynne, Bob Dylan, Roy Orbison, and Tom Petty to record the track that was supposed to be a B-side: ‘Handle With Care.’ Sadly, although Harrison went on to record a pair of albums with the Wilburys, ‘Cloud Nine’ would ultimately remain the last album of new material he’d release during his lifetime. His final studio set, ‘Brainwashed,’ didn’t come out until 2002 — a year after Harrison succumbed to cancer at the age of 58. http://ultimateclassicrock.com/george-harrison-releases-cloud-nine/

Voldar: 10 Years Ago: George Harrison’s Final Album, ‘Brainwashed,’ Released Celebrating its 10th anniversary this week is George Harrison‘s understated and deeply beautiful ‘Brainwashed,’ the famed guitarist and former Beatle‘s eleventh — and, tragically, final — studio album. Though ‘Brainwashed’ is indeed a collection of George Harrison-penned songs, it’s technically a posthumous set, released almost one year after the legendary songwriter’s death, following a lengthy battle with cancer. The songs are vintage Harrison, full of nimble chord progressions, tasteful slide-guitar solos, and warm vocal harmonies — but ‘Brainwashed’ wouldn’t exist if not for the efforts of producer-instrumentalist (and longtime Harrison collaborator) Jeff Lynne and Dhani Harrison, George’s son. The seeds of ‘Brainwashed’ were planted as early as 1988, when Harrison originally wrote the driving pop anthem ‘Any Road’ (which he whipped together during a video shoot for his 1987 single ‘This is Love’). With 1987′s Jeff Lynne-produced ‘Cloud Nine,’ Harrison had regained his critical and commercial standing, and he followed up that project by forming the supergroup Traveling Wilburys (along with Lynne, Bob Dylan, Roy Orbison, and Tom Petty), who released two albums over the next few years. All the while, ‘Brainwashed’ remained on the back-burner, but its progress was halted by Harrison’s throat cancer diagnosis in 1997 and a knife attack from a mentally unstable fan in 1999. As the cancer spread to his lungs and, finally, his brain, Harrison still charged forward on his music, keeping specific instructions about how the songs and production should be carried out, even recording vocal melodies intended as string arrangements. After Harrison’s death on Nov. 29, 2001, Lynne and Dhani Harrison took charge of the album’s production, overdubbing any remaining vocals and instrumentation to complete the songs as Harrison requested. Phenomenally, ‘Brainwashed’ never sounds — even for a second — like an awkward patchwork. Lynne, typically known for his grandiose, symphonic productions with ELO, kept the songs tight and spacious, allowing the unhurried charm and graceful humor of Harrison’s writing to breathe freely — like on the tongue-in-cheek blues-pop of ‘P2 Vatican Blues (Last Saturday Night)‘ or the gently atmospheric folk of ‘Stuck Inside a Cloud.’ There’s plenty of pain stirring under the surface, too, if you look for it. It’s difficult not to get choked up on ‘Cloud,’ as Harrison sings, “Never been so crazy, but I’ve never felt so sure / I wish I had the answer to give, don’t even have the cure.” “The album was very cathartic for me,” Dhani Harrison said during a 2002 CBC interview. ”As I said, it was done at the right time. I dealt with a lot of this as it happened and never shied away from any of the reality of what’s been happening over the last few years. Doing the recordings was great and wonderful and really sad as well … It was a very positive thing to have done so soon after his death.” Though it’s been a decade since its release, ‘Brainwashed’ remains a tuneful, tasteful source of comfort — a loving swan song from one of rock’s finest talents. http://ultimateclassicrock.com/george-harrison-brainwashed-album-released/

