You don’t like to talk then? Well, not really. Sometimes if there’s something to say, but there’s really nothing to say these days. He was known as the quiet one, the spiritual soul of the Beatles. While Lennon and McCartney soaked up the spotlight, George Harrison quietly forged his own identity within the band. But behind that calm demeanor simmered a deep-seated resentment, one that few ever saw coming. So, who was the true object of George’s hidden fury? Was it a bandmate who stole the limelight? A manager who pulled the strings? Or someone even more unexpected? Today, we peel back the curtain on the most complicated and perhaps most surprising relationship in Beatles history. Because behind the music and fame lies a grudge that could forever change the way we view the Fab 4. Buckle up as we uncover the truth about the man George Harrison despised most. While John Lennon and Paul McCartney’s songwriting rivalry is well documented, whispers of another strained relationship have lingered for years.
This time the focus is on George Harrison and the one person he allegedly harbored a deep animosity towards. The dynamics of power and creative control within the band often led to friction, particularly with Harrison, who sought more creative input and recognition for his contributions. He was constantly overshadowed by John Lennon and Paul McCartney. But before we get to that, let’s go back to how it all began. Early life. George Harrison was born on 25th of February 1943 at 12 Arnold Grove in Waverree, Liverpool. He was the youngest of four children born to Harold Hargreaves, Harrison and Louise Harrison. Harold worked as a bus conductor and had previously been a ship’s steward with the White Star Line, while Louise was of Irish Catholic descent and worked as a shop assistant. George had three siblings, an elder sister named Louise, and two elder brothers, Harold and Peter. According to Boyd, a biographer of Harrison, his mother, Louise, was particularly supportive of her children’s happiness, recognizing George’s passion for music as a source of joy for him. Louise Harrison, George Harrison’s mother, had a deep passion for music and was known for her enthusiastic singing voice which could rattle the windows of their home much to the surprise of visitors. During her pregnancy with George, she frequently listened to Radio India broadcasts, drawn to the mystical sounds of sittars and tablas, hoping this exotic music would bring peace and calm to her unborn baby. Harrison biographer Joshua Green wrote, Every Sunday she tuned in to mystical sounds evoked by sitars and tablas, hoping that the exotic music would bring peace and calm to the baby in the womb.
The Harrison family initially lived at 12 Arnold Grove, a modest terrace house in Waverree, Liverpool, where George spent his first four years. The house lacked modern amenities with an outdoor toilet and heating provided by a single coal fire. In 1949, the family moved to a council house at 25 Upton Green in speak. At the age of 5, George enrolled at Dovedale Primary School. He later passed the 11 plus exam and attended Liverpool Institute High School for Boys from 1954 to 19th. Despite the school offering a music course, George was disappointed by the absence of guitars and felt the educational environment was stifling. George Harrison’s early musical influences were diverse and formative. He was inspired by artists such as George Formbby, Cab Callaway, Django Reinhardt, Hogi Carmichael, Carl Perkins, and Lonnie Donigan during his youth in the 1950s. However, it was a pivotal moment in early 1956 that deeply impacted him. While riding his bicycle, he heard Elvis Presley’s Heartbreak Hotel playing from a nearby house, sparking his fascination with rock and roll. Even during his school days at Liverpool Institute High School for Boys, Harrison’s passion for music was evident. He would often doodle guitars in his school books and declare, "I was totally into guitars.
Another significant influence on him was Slim Wittman, whom he saw in a magazine or on television, solidifying his interest in the instrument. Around the age of 14, Harrison’s musical journey took a practical turn when his friend Raymond Hughes offered to sell him a guitar. His mother, Louise, purchased it for £310, which adjusted for inflation would be about £110 in 2024. A family friend taught Harrison some foundational songs like Whispering, Sweet Sue, and Dina, setting him on his path as a guitarist. Inspired by Lonnie Donigan’s skiffl music, Harrison formed his skiffl group called the Rebels with his brother Peter and friend Arthur Kelly. It was during this time on the bus to school that he encountered Paul McCartney. That was the beginning of a lifelong friendship and musical partnership that would shape the course of music history. Early career. In March 1958, George Harrison auditioned for John Lennon and Paul McCartney’s skiffl group, the Quarrymen, at Rory Storm’s Morg Skiffl Club. Initially, Lenin felt Harrison, who had just turned 15, was too young to join. However, McCartney arranged a second audition on a Liverpool bus where Harrison impressed Lennon by playing the lead guitar part for Roni.
