#Harrison production

[harrisonarchive]

Photo of George (from 1969) by John Haynes; photo 2 (of Doris Troy) via Google.

“Work initially began at George’s home [Kinfauns] in high summer 1969 with help from Billy Preston, before Doris and George went into the studio proper, probably in late September [with Klaus Voormann, Stephen Stills, Ringo, Peter Frampton, Eric Clapton, Rita Coolidge, and more]. […] Harrison co-wrote four of the songs [‘Ain’t That Cute’ and ‘Give Me Back My Dynamite’ are Harrison-Troy co-written; Harrison-Troy-Starkey-Stills co-written songs were ‘Gonna Get My Baby Back’ and ‘You Give Me Joy Joy’] on Doris Troy, arranged the traditional, ‘Jacob’s Ladder’ with Troy […]. When the album was reissued Troy said, ‘Doing that album was a reminder that “soul” didn’t have a color.’” - udiscovermusic.com, January 6, 2019 “George is the greatest as far as I’m concerned. As a musician he is fine and he’s already a good producer, but I think his real bag would be as a missionary or leader of people. He has a great heart and soul, a really beautiful person who is able to communicate peace and joy.” - Doris Troy, Record Mirror, January 1, 1972 “I think [George] had been involved in soul music for years — he listened to it, he loved it, and that’s what made him want to do it. I wasn’t actually introducing him to the stuff, he already knew it. The Beatles as a whole listened to black music, a lot of their soul and feelings came from American music.” - Doris Troy, While My Guitar Gently Weeps: The Music of George Harrison (2003) “[George] was like a perfectionist. He wanted every note to be exactly right. To me, he didn’t have to take that long. We could have knocked it out and just went for the feel of it, you now? But he would take into a solo, man, and take hours to get the solo right. I’m not knocking him or anything; it’s just that that’s the way he was.” - Doris Troy, Unknown Legends of Rock ‘n’ Roll (1998) (x)

[curatorofthisdigitalmorass]

Blade Runner (1982)

[luckypluckychair]

My Fair Lady | 1964

Director: George Cukor

Production designer: Cecil Beaton and George James Hopkins / Set decorator: George James Hopkins

[demifiendrsa]

Mufasa: The Lion King | Official Trailer

Poster

Synopsis

“Mufasa: The Lion King” enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe.

[rickchung]

Theater Camp (dirs. Molly Gordon & Nick Lieberman).

What [it] gets so right is the very specific personalities and eccentricities of children deeply enmeshed in theatre culture and their young adult counterparts. There's so much inherent drama mixed with codependency in the name of putting on a show and chasing the high of a performance. Gordon and Lieberman's naturalistic yet heightened sense of artistic melodrama is hilariously on point.

[adaptations-polls]

Which version of this do you prefer?

[coffeeandcalligraphy]

trying to brainstorm what little treat I should get myself after doing like the equivalent of 5 people's month worth of work in less than a week

[harrisonarchive]

In 1968, including with Jackie Lomax (who recorded the Harrisong “Sour Milk Sea”). All photos by Bill Zygmant.

“Pattie Boyd’s reaction to a series of his portraits sums up Bill Zygmant’s passion for photography. They were pictures of her ex-husband George Harrison, exhibited in a Compton Verney gallery after his death. She stood there for a long time, her eyes fixed on his face, then turned and simply kissed Zygmant on the cheek before walking away.” - lauracdavis dot com, August 16, 2012 “Clear smile. Open eyes. Tapestry jacket. […] This is the George Harrison of late May, 1968.” - Alan Smith (journalist), NME, June 1, 1968 “George was a champion. He made time for me and was protective even, inviting me to his home. I felt really privileged. It was incredible. To have my name associated with The Beatles – what better thing could happen to a budding artist?” - Jackie Lomax, Apple Records website After George’s passing, Jackie wrote and recorded the song “Friend-A-Mine” in his honor. It appears on The Ballad of Liverpool Slim, and includes the lyrics: “I just lost a friend of mine I hadn’t seen in quite sometime But he’s been here in heart and mind He was a friend of mine […] He taught me ‘bout humility I just hope when it’s time for me He will be right there” “The thing is, [Jackie] is with me, I am in the Beatles, and Apple is owned by the Beatles. There’s a whole big myth about the Beatles. We have to be connected with people. You get the good side and the bad side really just as in any normal relationship with people. […] I’m getting more and more into it [record production] now. It’s another side to the music. It’s the idea of getting it all together, trying to get everybody to do their best. It’s psychologically trying to get people to do their best without imposing on them, and without letting them freak out. I’ve learnt a lot from it. Also, it makes you aware of the musicians around the scene. You get to know who is best in their field.” - George Harrison, Melody Maker, September 28, 1968 (x)

[curatorofthisdigitalmorass]

Blade Runner (1982)

[luckypluckychair]

Blade Runner | 1982

Director: Ridley Scott

Production designer: Lawrence G. Paull / Set decorator: Leslie McCarthy-Frankenheimer, Thomas L. Roysden and Linda DeScenna

[demifiendrsa]

Mufasa: The Lion King | Teaser Trailer

Teaser poster

Synopsis

“Mufasa: The Lion King” enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe.

[rodeoromeo]

I honestly like. I am so so tired today and I've had a bad and busy one and haven't had time to sit here and think about this. and I truly truly mainly think we lack enough information about this potential release to make any complete judgements on it. but as it stands right now I feel comfortable saying that I think constructing a new song, creating new pieces of it and releasing it now as a "Beatles song" does not sit right with me. I do not think the technology used is the issue here. this coming up in the same conversation as the AI discussion I think has created some confusion about exactly what its being used for- its just a form of remastering tracks. but the idea that this is something they've built up anew, for ME? isn't right. if it IS Now and Then I don't think its entirely right of them to use George's guitar from when they worked on it on anthology and put it out, and it wouldn't be right to do it without his work either.

George was insanely particular about his playing and would exhaustively rerecord his parts until he thought it was EXACTLY right. do you think he got there with a track he didn't think they should complete? whether or not he only didn't want to work with it due to the sound quality or not, using that recording now as a finished product doesn't align with that. as a rule of thumb I am very trusting of Olivia and Dhani's handling of George's legacy and all but something just feels off to me about this. I genuinely am asking because I don't know, but do we know how much of a say the Harrison estate has in things like this?

frankly the biggest thing bothering me about all of this is the way people have taken this as an opportunity to just be really openly shitty to George. he wasn't even mentioned in the interview and so many people are just framing this as an opportunity to stick it to George, or actively even saying pretty callous things about him being dead so thank god this could finally get made.

I do want to hear more about what this track is ACTUALLY going to be or going to look like but I'm really disappointed in a lot of people's reactions, whether it be encouraging MORE AI to be used in the production of music or if its jumping at the chance to talk shit on George and his position in the band. it's a sad sad day to look around at this community. I don't understand some of the people who call themselves fans here. I think we should put out old demo tracks fuckin all day long. Even if it is a recording of them playing here and now in the anthology session simply cleaned up, I don't see an issue with that. But finishing anything and changing it and calling it a new single? I'll feel a little strange about that.

[lacebird]

Why is no one here talking about dhani harrison

[alanofalltrades]

Sooo... Hebe Harrison/Shirley Anne Bingham two-hander. When