georgeous queue

George Harrison, 1969, copyright unknown.

“He’s deep and complex, this George Harrison, and as long as I’ve known him and as much as I like him, I find it difficult to define the man beneath. The balance within him is fine between love and good and bad and a kind of bitter mistrust of some people, among them members of the Press.” - Article and interview by, possibly, Alan Smith, NME, 14 March 1970 [x]

George Harrison photographed by Chris Cuffaro for Musician magazine (Photo courtesy of

“I think people who truly can live a life in music are telling the world, ‘You can have my love, you can have my smiles. Forget the bad parts, you don’t need them. Just take the music, the goodness, because it’s the very best, and it’s the part I give most willingly.’” - George Harrison, Musician, November 1987 [x]


George Harrison at Hotel Bayerischer Hof, Munich, Germany, 23 June 1966.

Photos © Robert Whitaker/Getty Images

In the past, a few of these images have been scanned and posted at thateventuality (here), but the quality isn’t as good as the Getty prints, despite the watermarks.

“These shots were taken during the relaxed moments after the press conference. George seemed comfortable and his hair was looking great, so I popped these pictures off. As far as I remember, even he liked them.

I didn’t get particularly close to George during my time with the group, but I never ceased to find him fascinating. He was thoroughly enjoying his position as a Beatle, but it had struck me that by now he was also looking for something more in his life.” - Robert Whitaker, Eight Days A Week: Inside The Beatles’ Final World Tour


George Harrison, photographed in Chelsea, London, 25 March 1966

Photos: The Beatles Book

“Any self-consciousness seems to have been drummed out of him in the early days in Liverpool when he would stand at the bus stop wearing his black leather suit, white cowboy boots and very pale pink flat hat. When the bus arrived, he would board it with guitar, amplifier and often tea chest bass. George likes to be himself and bitterly regrets having abandoned his early habit of eating and sleeping on the stage. ‘We should have stuck out for all that,’ he said, 'eating toast and chips and chickens. We only cut our hair and said all the yes-sir-no-sir three-bags-full-sir bit to get in.’” - “How Does A Beatle Live Part 3 - George Harrison: Avocado With Everything…” by Maureen Cleave, Evening Standard, 18 March 1966

A fan photo of George Harrison signing an autograph at Kinfauns, found via Gotta Have Rock and Roll (where it’s up for auction, at a minimum bid of $500).

Q: “George Harrison, how different is your life now as a member of the Beatles to what it was, say, even four years ago?”

George Harrison: “Everything’s completely changed. We don’t have a private life anymore. And we, um, are public property now. Not that we mind.”

Q: “You don’t mind being such public property with no private time at all?”

GH: “Well, you get accustomed to it, and after a while you just take it for granted and you just do everything automatically… like signing autographs and [laughs] waving at people.” - Doncaster, 10 December 1963

George Harrison, photographed in 1964 by Friedhelm von Estorff.

“George Harrison, the youngest Beatle, is perhaps the most business minded of them all. He wants to know what press work to do, what television shows to do, and where all the money is going! When I first met him he struck me as being rather quiet - he spends a lot of time practising his guitar - and although he doesn’t sing as much as John and Paul he expresses himself on stage with complicated guitar chords and solo playing. I found out later that he is certainly not the quietest Beatle - in fact he never stops talking. In America he was asked at several press conferences why he was the least popular of the Beatles. Well, George looked quite astounded and said, ‘Oh am I.’ Well, whatever his popularity is like in America, it’s certainly very high in this country. The last time I attended a Beatle concert which was quite recently, everyone seemed to be screaming for George, and the uproar that greeted any of his solo numbers was fantastic.” - Diana Vero, Brian Epstein’s secretary, The Beatles Book, December 1964 [x]


Scans - George Harrison (and director Richard Lester) on the set of Help!, Bahamas, possibly 7 or 8 March 1965; scanned from Remember.

Photos: Mike McCartney

“‘A cup of Rosie Lee, George?’ With a Bahamian cop in the background, holding his cup of tea between takes on the Help! set, George gives me a 'Here you are again, cheeky monkey’ look. He was essentially a shy, private young man, but when you got a smile out of George, it lit up the page.”

“On the set of Help! George is looking over the shoulder of Dick Lester, who directed both the Beatles’ movies. Filmmaking can be an incredibly boring process; we’d hang around for hours waiting for something to happen. To pass the time we used to watch blue movies in one of the boys’ dressing rooms, but even those were boring… unless you ran them backwards! They were supposed to be hugely erotic but we were on the floor, rolling around laughing at all the naughty bits they were doing… back to front!” - Mike McCartney, Remember