This led to Harrison socializing with the group and eventually becoming a full member. Despite his father’s wish for him to continue his education, Harrison left school at 16 and took on an apprenticeship as an electrician at Blackers, a local department store. During the quarryman’s first tour of Scotland in 1960, Harrison used the pseudonym Carl Harrison inspired by the musician Carl Perkins. This period marked the beginning of Harrison’s journey with the Beatles, where his guitar skills and musical contributions would become integral to the band’s evolution and success. In 1960, the Beatles, under the management of Alan Williams, secured gigs at the Indra and Kaiser Keller clubs in Hamburgg, owned by Bruno Koshmeer. This marked their initial residency in Hamburgg where they began honing their musical skills in the vibrant club scene. However, their stint was cut short when George Harrison, still underage, was deported for being unable to legally work in nightclubs.By December 1961, Brian Epstein had taken over as their manager, refining their public image and ultimately securing them a recording contract with me. Their first single, Love Me Do, was released and reached number 17 on the record retailer chart. The following year, their debut album, Please Me, launched them into the stratosphere of fame as Beetle Mania swept across the globe. George Harrison, known for his serious and focused demeanor on stage, earned the nickname the quiet beetle.
This title became prominent during the Beatles arrival in the United States in early 1964 when Harrison was notably unwell with strep throat and a fever. Medical advice prompted him to conserve his voice until their scheduled performance on the Ed Sullivan Show, where the Beatles made a historic television debut that further fueled their worldwide popularity. George Harrison’s persona as the quiet beetle became cemented during the Beatles’s tours, where his reserved nature stood out in contrast to his more outspoken bandmates. This nickname, coined by the press, amused Harrison himself and persisted throughout his career. Musically, Harrison’s influence within the Beatles began to assert itself. He had two lead vocal credits on the Beatles’s debut album, including the popular song, Do You Want to Know a Secret, which was written by Lennon McCartney. By their second album, With the Beatles, 1963, Harrison had three lead vocal credits, including Don’t Bother Me, which marked his first solo writing credit. Harrison played a significant role as the Beatles’s scout for New American releases, particularly in soul music. His musical tastes expanded further by the time of rubber soul 1965 where he led the band towards folk rock influences inspired by the birds and Bob Dylan. His experimentation with Indian classical music also began to emerge notably with his use of the sitar on Norwegian wood this bird has flown. Harrison later expressed rubber soul as his favorite Beatles album. The album Revolver 1966 showcased Harrison’s growing prowess as a songwriter and innovator within the band.
His compositions included Taxman which opened the album Love You Too featuring Indian musical elements like The Sitar and Taba and I Want to Tell You. Harrison’s Tambbora part in Lennon’s Tomorrow Never Knows highlighted the Beatles exploration of non-western instruments and sounds, further expanding their musical horizons. George Harrison’s musical journey with the Beatles took a significant turn with his exploration of Indian music and spirituality. His use of the sitar on Norwegian wood marked a respectful representation of Asian culture in popular music as noted by ethnomusicologist David Re. By the time of revolver in 1966, Harrison’s influence extended with songs like Love You Too, earning him the nickname the Maharaja of Raga Rock. His interest in non-western instruments continued in Strawberry Fields Forever, where he played the Swarmandal. By 1967, Sergeant Pepper’s Lonely Hearts Club Band Harrison’s spiritual pursuits were evident with his composition, Within You, Without You, featuring Sitar and Tamura. He chose to depict eastern gurus on the album cover reflecting his deepening exploration of eastern philosophies. Harrison had mixed feelings about Sanjent pepper calling it both a milestone and a burden in the music industry. His journey with Indian music not only shaped his contributions to the Beatles but also left a lasting impact on western popular cultures acceptance of Eastern musical traditions. In January 1968, George Harrison recorded the inner light at EMI’s Bombay Studio with local Indian musicians, marking his first Beatles single with a composition inspired by Hinduism and meditation. During the tumultuous recording of the Beatles white album later that year, tensions peaked within the group, leading to Ringo Star briefly leaving.