Voldar: Beatles Story to exhibit George Harrison Cavern Club jacket Liverpool's awarding-winning Beatles Story has teamed up with international auction house Bonhams to give Liverpool's music fans the opportunity to view a rare piece of Beatles history ahead of their December auction. The 10 day exhibition will be launched on Friday November 23 at The Beatles Story with the unveiling of the leather jacket that George Harrison wore throughout the formative Beatles appearances in Hamburg and at Liverpool's Cavern Club between 1960 and 1962. Jerry Goldman, Managing Director of Beatles Story says, "This collaboration is a terrific way for Beatles fans to see up close some of the world's most valuable and rare Beatles memorabilia. We are very excited by the opportunity to work with Bonhams and know that our visitors will benefit from the opportunity to see George Harrison's iconic jacket." Stephanie Connell of Bonhams comments, "This leather jacket, instantly recognisable, an important part of the Beatles image in their early years, will be the highlight of our December Entertainment auction which includes over 100 items relating to The Beatles. This important piece of music memorabilia has never previously been offered at auction." George Harrison's famous Cavern Club leather jacket exhibit opens with a special photo call event this Friday, November 23, 2012 at 9:30 am. The Beatles Story is located at Albert Dock in Liverpool. For more information, visit them at www.beatlesstory.com. http://www.beatlesnews.com/blog/the-beatles/201211191220/beatles-story-to-exhibit-george-harrison-cavern-club-jacket.html

Voldar: Genesis Publications - CONCERT FOR GEORGE - 2ª Суперлюксовое издание концерта и как всегда супер дорогое. http://www.genesis-publications.com/books/concert/index.html

Goldenday: Да-а-а... Эх, если б было подешевле....

SLQ: Грустная новость: Ушел из жизни легендарный ситарист Рави Шанкар. Маэстро скончался в Сан-Диего в возрасте 92 лет, сообщили в Ravi Shankar Foundation. В течение последних месяцев у музыканта наблюдались проблемы с верхними дыхательными путями и сердцем. В минувший четверг Шанкару была проведена операция по замене сердечного клапана. Она была признана успешной, однако восстановиться от процедуры Рави так и не смог. У ситариста остались жена Суканья, дочери Нора Джонс и Анушка Шанкар Райт (обе сделали успешную карьеру в музыке). Несмотря на плохое самочувствие, Шанкар продолжал выступать. В частности, 4 ноября Рави отыграл концерт вместе с Анушкой в Калифорнии. Это и стало последним публичным выступлением ситариста. Добавим, что Шанкар - трехкратный лауреат премии "Грэмми" (он также попал в число номинантов этого сезона и, таким образом, может получить четвертую награду посмертно). "Хотя пришло время скорби и печали, это еще и время, когда все мы можем поблагодарить судьбу за то, что он был частью нашей жизни. Он будет жить всегда в наших сердцах и в его музыке", - говорится в заявлении семьи Шанкара.

Voldar: Очень жалко,можно сказать,что Рави был для Джоржа настоящим гуру не только в буддизме ,игре на ситаре,но и просто по жизни.

SLQ: Да очень жаль. Я рада что смогда побывать на его концерте, во время визита его в Санкт-Петербург в 2005 году. Потрясающий музыкант!

Goldenday: Печально. Одно утешает: хоть пожил человек. Всё-таки 92 года - хороший срок для жизни.

Voldar: Vintage Beatle suitcase once owned by George Harrison being exhibited in UK A suitcase that likely belonged to George Harrison and was used to carry belongings to a gig in the early '60s and then was kept under wraps most of 40 years is now on display in the UK, Dean Johnson of “The Beatles and Me” Facebook page told Beatles Examiner Saturday. The case came with the Beatles when they appeared at the Irby Village Hall on Sept. 7, 1962. (You can see a ticket from the show here.) The show was one of Ringo Starr's first appearances with the band and a month before their first hit “Love Me Do.” t was found after the show by Jim Irlam (one account identifies him as Dave Irlam), who, according to available information, was tidying the small room they had stored their belongings in and noticed a suitcase marked “GH Speke.” Speke is the area of Liverpool that George lived in. The case is made of compressed cardboard with plastic trim, and has George Harrison's initials on its sides. A small note on it says: "Mr George Harrison c/o Beatles Party." The suitcase is an American make. http://www.examiner.com/article/vintage-beatle-suitcase-once-owned-by-george-harrison-being-exhibited-uk

