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George Harrison became an honorary member of Monty Python after the Beatles split, according to Terry Gilliam.

George, who died in 2001, struck up an unlikely friendship with the trailblazing British comedy troupe, made up of Terry, John Cleese, Eric Idle, Michael Palin, Graham Chapman and Terry Jones, and even bankrolled their most famous film, 1979’s Life of Brian.

‘He was a joy,’ Terry said. ‘With George, he’s always referred to as the “quiet Beatle” – not at all! Just a jabber mouth. He was incredibly funny, that’s the other side that people aren’t aware of. They go “ohhh spiritual”. No, he was incredibly funny and we just had a great time. ‘Because I think he was so excited… the Beatles had broken up and there was Python, so he kind of joined another group. He was always a joiner, clearly, he went on to the Traveling Wilburys (with Bob Dylan, Jeff Lynne, Roy Orbison and Tom Petty).’

George paused his music career to become a movie producer in order to get the comedy classic made, setting up HandMade Films with business partner Denis O’Brien and mortgaging his house just to ensure Brian was financed after original backers EMI Films pulled out a week before filming was scheduled to begin.

Terry and George went on to forge a strong working relationship through HandMade Films, which also made his feature Time Bandits, as well as Withnail and I and Shanghai Surprise, among many others. And the Brazil filmmaker is adamant he wouldn’t have the career he’s had without the help of his friend. ‘I wouldn’t be here talking to you if it wasn’t for HandMade films,” the Oscar nominee declared. ‘The world wouldn’t have Time Bandit, A Private Function. It wouldn’t have any of these things… It’s very simple. To have a Beatle as a patron is what you need in life, it really was. I mean George stepped in and saved our a**es basically.

‘We were never respected I don’t think within the industry. I remember there was a book written by (film critic) Alexander Walker in the ‘80s, a history of British cinema; we were a footnote.’ The HandMade Films story is told in documentary An Accidental Studio, which charts the early years of the revolutionary production company. An Accidental Studio is on AMC on 15 September at 7.10pm.


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In 1969, George Harrison would write one of the Beatles greatest songs.
These days, by around 1969, being a member of the Fab Four was a gruelling task with legal disputes, business issues and a general sense of impending pressure.

After a particularly gruelling time, George wrote one of his most beloved songs, Abbey Road’s ‘Here Comes The Sun’. He headed to Clapton’s house in Ewhurst in Surrey. In The Beatles’ Anthology, George picks up the story, “‘Here Comes The Sun’ was written at the time when Apple was getting like school, where we had to go and be businessmen: ‘Sign this’ and ‘Sign that’.”

“Anyway, it seems as if winter in England goes on forever; by the time spring comes you really deserve it,” he added. “So one day I decided I was going to sag off Apple and I went over to Eric Clapton’s house. The relief of not having to go and see all those dopey accountants was wonderful, and I walked around the garden with one of Eric’s acoustic guitars and wrote ‘Here Comes The Sun’.”

Speaking at the time, George also suggests the song has a kindred soul in ‘If I Needed Someone’ and The Byrds song ‘Bells of Rhymeney’: “It was written on a nice sunny day this early summer, in Eric Clapton’s garden. We’d been through hell with business, and on that day I just felt as though I was sagging off, like from school, it was like that. I just didn’t come in one day. And just the release of being in the sun and it was just a really nice day. And that song just came. It’s a bit like If I Needed Someone, you know, like that basic sort of riff going through it is the same as all those ‘Bells Of Rhymney’ sort of Byrd-type things.”

The poetry of the moment is captured in George’s songwriting and sees the guitarist expertly contain the joy of spring and sunshine.

In the studio, the song would use a then-recent invention from Robert Moog—the synthesiser. Speaking in Anthology, George said of the choice: “I first heard about the Moog synthesiser in America. I had to have mine made specially because Mr Moog had only just invented it. It was enormous, with hundreds of jackplugs and two keyboards.”

“But it was one thing having one, and another trying to make it work,” he continued. “There wasn’t an instruction manual, and even if there had been it would probably have been a couple of thousand pages long. I don’t think even Mr Moog knew how to get music out of it; it was more of a technical thing. When you listen to the sounds on songs like ‘Here Comes The Sun’, it does do some good things, but they’re all very kind of infant sounds.”




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Eric Clapton’s daughter Ruth Clapton-Bartlett replied to a fan’s question wondering if she liked The Beatles and unveiled her actual opinions about the band and George Harrison.

A few years after Boyd and Harrison’s divorce, Eric Clapton got married Pattie. However, she also left him eight years later.

It seems like the question of how the relationship between Eric Clapton’s daughter Ruth and The Beatles was among the most wondered questions of those interested in the famous love triangle.

Recently on Instagram, Ruth Clapton-Bartlett responded to a fan’s question wondering whether she liked The Beatles.