Harrison’s contributions included While My Guitar Gently Weeps, featuring Eric Clapton and the upbeat Seavoy Truffle. By late 1968, Harrison found inspiration from Bob Dylan and the band’s communal music approach during a visit to Woodstock. This influenced his desire for creative freedom, which clashed with Lenin and McCartney’s dominance within the Beatles. Tensions escalated during the Let It Be filming at Twickenham Studios in early 1969. This prompted Harrison to quit the band on 10th January. Disillusioned with the studio environment and interpersonal dynamics, Harrison reunion with the group. After briefly leaving the band in January 1969, George Harrison returned 12 days later when the Beatles agreed to relocate their film project to Apple Studio and abandoned Paul McCartney’s idea of returning to public performances. Despite improved relations, tensions persisted during the recording of their 1969 album Abbey Road. Harrison’s contributions to Abbey Road included what music historian Lavazolei described as two classic tracks, Here Comes the Sun and Something. These songs marked a significant milestone for Harrison as he finally achieved equal songwriting status alongside Lenin and McCartney. Something was particularly notable becoming his first aside when released on a double aside single with Come Together.
The song topped charts in Canada, Australia, New Zealand, and West Germany, and both sides of the single reached number one on the Billboard Hot 100 chart in the United States. In the 1970s, Frank Sinatra recorded George Harrison’s song Something twice in 1970 and 1979 and praised it as the greatest love song of the past 50 years. John Lennon also regarded it highly, considering it the best song on Abbey Road. Something became one of the most covered Beatles songs, following closely behind Yesterday. In May 1970, Harrison achieved his second chart topper with the US single release of For You Blue, coupled with McCartney’s The Long and Winding Road, reaching number one on the Hot 100. By this time, Harrison had accumulated a significant collection of unreleased compositions reflecting his increased productivity. Despite his growth as a songwriter, Harrison’s frustration grew within the Beatles due to his limited presence on their albums, typically contributing only two or three songs. This dissatisfaction was a significant factor contributing to the band’s eventual breakup. Harrison’s final recording session with the Beatles took place on 4th of January 1970 when he, McCartney, and Star added overdubs to Let It Be for the soundtrack album of the same name. However, all of the band’s recordings were full of ups and downs. The dynamics of power and creative control within the band often played a role in shaping their interactions and occasionally led to friction. This led to George Harrison harboring a deep animosity towards one of his band members. George and McCarthy feuded. Throughout most of their career, the Beatles maintained incredibly close relationships within the group. According to Hunter Davies, they didn’t live a communal life, but shared their lives communally.
They were each other’s closest friends. George Harrison’s ex-wife, Patty Boyd, reflected on how the Beatles had a unique bond, expressing that they all belonged to each other. She acknowledged that there were aspects of their relationship that she, as well as other spouses, could never fully understand or penetrate. Ringoar also emphasized the deep camaraderie among the Beatles. He recalled how they looked out for each other, shared many laughs, and cherished moments of togetherness, even in the smallest spaces like hotel bathrooms. Star described these moments as filled with love and care, highlighting the extraordinary closeness among the four of them. The relationship between George Harrison and Paul McCartney, two of the Beatles core members, was multifaceted and evolved significantly throughout their years together in the band. Out of the four, Harrison and McCartney met first as young boys on a school bus and quickly bonded over their shared passion for music. They often learned and rehearsed new guitar chords together, laying the foundation for their musical partnership with the Beatles. McCartney has fondly referred to Harrison as his baby brother, indicating a close and familial bond that extended beyond their musical collaboration. However, despite their camaraderie, tensions occasionally surfaced between Harrison and McCartney, especially as the Beatles’ dynamic shifted over the years. The creation of the groundbreaking album Sergeant Pepper’s Lonely Hearts Club Band in 1967 marked a turning point. Widely regarded as a masterpiece, the album was primarily driven by Paul McCartney’s creative vision.