Voldar: George Harrison Henley-on-Thames statue campaign halted The man hoping to erect a statue to The Beatles' George Harrison in Oxfordshire has halted his campaign following a response from the star's widow. James Lambert, 42, from Henley-on-Thames, wrote to Olivia Harrison but was informed she would prefer a community project in his name. Mr Lambert admitted: "The statue could create problems of different types of fans turning up, the unwanted fans." Harrison lived in the town until his death in 2001. Mr Lambert added: "Gauging the pulse in terms of Henley residents I think there was a lot of support. "This petition wasn't tapping into the Beatles fanfare worldwide, it was much more to recognise George's contribution to Henley and the affection Henley had for him. "It is slightly disappointing but you have to respect Olivia's wishes, as she still has a house in Henley, Friar Park. "And I think the danger was it wouldn't just become a Henley acknowledgement of George's work but would encourage more people to visit Henley. "I think what she's suggesting in terms of a community project would be great and it'll be very exciting to see exactly how this transpires." Harrison, who wrote the hits Something, Here Comes the Sun, and My Sweet Lord, moved to the town in the 1970s when he bought a large stately home and saved it from demolition. http://www.bbc.co.uk/news/uk-england-oxfordshire-20997626

Voldar: Уже перевели... Вдова Джорджа Харрисона попросила не ставить ему памятник Кампания по установке памятника Джорджу Харрисону в городе Хенли-на-Темзе, ставшим его последним пристанищем, была приостановлена после того, как идея не встретила поддержки у вдовы экс-битла Оливии Харрисон. Об этом сообщает "Би-Би-Си". Джордж Харрисон в 1970-х переехал в Хенли-на-Темзе, небольшой городок Южного Оксфордшира с населением около 10 тысяч человек, и прожил там до самой смерти в 2001 году. В июне 2012 года некий Джеймс Ламберт, обыватель городка, предложил установить памятник гитаристу в ознаменование тех лет, которые тот прожил в нем. Тем летом Ламберт говорил в интервью вещательной корпорации, что Харрисон при жизни активно занимался городскими делами: "Он помогал сохранить местный кинотеатр, работал с местными предприятиями и сообществами, чтобы поддержать их". При сборе подписей Ламберт ориентировался именно на местных жителей, и конечной целью установки памятника он называл выражение благодарности музыканту именно их, а не поклонников The Beatles по всему миру. Тем не менее, идея установки бронзовой статуи Джорджа не была одобрена вдовой музыканта. "После многих месяцев вдумчивых размышлений и с огромной благодарностью местному сообществу мы решили, что более подходящим способом почтить его память была бы поддержка какого-то общественно значимого проекта", - заявила Оливия Харрисон. По ее словам, этим летом она и группа единомышленников объявят, чем именно будет являться этот проект. "Я немного расстроен, но мнение вдовы Харрисона надо уважать, тем более, что она по-прежнему живет в Хенли, - признается Ламберт. - К тому же я, пожалуй, соглашусь с тем, что бронзовая статуя станет не столько признанием городом заслуг Харрисона, сколько местом паломничества многих людей в наш город". По мнению Ламберта, такое повышенное внимание к Хенли-на-Темзе городу ни к чему. http://www.lenta.ru/news/2013/01/14/harrison/

Voldar: Экзаминер вспоминает,что именно 21 января у Джоржа была первая свадьба,фотки там уж больно симпатичные. http://www.examiner.com/article/the-week-ahead-the-date-george-harrison-and-pattie-boyd-were-married

