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George Harrison with Mukunda Goswami in Bhaktivedanta Manor 1996

The temple was gifted to the Hare Krishna Movement by one of The Beatles
On the outskirts of London sits a picturesque Tudor mansion, the grade II listed building, previously called Piggott’s Manor, is the UK base of the Hare Krishna Movement – the religious belief based on Hindu teachings.
The property, situated in Aldenham, near Watford, is now known as Bhaktivedanta Manor and is one of the most frequently visited Krishna temples in Europe.

This unconventional temple was purchased for the religion’s followers by a wealthy benefactor – George Harrison.
George became involved with the Hare Krishna religion after he and the other Beatles visited India in the 60s, just as Hare Krishna was making its way into Western countries.

When The Beatles left India they had a taste for Indian spirituality, but often nowhere to practise it.

Bhaktivedanta Manor in Hertfordshire was purchased

At the same time, big names in the Hare Krishna movement moved to London to try and establish a temple here. One of these big names was Shyamasundar das, one of the pioneers of the International Society for Krishna Consciousness (ISKCON).
Shyamasundar das and George Harrison were reunited at an Apple Records event in 1969 and the two became close. This furthered Harrison’s investment in the Hare Krishna Movement, and he became a devoted follower.
He was so invested that it’s said he and John Lennon once chanted Hare Krishna – the 16 word chant repeated by followers of the Hare Krishna movement – for 17 recurring hours on a very long car journey between France and Portugal.

George’s Hare Krishna interested grew, and he even included the Hare Krishna chant in his solo song “My Sweet Lord”.
By this point, ISKCON was growing like wildfire across the world and in London. The only temple, which was then at Bury Place near the British Museum, was getting far too small for the number of visitors, so George stepped in.

He asked a Hare Krishna follower to find a property in London which was big and not too far out of the city, and so they settled on Piggott’s Manor in Hertfordshire, which would eventually become Bhaktivedanta Manor.
When George purchased the temple, the founder of the international Hare Krishna movement, Srila Prabhupada, said: “Because he has given shelter to Krishna by providing this temple, Krishna will surely provide shelter for him.”

George Harrison sadly passed away in 2001 from lung cancer, aged 58. The temple is still considered the UK base of the Hare Krishna movement and is frequently used for prayer, functions and events.


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The sleek six-string, which was signed at Bob Dylan’s 30th Anniversary Concert, also sports the signatures of Johnny Cash, Ronnie Wood, Johnny Winter, Neil Young, Stevie Wonder and more
A Gibson Les Paul Goldtop sporting the signatures of numerous guitar heroes and music industry heavyweights has gone up for auction over at Bonhams auction house.

The electric guitar was signed at Bob Dylan’s 30th Anniversary Concert Celebration, which took place in 1992, and is adorned with the signatures of Bob Dylan himself, along with a number of others who attended the iconic event.

Tom Petty, Eric Clapton, George Harrison, Chrissie Hynde and Johnny Cash all signed the six-string, as did Ronnie Wood, Johnny Winter and Neil Young. The list doesn’t end there, with the unique instrument also boasting scrawls from Stevie Wonder, Willie Nelson and Kris Kristofferson.

The guitar is part of a collection currently owned by world renowned music promoter Harvey Goldsmith, and is being sold alongside a host of other unique music memorabilia.
With the help of Goldsmith who, alongside Bob Geldof, was the brains behind Live-Aid, Dylan was able to assemble a huge array of stars for the unique one-off concert at Madison Square Garden.

Spec-wise, the instrument that plays host to this dazzling array of signatures is a 1991-dated Les Paul Goldtop, sporting a mahogany body and maple top, as well as a mahogany neck with bound 22-fret rosewood fingerboard.

Other features include trapezoid inlays, Kluson deluxe machine head tuners, and a pair of mini-humbuckers wired to a conventional Gibson control layout.

The one-of-a-kind guitar comes with a certificate of authenticity, Gibson hard shell case with punk plush lining and matching silk protector, also signed by a number of stars from the night.
Bonhams has listed an estimated sale price of $14,000-$21,000, with the axe set to be sold on May 5.


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George Harrison was the owner of quite a few prized possessions. And one such prized possession was his iconic Aston Martin DB5. George purchased one of these iconic AMs in 1965.

Apart from the fact that it was owned by George, the Aston Martin DB5 was iconic in more than one way. The British luxury grand tourer was designed by the Italian coachbuilder, Carrozzeria Touring Superleggera. It is also popularly remembered as the best James Bond car of all time: not an easy feat by any means.

The Aston Martin DB5 is one of the greatest British luxury grand-tourers ever made. Produced between 1963 and 1965, the car was available in three variants: either as a 2 door 2+2 coupe, or as a 2-door convertible, or lastly, as a 2-door shooting brake model. The AM wonder car was built with a predominant all-aluminium DOHC straight-6 engine. Three SU carburetors were installed to further enhance the engine. With a 282 Horsepower capacity, the engine was able to propel the ace car to a top speed of 145 mph (233 km/h). The front-engine, rear-wheel-drive form of layout, further added to the appeal of this gem. The DB5 came standard with a new 5-speed ZF transmission, with the optional BorgWarner 3-speed automatic transmission available too.