This period saw McCartney taking a more dominant role in shaping the band’s direction, which sometimes overshadowed Harrison’s contributions. Before 1969, Harrison struggled to gain equal recognition alongside John Lennon and Paul McCartney as a songwriter and creative force within the Beatles. His compositions were often relegated to a secondary status compared to those of Lenin and McCartney who were the primary songwriters for the group. This imbalance led to frustrations for Harrison who desired more creative control over his music. By the time of the recording of Abbey Road in 1969, tensions between Harrison and McCartney came to a head. Harrison asserted himself more forcefully, rejecting McCartney’s suggestions for changes to his songs. This marked a significant shift where Harrison began to assert his creative independence and demand recognition for his artistic contributions within the band. In a revealing conversation captured by writer Anthony Faucet and chronicled in Barry Miles’s biography, Paul McCartney many years from now, 1998, Paul McCartney and George Harrison’s dynamic within the Beatles is illuminated. McCartney, known for his candid assessments, acknowledged a shift in songwriting prowess between himself and Harrison. He remarked to John Lennon, "Well, the thing is, I think that until now, until this year, our songs have been better than George’s. Now, this year, his songs are at least as good as ours." However, Harrison’s response to McCartney’s assessment appeared to dismiss the comparison. Harrison countered, suggesting that the timeline of songwriting didn’t necessarily align with McCartney’s perception of a sudden improvement. He stated, "That’s a myth because most of the songs this year I wrote last year or the year before anyway. Maybe now I just don’t care whether you are going to like them or not. I just do them.
This exchange highlights a deeper tension within the Beatles regarding creative recognition and control. McCartney’s acknowledgement of Harrison’s songwriting evolution reflects a begrudging acceptance of Harrison’s growing stature as a songwriter within the band. In contrast, Harrison’s assertion that he writes for himself rather than seeking approval shows his desire for autonomy and artistic expression. George Harrison’s musical relationship with Paul McCartney was often filled with tension and creative differences. In a 1974 interview quoted in Ashley Khan’s George Harrison on George Harrison interviews and encounters, Harrison expressed his preference for other musicians over McCartney. I would rather have Willie Weeks on bass than Paul McCartney. He stated, "That’s the truth. With all respect to Paul, Paul is a fine bass player, but he’s a bit overpowering at times. I would join a band with John Lennon any day, but I could not join a band with Paul McCartney, but it’s nothing personal. It’s just from a musical point of view.
Harrison respected McCartney’s musical talents, but found his approach often overwhelming. This dynamic was particularly evident during the recording sessions for McCartney’s song Maxwell’s Silver Hammer in 1969. Harrison detailed the experience, noting, "Paul would always help along when you’d done his 10 songs. Then when he got round to doing one of my songs, he would help. It was silly. It was very selfish. Sometimes Paul would make us do these fruity songs. I mean, my god, Maxwell’s silver hammer was so fruity. After a while, we did a good job on it. But when Paul got an idea or an arrangement in his head, Harrison’s remarks reflect his frustration with what he perceived as McCartney’s doineering nature in the studio. While McCartney’s perfectionism and detailed arrangements contributed to the Beatles’s success, they also led to conflicts, particularly with Harrison, who sought more creative input and recognition for his contributions. George Harrison’s relationship with Paul McCartney was further strained by what Harrison perceived as McCartney’s underestimation of his songwriting abilities. During a 2020 interview, Howard Stern asked McCartney if he thought he had underestimated Harrison’s songwriting prowess while the band was together. McCartney’s response shed light on the dynamics within the Beatles. It was easy to underestimate George because me and John, as you said, had always written most of the stuff and had had most of the singles. And George was a late bloomer as far as writing was concerned. He wasn’t that interested in the beginning, but then he started to get interested. And boy, did he bloom.
You know, he wrote some of the greatest songs ever. This acknowledgement came long after the band’s breakup and highlighted a critical issue that had contributed to Harrison’s frustration during their time together. McCartney and Lenon were the dominant songwriters, which often left Harrison’s contributions overshadowed and underappreciated. Harrison’s struggle for recognition and creative input was a recurring theme throughout the Beatles career, leading to significant tension, especially as his songwriting skills matured. Harrison’s dissatisfaction was not just about the number of songs he was allowed to contribute, but also about the lack of respect and support for his musical ideas. McCartney’s dominance in the studio often meant that Harrison’s songs received less attention and enthusiasm. This was particularly evident in the recording of tracks like Maxwell’s Silver Hammer, where Harrison felt that McCartney’s controlling nature stifled his creative expression. In a 1974 BBC radio interview with Alan Freeman, George Harrison articulated the complex and often strained relationship he had with Paul McCartney. He candidly stated, "Cartney ruined me as a guitar player," reflecting his frustration with McCartney’s doineering approach during their time with the Beatles. Despite this, Harrison acknowledged the deep, complicated bond they shared, stating, "I just know that whatever we’ve been through, there’s always been something that’s tied us together." This bond was rooted in their shared history and the immense musical journey they embarked on together. However, it was also marked by significant obstacles, particularly their relationship, which proved to be a considerable barrier to a potential Beatles reunion after John Lennon’s death. On February 11th, 1994, George Harrison, Paul McCartney, and Ringo Star reunited in McCartney’s studio, forming what was affectionately dubbed the Threles.