Voldar: Как пелось в одной песне "Боже как давно это было..." 55 Years Ago: George Harrison Joins John Lennon and Paul McCartney in the Quarry Men The third part of the equation that would become the Beatles fell into place on Feb. 6, 1958. George Harrison joined the Quarry Men, the John Lennon-led group that Paul McCartney had joined as a second guitarist and singer the previous summer. Harrison, who was a few weeks shy of his 15th birthday, had known McCartney for about a year. The two were students at the Liverpool Institute and frequently took the same bus to and from school. A friendship blossomed, and the two began jamming together, even after McCartney had moved from Speke to Allerton. When the Quarry Men – named after the Quarry Bank High School where the band was formed the years earlier – were looking to bring in a third guitarist (they had the idea long before Lynyrd Skynyrd), McCartney suggested his friend. The audition took place, strangely enough, on the top of a double-decker bus. At McCartney’s prompt, Harrison took out his guitar and played Bill Justis’ R&B instrumental ‘Raunchy,’ a No. 2 hit on Sun Records in 1957. Lennon was impressed with the note-perfect rendition. But the 17-year old Lennon, who was already at Liverpool Art College, had reservations about being in a group with such a youngster. As McCartney put it in ‘Anthology,’ “It seemed an awful lot at the time. If we wanted to do anything grown-up we worried about George looking young. We thought, ‘He doesn’t shave…can’t we get him to look like a grown-up?’” Typically, Lennon, also in ‘Anthology,’ put it more bluntly. “George looked even younger than Paul — and Paul looked about 10, with his baby face.” But Harrison’s skill was too good to overlook for Lennon who, despite leading a band was still very much a novice on his instrument, “We asked George to join because he knew more chords,’ he said. “We got a lot from him. Paul had a friend at school who would discover chords, and these would be passed ’round Liverpool. Every time we learnt a new chord, we’d write a song around it.” Another advantage to having Harrison in the group was that his mother didn’t object to the boys coming over and rehearsing. In fact, she welcomed it and would often give the teenagers small glasses of whiskey. Three of the pieces were now in place. Over the next four years they would try out different names and bandmates, honing their musical and songwriting chops all the while, before the unstoppable force that became known as the Beatles were unleashed upon the world. http://ultimateclassicrock.com/55-years-ago-harrison-joins-quarry-men/

Voldar: В ЛА организован тур по местам музыкальной славы Джоржа. Los Angeles Beatles tour celebrates George Harrison As his birthday on February 25 approaches, the Magical History Tour of Los Angeles celebrates the life of George Harrison with special tours that highlight many of the places in the Los Angeles area that were special to him. No place in the U.S. has as much combined Beatles history as Los Angeles, and Magical History tour guide Gillian Lomax has spent a lot of time researching her tour. Some of the special stops on the tour of interest to George Harrison fans include the house up on Blue Jay Way in the Hollywood Hills, where George lived in the late 60's and wrote the famous song, and another house in Holmby Hills that he rented. Lake Shrine In addition, the tour visits the breathtaking Lake Shrine in Pacific Pallisades. A very emotional part of the tour, this was one of George's favorite places in Los Angeles, and was the site of his memorial service when he passed away in 2001. There are other George surprises on the tour, as well as other interesting places that are part of the fascinating history of the Beatles in Los Angeles. "Most people don't associate Los Angeles with The Beatles, but in fact they've had a personal connection with our city since 1964," said Gillian, who was originally raised in Merseyside across from Liverpool. http://www.beatlesnews.com/blog/the-beatles/201302081437/los-angeles-beatles-tour-celebrates-george-harrison.html

Voldar: У наших питерских друзей есть прекрасный повод встретиться... http://www.beatles.ru/news/announce.asp?id=3493

Goldenday: Обдумать надо! Чует моё сердце - народу там будет... а значит, и табачного дыма, которого терпеть не могу.

SLQ: А я вероятно туда пойду.

Voldar: Тем более у Джоржа юбилей - 70!По поэтому поводу в ЛА будет приличная сходка фанов. George Harrison birthday celebration moved due to conflict with Oscars A public gathering to celebrate the 70th birthday of George Harrison will take place on Monday, February 25 at George's Hollywood Walk of Fame star in front of the Capitol Records tower building in Hollywood. The celebration, originally planned this year for February 24, is being held on Monday, February 25 due to logistical considerations regarding the Academy Awards ceremonies taking place on Sunday. Some claim George was born on February 24, others say it was February 25. George always said it was February 25. The special event is free to the public. Fans of George Harrison and the Beatles are invited to bring candles and flowers to place around Harrison's star. The highlight of the event will be a public cake-cutting ceremony at 6:30 PM led by Chris Carter, radio host of Breakfast With the Beatles. Fans at the event will also be invited to sign a large "George Harrison 70th Birthday Message Card", which will be sent to George's wife Olivia Harrison. Jerry Rubin, one of the organizers of the event, said, "It would be a good thing for fans, wherever they may be, to play George Harrison and Beatles songs and share some birthday cake with friends and family on both days in loving remembrance of 'the quiet Beatle' on his special 70th birthday." The event takes place Monday, February 25, 2013, George Harrison's 70th birthday, at 6:00PM (until 8:00PM), at George Harrison's Hollywood Walk of Fame Star in front of the Capitol Records tower building, which is located at 1750 N. Vine Street in Los Angeles. http://www.beatlesnews.com/blog/the-beatles/201302141322/george-harrison-birthday-celebration-moved-due-to-conflict-with-oscars.html