In his short statement about the subject, Ruth mentioned she was a Beatles fan like almost everyone and also praised George Harrison’s music and personality by referring to him as ‘a gentle and kind soul.’

Here’s how Ruth Clapton-Bartlett answered the fan’s question of whether she liked The Beatles:

“Of course! I don’t know anyone who isn’t a Beatles fan! Such a huge body of work. George’s music really resonates with me and he was such a kind, gentle soul.
I’m so grateful to have known him a little and send love and light to his family often.”




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Threatened Beatles cinema needs a Lidl help from its friends

The supermarket chain now controls the fate of Liverpool’s Abbey picture house – one of John Lennon’s favourite places
In the mid-1960s John Lennon wrote some lyrics that would eventually become the Beatles classic In My Life. He later described his rejected first draft, which name-checked places near his Liverpool home, as “the most boring sort of ‘what I did on my holidays bus trip’ song”.

In the original version, among the “places I’ll remember all my life” was the Abbey cinema in Wavertree. “In the circle of the Abbey, I have seen some happy hours,” he wrote. Fellow Beatle George Harrison was also a regular.

By 1979, a magnificent art deco edifice that could accommodate more than 1,800 people in its vast double-tier auditorium, had reached the end of its life as a cinema. Now a campaign has been launched to save the building amid fears that its owners, the supermarket chain Lidl, could seek to demolish it and replace it with a purpose-built store on the site.

An application for the Abbey to be listed has been submitted to Historic England, and almost 2,500 people have signed an online petition calling for the building’s preservation and suggesting its upper floors could be used for community arts.

Clare Devaney of Love Wavertree, which organised the petition, said“Wavertree has been pretty neglected and there’s been under-investment, but it has a beautiful built heritage. The Abbey has architectural value, cultural value and a Beatles heritage”.
The Cinema Theatre Association, which is supporting the listing application, said the Abbey was “a fine example of the best cinema design of its period, designed by an important Liverpool architect to be worthy of its prominent site in the historic Wavertree village. It formed a key part of the landscape in which at least two of the Beatles grew up, and their references to it give it outstanding national importance.”



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In the White Album era: “Blackbird,” Paul McCartney sang (if obscurely) in support of Civil Rights-era protesters. And John Lennon at least broached serious subjects on “Revolution 1.” In his own way, George Harrison did the same on “Piggies,” a song he began writing around the same time as “Taxman” (circa 1965-66). After getting little material on Sgt. Pepper’s and Magical Mystery Tour, George came back with four songs on the ’68 White Album.

With “Piggies,” George tried to tackle issues of capitalist greed (often framed as “income inequality” today). And despite the title and subsequent interpretation by Charles Manson it had nothing to do with the police or deranged cult concerns.
Since “Piggies” only contains three short verses and a vocal bridge, we don’t have a ton of material to sift through. But George’s simple, allegorical message is clear. With a nod to George Orwell’s 1984 (published 1945), George sings about a world in which some piggies are living it up while “life is getting worse” for others.

The big piggies have starched white shirts, eat dinner with their wives, and enjoy “backing.” In a verse George cut before recording “Piggies,” he even mentioned “piggy banks.” So it’s clear he was calling out the inequality between classes as he saw it in the mid-’60s.

In 1980, George spoke about its composition without going too in-depth. “‘Piggies’ is a social comment,” he said. He pointed to the phrase “damn good whacking” as referring to a spanking (“a hiding,” in George’s words).

About a decade earlier, Manson had interpreted the lyrics as the establishment (“piggies”) needing a shock (in the form of an assault, or “whacking”) with very specific weapons (in this case, the “forks and knives” Manson’s followers used in a murder).

George said ‘Piggies’ made no reference to police or other groups
Since The White Album hit record stores in November ’68, you can see why people might have thought a song titled “Piggies” would be a reference to the police. Law enforcement had assaulted countless protesters during the ’68 Democratic National Convention in Chicago that summer.

When the Walker Report was published, it described those events in Chicago as “a police riot.” And the police heard protesters calling them “pigs” at every turn. So you understand how some young people would imagine the biggest band of the ’60s was using the word in this way.

But that wasn’t the case. “It had absolutely nothing to do with American policemen or Californian shagnasties!” George said in 1980. While British bands touring the U.S. were often horrified by the levels of police violence, this White Album track wasn’t a response to any of that.



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The new book “Pattie Boyd, My Life Through a Lens”, is being published March 2, 2021, via Simon and Schuster’s Insight Editions imprint.

It was originally scheduled for last April 7. At one point, that date was pushed back to Sept. 15, 2020. And on June 3, Boyd noted on her Twitter account that her “editor has been unwell and more work was needed with the finishing touches.” It’s available for pre-order HERE and HERE.

In addition to her photos, Pattie Boyd: My Life Through a Lens will include drawings, paintings, and mementos, as well as her own memories collected from a life shared with pop culture icons.