They collaborated on reviving unused John Lennin demos. Even though Harrison and McCartney still had some disagreements over the songs, both Harrison and McCartney admitted that they often got on each other’s nerves, highlighting the persistent tension that existed between them. The relationship between George Harrison and Paul McCartney remained complex and occasionally tumultuous throughout their lives. Even up until Harrison’s final days, observers like Rodriguez noted the volatility that marked their interactions. In a Yahoo online chat in February 2001, when asked if McCartney annoyed him, Harrison responded with a quote, "Scan not a friend with a microscopic glass. You know his faults. Then let his foibless pass. Old Victorian proverb." This reflected Harrison’s philosophical approach to their relationship, acknowledging their differences while highlighting a sense of acceptance and maturity that had developed over time. George Harrison passed away on November 29th, 2001 at the age of 58. His death came after a prolonged battle with cancer. He had undergone surgery for throat cancer in 1998 and received treatment for lung cancer and a brain tumor in 2001. Reflecting on Harrison’s final days, Paul McCartney shared his memories during a 2008 interview for Uncut. I sat with him for the few hours when he was in treatment just outside New York. McCartney recalled he was about 10 days away from his death. As I recall, we joked about things, just amusing, nutty stuff. It was good. It was like we were dreaming. He was my baby brother almost because I’d known him that long. We held hands. It’s funny, even at the height of our friendship, as guys, you would never hold hands. It just wasn’t a Liverpool thing, but it was lovely. The day after Harrison’s death, McCartney spoke to reporters about his late friend, reflecting on their long and complex relationship. "He was a lovely guy and a very brave man and had a wonderful sense of humor," McCartney said. "He is just my baby brother." This heartfelt tribute showed the deep affection McCartney felt for Harrison.
Despite their ups and downs, both Harrison and McCartney grew to appreciate each other more as they aged. McCartney’s daughter, Stella, born in 1971, and Harrison’s son, Donnie, born in 1978, grew up in the shadow of their father’s fame, but forged a sibling-like relationship of their own. Stella McCartney spoke warmly about Martin Scorsese’s documentary, Living in the Material World. Particularly moved when Donnie Harrison read out his father’s parts. She expressed a deep emotional connection to George Harrison’s legacy and the importance of preserving his memory. Their bond extended beyond familial ties into professional support and personal admiration. Stella designed the wedding dress for Donniey’s wife, Sve Karotier, in 2012, showcasing their close relationship and mutual respect. In 2014, Donnie surprised Stella at a gala by performing his father’s iconic song, Live and Let Die, a gesture that underscored their shared reverence for George Harrison’s musical contributions and the enduring connection between their families. Through their shared experiences and tributes to their fathers, Stella and Donnie Harrison exemplify how the legacy of the Beatles continues to influence and inspire new generations. Despite the complexities and occasional tensions between their fathers, their children have forged a supportive and loving relationship that honors the enduring impact of the Beatles music and the bonds of family and friendship. George Harrison’s personal life was marked by notable relationships and marriages. Personal life. He first married model Patty Boyd on January 21st, 1966 with Paul McCartney serving as his best man. Harrison and Boyd initially met on the set of the Beatles film A Hard Day’s Night in 1964, where Boyd, then 19 years old, had a role as a school girl. Their relationship began playfully when Harrison proposed to her during a lunch break. However, their marriage faced challenges, particularly due to Harrison’s infidelity. Boyd cited his repeated unfaithfulness as a major reason for their separation in 1974, which ultimately led to their divorce being finalized in 1977.