Voldar: Опять ,якобы неопубликованные фотки. Unseen Beatles Photographs By Henry Grossman Featured In New Book When Henry Grossman was 27 years old, he was hired to photograph the Beatles' U.S. TV debut on the Ed Sullivant Show. He spent the next four years traveling with the band, spending time with them in their houses and the studio. The surprising part: nearly all of his 6,500 photographs of the Fab Four have never been published. http://www.huffingtonpost.com/2013/02/16/unseen-beatles-photograph_n_2698084.html#slide=2116138

Goldenday: Прикольно! Интересно, что за агент Смит на последнем снимке?

Костя Федотов: И я вероятно туда пойду!:))

chimike: 70 Нельсону

Voldar: На битлсру естественно поздравили с очень симпатичной фоткой. 70

Voldar: The Beatles, ‘Taxman’ – Lyrics Uncovered Yes, it’s that time of year again, when we sort through all of our receipts and forms and pay more than our fair share to Uncle Sam. As we’ve been trying to figure out just how much we owe, one song in particular has been going through our heads repeatedly, ‘Taxman’ by the Beatles. Written by George Harrison, ‘Taxman’ kicked off their 1966 album ‘Revolver.’ The lyrics are a scathing comment on Britain’s high rate of taxation. While its opening line “Let me tell you how it will be / Here’s one for you, 19 for me” may seem hyperbolic, it was actually quite true. At the time, the wealthiest in Great Britain were taxed at 83 percent, with a “surtax” that added an extra 15 percent. The surtax was abolished in 1973. As Harrison, who came from an impoverished background, began to make millions of pounds, he soon found out about the unfairness of these policies and lashed out about them in song. He portrayed the government, in the voice of one of Her Majesty’s tax collectors, as unrepentantly greedy. The lyric “Be thankful I don’t take it all” echoes the famous remarks by former Prime Minister Harold MacMillan, who, in 1957, said that “most of our people have never had it so good.” While Britain’s economy at the time was strong, many considered it to be dismissive and condescending. Harrison was bipartisan in his attack. In the third verse, he (via the backing vocals of John Lennon and Paul McCartney) took aim at Prime Minister Harold Wilson of the Labour Party, and Edward Heath, leader of the Conservative Party. An earlier take, which was released on ‘Anthology 2′ in 1996, found John and Paul singing “Anybody got a bit of money?” in its place. It’s been said that the only two things in life that are guaranteed are death and taxes, and the final verse of ‘Taxman’ brings both of them together. The couplet, “Now my advice for those who die / Declare the pennies on your eyes” is a reference to the practice in ancient civilizations of placing coins on the eyes of the deceased as a fare for the mythical ferryman who brought souls across a river into the afterlife. One quick note about the music. Although ‘Taxman’ was written by Harrison, the lead guitarist, he did not play the guitar solos. They were performed by McCartney, who dashed off the seven-bar solo in the middle, which was then copied and tacked on to the end. http://ultimateclassicrock.com/the-beatles-taxman-lyrics-uncovered/