George Harrison playing his sitar at Kinfauns, Esher, 1967

Photo: Henry Grossman

“Another time, Grossman was at Harrison’s house, and saw what he assumed was a wall decoration.
‘I said, “What’s that?”’ Grossman remembers. 'He reached up, took it down and said, “That’s a sitar, but I can’t find anybody to teach me how to play it.” So I looked at him, and I said, “George, you make a lot of money.” He smiled. I said, “You could find the best sitar player in India and bring him here for the summer to teach you.”’
The next time Grossman went to see Harrison, the guitarist answered the door in bare feet, and urged his visitor to take his shoes off, too. Harrison had been to India to study sitar with Ravi Shankar, and was settling into a more Eastern sensibility.
Despite their youth, the Beatles had depths that impressed Grossman. ‘I have a 25-minute audiotape of George and me talking about philosophy,’ he says. ‘He was so far ahead of what I knew then and know even now, my God. This was an old soul. Someone who knew and had thought about everything.’” - Brandeis Magazine, Spring 2013

George Harrison, 9 April 1969, photographed for The Beatles Book’s July 1969 issue by either Leslie Bryce or Bruce McBroom.

Q: “Who is George Harrison?”
George Harrison: “That’s hard to define. I’m life really, spiritually and mystically. I’m life and life is either up or down, in or out, left or right. It’s like the North Pole, there has to be a South Pole. You can’t have one without the other. Life is like the waves on the ocean. Always chopping and changing, and we are at the mercy of the ocean unless we are anchored. We’re like little boats on the surface of life. Some people are securely anchored. Now, as each day goes by, I feel myself becoming more and more securely anchored. The real me is… the real you… and the real him.”
- 16 April 1969 [x]


George Harrison portraits (the second was mirrored and had to be flipped)

Photos 1& 2 © Mark and Colleen Hayward; 3 & 4 unknown [x]

“[A]ctually, we [The Beatles] worked with Eric [Clapton] back in, I’d say, 1964, when he was in the Yardbirds, but I didn’t really get to know him until a show at a little club in London where the Lovin’ Spoonful were playing [on 18 April 1966]. It was John [Lennon] and I who went to see the Spoonful, and after the show we would go and hang out with John Sebastian and the gang, and get into trouble or whatever.
And I just saw this guy there who looked very familiar. There was something about him, and he seemed real lonely, just sitting up on the road boxes backstage at this club. And I said, ‘Hey, you want to come with us, come and hang out?’ [smiles]
But nowadays it’s much easier, ‘cause it’s been like 25 years or something, and everybody grows and just mellows out. We hang out a lot and just have a laugh, have a dinner, go play cricket! [laughs]” - George Harrison, Goldmine, 27 November 1992

Scan - George Harrison in the garden at Kinfauns, photographed for The Beatles Book, presumably on 7 October 1965; scanned from the November 1966 issue.

Photo: The Beatles Book/Leslie Bryce

“So I really always liked gardens. I planted things when I was young and picked them and had spuds and all that. After Speke I didn’t have a garden until Esher….” - George Harrison, I Me Mine

George Harrison, Esperance, Australia, 1984 (Photo: Fiona Norwwod/ABC Australia 2012)

“I could try being a pop star forever and going on TV and do concerts and be a celebrity, or I can be a gardener.” - George Harrison, Good Morning Australia, April 1982 [x]

Q: “George, how would describe yourself today […]?”
George Harrison: “As, uh, a middle-aged ex-pop star, I think.”
Q: “Is that all?”
GH: “I don’t really… I dunno, it’s sort of a funny question, I suppose. Ex-pop star, peace-seeker, gardener, ex-celeb, until now again.”
- Good Morning Australia, April 1982 [x]

George Harrison painting what would become the so-called “Images of a Woman,” a joint painting between all four of The Beatles, compiled during their stay at the Tokyo Hilton, 30 June - 1 July 1966.

Photo © Robert Whitaker/Getty Images

“Back at the hotel between concerts I think it was sheer boredom that prompted The Beatles to start painting. John, or possibly Paul, asked Tats [concert promoter Tatsuji ‘Tats’ Nagashima] to supply them with paint and some beautiful Japanese paper. Over the course of two nights The Beatles collaborated on their only joint venture that didn’t involve music. They played the paper on a small table and put a lamp in the middle. Each of them took a corner of the paper and started painting towards the light. John and Paul used heavy acrylics, while Ringo - and I think George - used watercolours. They never discussed what they were painting. The end result, and how it all joined up, evolved naturally.

I used my new camera and lens to photograph their progress, illuminated only by the lamp’s 60 watt bulb. An acetate of the new Beatles album had recently arrived from London and we listened to it over and over again while they were painting. They decided to name the album Revolver, and it playec continuously in the background while they debated the running order of the songs and wondered if there was anything they could have done differently. I felt privileged to be among the first to hear this incredible music in the company of the guys who created it.” - Robert Whitaker, Eight Days A Week: Inside The Beatles’ Final World Tour by Robert Whitaker with Marcus Hearn

George Harrison, photographed by Leslie Bryce for The Beatles Book’s July 1966 issue

“George [Harrison] was one of the most unaffected people I’ve ever met, in show business or out.
A: George, some in the press say your music is bad.
George: It is, don’t you think?
Q: Will you get married?
George: Do you think anybody will have me?” - Ticket To Ride by Larry Kane [x]