The car was equipped with top-quality reclining seats, and full leather trim in the cabins to add to the comfort of long rides. Wool pile carpets were installed to ensure the rides were warm and cozy. The DB5 also sported electric windows, a rare feature for a car from a by-gone era. The vintage car fared well in the safety quotient, with twin-fuel tanks to increase longevity, and chrome wire wheels for maximum control and grip. Stylish, well-crafted, safe, and fast, this classic car aced almost every department and stood out compared to its peers.

Special-effects expert John Stears took up the task of modifying the DB5 for the 1964 James Bond film, “Goldfinger”. Two specimens of the iconic Bond-car were showcased at the 1964 New York World Affair – where the new bond car was dubbed “the best car ever made”.

The first DB5 Goldfinger prototype bore the chassis number DP/216/1. Aston Martin later stripped off the weaponry and gadgetry installed in the car for the movie’s shoot and then resold it. The subsequent owners, however, reinforced the car with non-original weapons before the car re-appeared in the Bond film, “Cannonball”, where Roger Moore took to the wheels. In time, the Aston Martin DB5 established itself as the trademark vehicle for the James Bond character. The vintage car reappeared in the Bond movie, “Thunderball” a year later.

After a considerable gap thereafter, the prodigal car came back to wow the audiences in a few more Bond movies. The car took to the 2006 Bond hit, “Casino Royale” with a tangy twist this time. The classic AM beast – which was showcased to be Bond’s favorite for decades – was snatched like a trophy and given to the villain, Alex Dimitrios.
The DB5/1896/R was originally supplied to George Harrison on the 1st of January, 1965 through Brydor Cars of Brooklands in Surrey. A decade after the Beatles star passed away, his vintage AM was sold at an auction in London. The classic vintage was auctioned off for a mammoth price (reportedly around $550,000) at the COYS of London Auction in 2011.

Held at the Royal Horticultural Halls in Westminister, the COYS “True Great Auction” saw intense bidding from telephone callers globally. The vintage AM was eventually sold for at least $235,305 more than figured at the pre-auction estimates, thanks to the fierce popularity of the Beatles, all around the globe. The buyer was an unnamed Beatles fan from Houston, Texas, who vowed to use the iconic car to raise money for charity.
The Aston Martin DB5 is indeed a legendary car.


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While we await the release of Peter Jackson’s The Beatles: Get Back, we already know where the living members of the Fab Four stand on the documentary’s release. Both Ringo Starr and Paul McCartney expressed their approval of this alternate look at the Let It Be sessions.

As for George Harrison and John Lennon, we only have their takes on 1970’s Let It Be — and both recalled the period as extremely unpleasant. ““It was just a dreadful, dreadful feeling and, being filmed all the time, I just wanted them to go away,” John said in Beatles Anthology.

George said more or less the same thing. “For me, to come back into the winter of discontent with The Beatles [during the Let It Be shoot] was very unhealthy and unhappy,” he recalled in Anthology (in the ’90s). At another point, George described it as “painful.”

Originally, Harrison saw Let It Be in a far more positive light. In a March ’70 interview with the BBC, he described the film and record as “a good change” from previous Beatles releases. He liked the imperfections the project revealed.
George Harrison thought ‘Let It Be’ was the opposite of the ‘clinical’ records by The Beatles.

By March ’70, George Harrison speaking on the BBC Radio One program Scene and Heard, he focused on the positives of the Let It Be experience — and the album in particular:
“It’s very rough in a way but it’s nice, because you can see our warts,” George said. “You can hear us talking, you can hear us playing out of tune… It’s the complete opposite to this sort of clinical approach that we’ve normally had.”
George liked the idea of having the asides, mess-ups, and other extras you’d never get from an album like Sgt. Pepper’s Lonely Hearts Club Band (1967). And he pointed to the songs he liked on the LP: “Let It Be” and “Don’t Let Me Down.”

Though he didn’t hype either of his two songs on Let It Be, George did mention “For You Blue.” He also mentioned the jamming between tracks, which led to Lennon’s “Dig It.” He said ‘Let It Be’ was like a demo but yet ‘worth so much more’ than other Beatles albums.

In other interviews, George spoke about his dislike of the band’s approach on Sgt. Pepper. With the final Beatles release, he liked the idea of going in the complete opposite direction. “People may think we’re not trying because it’s really like a demo record,” he told the BBC with a laugh. “But on the other hand, it’s worth so much more than those other [Beatles] records,” George continued. “Because you can actually get to know us a bit more. It’s a bit more human than the average studio recording.”

Though George quit the band during the Let It Be filming, he stood by the product of the sessions. From that point on, he could focus on his own recording career. And George got off to an incredible start with All Things Must Pass later that year.