Voldar: Sister makes plans to honor George Harrison's first U.S. visit 50 years ago Louise Harrison, George Harrison's sister, said Friday in a phone interview she plans to make a DVD to honor the 50th anniversary of George Harrison's visit to the U.S. the year before Beatlemania hit. We're thinking about making a DVD telling the story about 1963, when I first came to the United States and started trying to move heaven and earth trying to get (the Beatles) records played in this country,” she said. “We'll put some pictures and talking about my mum sending me 'From Me To You' and then George bringing 'She Loves You.' And I can have my band (Liverpool Legends) sing on it. “We're hoping to have it ready for the 50th anniversary of George's visit in '63, which is coming up in September. We'll be talking about 1963, what I was up to and what he was up to.” She said it'll also be the 50th anniversary of the first Beatle (George) to perform in the United States. George Harrison visited the United States in 1963, the year before the Beatles themselves came to the U.S. The visit was documented in a film, “A Beatle in Benton, Illinois” and a book by Jim Kirkpatrick, “Before He Was Fab.” She said she and the Liverpool Legends will also be performing at the Andy Williams Moon River Theater in Branson, Mo., from June 4 to Aug. 2. “Tell everybody to come and get a hug.” http://www.examiner.com/article/sister-make-plans-to-honor-george-harrison-s-first-u-s-visit-50-years-ago