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Ethan and Maya Hawke will both star in a film in which Maya will portray a teen.
Revolver, which is being helmed by Finding Nemo co-director Andrew Stanton, will see Ethan and Maya portray father and daughter in the ’60s-set romantic comedy.

Variety reports that Maya will play Jane, a teenager resident of Anchorage, Alaska. The film is set in 1966 when a flight to Japan carrying The Beatles is forced to make an unexpected stop at the city. Jane then dreams up a plan to meet George.
Kate Trefry (Stranger Things, Fear Street film trilogy) has written the script, and 3311 production’s Ross Jacobson and Jen Dana are on hand to produce. The film will be introduced at next month’s American Film Market.
Ethan currently stars in – and has co-written as well as executive produced – the limited series The Good Lord Bird for Showtime.
Maya was most recently seen in Gia Coppola’s Mainstream, which premiered at the Venice Film Festival, and the third season of Netflix’s Stranger Things. She also released her debut album, ‘Blush’, in August.



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“Something” was issued as a double A-side single with “Come Together” during the early fall of 1969. It was the only George composition to be issued as an A side.

The single reached number one on the Billboard magazine Pop Singles Chart for one week. “Come Together” was named the number one song in the United States and “Something” peaked at number three.
George Harrison was an exceptional songwriter, “Something” is now recognized as not only a classic Beatles song but as one of the memorable songs in rock history.  It has been covered by close to 200 artists. George said his favorite version was the one by James Brown.

“Something” is described as a love song to Pattie Boyd, George’s first wife, although Harrison offered alternative sources of inspiration in later interviews. Due to the difficulty he faced in getting more than two of his compositions onto each Beatles album, Harrison first offered the song to Joe Cocker. As recorded by the Beatles, the track features a guitar solo that several music critics identify among Harrison’s finest playing. The song also drew praise from the other Beatles and their producer, George Martin, with Lennon stating that it was the best song on Abbey Road.The promotional film for the single combined footage of each of the Beatles with his respective wife, reflecting the estrangement in the band during the months preceding their break-up in April 1970. George subsequently performed the song at his Concert for Bangladesh shows in 1971 and throughout the two tours he made as a solo artist.

George Harrison began writing “Something” in September 1968, during a session for the Beatles’ self-titled double album, also known as “the White Album”.

George  first introduced “Something” at a Beatles session on 19 September 1968, when he played it to George Martin’s stand-in as producer of The Beatles, Chris Thomas, while the latter was working out the harpsichord part for Harrison’s track “Piggies”. Despite Thomas’s enthusiasm for the new composition, Harrison chose to focus on “Piggies”. He told Thomas that he intended to offer “Something” to singer Jackie Lomax, whose debut album Harrison was producing for Apple Records. “Something” was not among the tracks released on Lomax’s album, however,much of which was recorded in Los Angeles following the completion of the White Album.

The group recorded “Something” on 16 April before Harrison decided to redo the song, a new basic track for which was then completed at Abbey Road on 2 May. The line-up was Harrison on Leslie-effected rhythm guitar, Lennon on piano, McCartney on bass, Ringo Starr on drums, and guest musician Billy Preston playing Hammond organ. On 5 May, at Olympic Sound Studios, McCartney re-recorded his bass part and Harrison added lead guitar.[51] At this point, the song ran to eight minutes, due to the inclusion of an extended, jam-like coda led by Lennon’s piano.

After taking a break from recording, the band returned to “Something” on 11 July, when George overdubbed what would turn out to be a temporary vocal. With the resulting reduction mix, much of the coda, along with almost all of Lennon’s playing on the main part of the song, was cut from the recording. The piano can be heard only in the middle eight, specifically during the descending run that follows each pair of “I don’t know” vocal lines. On 16 July, George recorded a new vocal, with McCartney overdubbing his harmony vocal over the middle eight and Starr adding both a second hi-hat part and a cymbal.

Following another reduction mix, at which point the remainder of the coda was excised from the track, Martin-arranged string orchestration was overdubbed on 15 August, as George, working in the adjacent studio at Abbey Road, re-recorded his lead guitar part live.
John considered “Something” to be the best song on the album. Having ensured that “Old Brown Shoe” was chosen as the B-side for the Beatles’ single “The Ballad of John and Yoko”, according to his later recollection, John now pushed Allen Klein to release “Something” as a single from Abbey Road. Coupled with “Come Together”, the single was issued on 6 October in America (as Apple 2654) and 31 October in Britain (as Apple R5814).

The release marked the first time that a George composition had been afforded A-side treatment on a Beatles single, as well as the only time during their career that a single was issued in the UK featuring tracks already available on an album. Following the Beatles’ break-up in April 1970, George Harrison’s ascendancy as a songwriter would continue with his triple album All Things Must Pass, building on the promise of White Album tracks such as “While My Guitar Gently Weeps” and his two contributions to Abbey Road.