Voldar: Статейка в основном о первом визите битла в Америку. Before the British Invasion, a Beatle Comes to America Brow Beat is following the Beatles in “real time,” 50 years later, from their first chart-topper to their final rooftop concert. Fifty years ago this month, George Harrison made an early trip to America. Andrew Jackson, author of Still the Greatest: The Essential Songs of the Beatles’ Solo Careers, describes the trip, including how Harrison found his future No. 1. When the Beatles were given the rare luxury of time off in September 1963, John Lennon and his wife Cynthia went to Paris, Paul McCartney and Ringo Starr went to Greece, and George Harrison traveled to Benton, Ill., a coal-mining town of 9,500, to visit his older sister, Louise “Lou” Caldwell. The Beatles were still almost completely unknown in the United States, and Lou, who had moved to southern Illinois with her husband, a mining engineer, was keen to promote them to the Top 40 radio stations in the region. Harrison arrived in the U.S. on Sept. 16 accompanied by his older brother Peter. Harrison and Lou hitchhiked to local radio station WFRX, where Harrison gave his first American interview to the station owner’s teenage daughter. Lou knew a guy from the local dry cleaner named Gabe McCarty who played bass in a band called the Four Vests, and McCarty showed Harrison around for the next two weeks, taking him to guitar stores (Harrison bought a Rickenbacker 425 in one) and the local drive-in restaurant, where Harrison was reportedly transfixed by the waitresses on roller skates. On Sept. 28, Harrison played his first show in the U.S. The Four Vests invited him onstage during their gig at the Veterans of Foreign Wars Hall in Eldorado, Ill. They introduced Harrison as the “Elvis of England,” and he ripped through some of the usual covers from the Beatles’ live act— “Johnny B. Goode,” “Matchbox,” and “Roll Over Beethoven”—along with Hank Williams’ “Your Cheatin’ Heart.” According to Lou, the audience was indifferent to the Vests until Harrison got the crowd clapping and stomping their feet. Harrison and his brother then visited New York for a few days before flying back to England on Oct. 3. Harrison combed the record stores of both Illinois and New York and picked up a lot of R&B, including records by Bobby Bland and Booker T. and the MG’s. He also came across the self-titled debut album of James Ray, an R&B singer whose single “If You Gotta Make a Fool of Somebody” was a regular part of the Beatles’ act. The purchase proved fateful: More than two decades later, Harrison returned to that same LP to find the last No. 1 hit by any solo Beatle, “Got My Mind Set on You.” By that time, Ray, though beloved by the Beatles, was long dead and largely forgotten. James Ray Raymond was born in 1941 in Washington, D.C. He released his first single, the plaintive “Make Her Mine,” in 1959 under the name Little Jimmy Ray, because he was five feet tall and sounded like Little Willie John (whose “Leave My Kitten Alone” the Beatles covered in 1964 to incendiary effect). But “Make Her Mine” did not make a splash, and by 1961 Ray was homeless, sleeping on a rooftop and singing on street corners for money. His luck changed briefly when Rudy Clark, the man who would write “I’ve Got My Mind Set On You (Parts 1 & 2)” for Ray, discovered him singing in a club. Clark, six years older than Ray, was a mailman whose route included the office for the Caprice Record label. Songwriting was Clark’s passion, so he performed his material for label owner Gerry Granahan, who said he was interested in the songs if Clark could find someone else to sing them. Clark returned with Ray in tow and Granahan quickly produced Ray performing Clark’s “If You Gotta Make a Fool of Somebody.” He also bought Ray a new set of clothes and found him a place to live. After the song hit, the team followed it up with the James Ray album, which included the Clark-penned “I’ve Got My Mind Set On You (Parts 1 & 2).” Arranger Hutch Davie (“Sleep Walk,” “My Boyfriend’s Back”) matched Ray’s strong, clear voice with imposing horns, a trilling gospel choir, country-flavored strings, and even a banjo, all rising to a dynamic crescendo. But neither “Set On You” nor the album’s other single, “Itty Bitty Pieces,” made much impact for Ray. Ray died of a drug overdose, possibly in 1963 though the exact date is unknown. Clark went on to write such classics as Betty Everett’s “The Shoop Shoop Song (It’s in His Kiss),” the Rascals’ “Good Lovin’,” and the Main Ingredient’s “Everybody Plays the Fool” (perhaps a nod to his first “Fool” hit with Ray). The soulful sound of “Set On You” resonated with Harrison, and so, perhaps, did its themes—the primacy of the mind (à la “The Inner Light”), the need for patience and dedication (à la “My Sweet Lord”), and the necessity of money (à la “Taxman”). But Harrison never covered the song with the Beatles. In August 1963, Harrison wrote his first song (“Don’t Bother Me”) and would soon stop performing other artists’ material on Beatles albums. Twenty-four years later, recording a new solo album after a five-year hiatus, he realized he couldn’t find a better anthem with which to stage his comeback. He omitted two lines from the original version, in which Ray laments that bad luck always follows him (which certainly turned out to be prophetic), and molded the track into a wholly optimistic statement that anything can be accomplished if one focuses hard enough. Producer Jeff Lynne lifted the drum beat from “My Sharona” and processed Jim Keltner’s skins with the ultimate ’80s gated “big drum” sound. Lynne also stacked Jim Horn playing a “Savoy Truffle”-esque saxophone 12 to 14 times. Warner Brothers shelled out for a slick video with a purple-jacketed Harrison doing backflips in his study while his furniture comes to life. “Got My Mind Set On You” became the last No. 1 U.S. single by any solo Beatle. Harrison’s album Cloud Nine made the top ten on both sides of the Atlantic. The song crossed over from the Baby Boomers to the Gen Xers in high school, the last time the Beatles as solo artists were commercially potent with teenagers. It even generated a “Weird Al” Yankovic parody, “(This Song’s Just) Six Words Long.” The hit made Harrison the Beatle with the second-most No. 1 solo singles in the U.S., with three. McCartney had nine, and Lennon and Ringo were tied with two. n the mid-’90s, Lou Harrison’s old house at 113 McCann Street in Benton, Ill., was saved from demolition and turned into the Hard Day’s Nite Bed and Breakfast and Museum, celebrating Harrison’s first trip to the U.S. The B&B has since closed and the site is now a four-unit apartment complex, but this month a marker will be unveiled at Benton’s Capitol Park to commemorate the 50th anniversary of Harrison’s visit. Lou is scheduled to attend the dedication ceremony on Sept. 21. http://www.slate.com/blogs/browbeat/2013/09/19/george_harrison_s_trip_to_benton_illinois_before_the_british_invasion_a.html

chimike: завершается неделя Джорджа http://www.rollingstone.com/music/videos/watch-paul-simon-perform-the-beatles-here-comes-the-sun-on-conan-20140924

chimike: завершается неделя Джорджа http://www.rollingstone.com/music/videos/watch-paul-simon-perform-the-beatles-here-comes-the-sun-on-conan-20140924

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