The final blow to their marriage was Harrison’s affair with Morin Starky, Ringo Star’s wife, which Boyd described as the final straw. Boyd recounted that the last year of their marriage was tumultuous, marred by substance abuse issues. She attributed Harrison’s excessive cocaine use to changing him emotionally, stating that it froze his emotions and hardened his heart. After their divorce, Boyd moved in with and later married Eric Clapton in 1979. On September 2nd, 1978, Harrison married Olivia Trinidad Aras, who had worked as a marketing executive for&m records and later for Darkhorse Records, Harrison’s label. George Harrison’s life extended beyond music into other passions and interests, notably sports cars and motor racing. His enthusiasm for automobiles began early, influenced by his attendance at the 1955 British Grand Prix at Entry when he was just 12 years old. Over the years, he developed a keen interest in collecting photos of racing drivers and their cars, which grew alongside his admiration for Formula 1 racing. Harrison and Olivia’s marriage endured until George Harrison’s passing in 2001. Olivia played a significant role in supporting Harrison through his health challenges. She continued to protect his legacy after his death. Harrison legacy. George Harrison’s postumous recognition and legacy have been celebrated through various honors and tributes underscoring his profound impact on music and popular culture. In 2004, Harrison was postumously inducted into the Rock and Roll Hall of Fame as a solo artist, a testament to his significant contributions beyond his role in the Beatles. His former bandmates Jeff Lynn and Tom Petty, who collaborated with Harrison in the Traveling Wilburries, were instrumental in presenting him with this prestigious accolade.
This recognition highlighted Harrison’s evolution as a songwriter, musician, and cultural icon independent of his Beatles legacy. Another noteworthy honor came in 2006 when Harrison was inducted into the Madison Square Garden Walk of Fame for his pivotal role in organizing the concert for Bangladesh. This historic event organized by Harrison in 1971 was one of the first major rock benefit concerts and raised awareness and funds for humanitarian aid to Bangladesh. On April 14th, 2009, Harrison received a star on the Hollywood Walk of Fame in front of the Capitol Records building in Los Angeles. The ceremony was attended by his widow, Olivia Harrison, along with his former bandmates, Paul McCartney, Jeff Lynn, and Tom Petty. The unveiling of Harrison’s star was a poignant moment marked by heartfelt speeches honoring his musical legacy and cultural contributions. Harrison’s son Donnie also participated in the ceremony adding a spiritual touch by chanting the Har Krishna mantra reflecting his father’s deep spiritual beliefs and influences in addition to these honors a documentary film titled George Harrison Living in the material world was released in October 2011 directed by acclaimed filmmaker Martin Scorsesei the documentary delved into Harrison’s life, music, spirituality, and impact through interviews with Olivia and Donnie Harrison, close friends such as Eric Clapton and Ringo Star, collaborators like Paul McCartney and Tom Petty, and other notable figures who knew and worked with Harrison throughout his career. Harrison received the recording academyy’s Grammy lifetime achievement award postumously at the Grammy Awards in February 2015. A marker by the Illinois State Historical Society in Benton, Illinois commemorates Harrison’s 1963 visit to see his sister, marking him as the first beetle to visit the United States. In 2017, artist John Cerny unveiled a mural installation in Harrison and statues of Harrison are located worldwide, including several in Liverpool and a bust in Dhaka.
Bangladesh’s Shadhi Notar Shagram Triangle Sculpture Garden honoring his cultural contributions. Recently, on May 24th, 2024, a blue plaque was unveiled at Harrison’s childhood home at 12 Arnold Grove in Waverree. The man he truly hated. While the public often focused on the rivalry between Lenin and McCartney, a lesserk known but equally complex tension simmered between George Harrison and John Lennon. Despite their early bond, which began long before the Beatles skyrocketed to fame, George’s relationship with Jon grew strained over time. Harrison admired Lennon’s wit and creative genius, but he also resented his dominating presence and dismissive attitude. As the Beatles evolved, so did their dynamic, and George often found himself sidelined creatively, especially by Lenon, who rarely took his songwriting contribution seriously. Even during the band’s final years, Lenin would belittle Harrison’s spiritual journey and mock his devotion to Indian music and mysticism. George, once the quiet disciple, began to grow bitter over the lack of respect and emotional distance Lenin showed him. Their final interactions were often cold, and Harrison later admitted in interviews that Jon could be a difficult and self-centered person. In his memoir, I, Me, Mind, George barely mentioned Lennon at all, a telling silence that spoke volumes. Although he mourned Lenin’s death, George never sugarcoated the emotional wounds left behind. Behind the peace signs and Beatles nostalgia, George Harrison carried a grudge that never fully healed, especially when it came to John Lennon. What do you think about George Harrison and Paul McCartney’s feud? Share your thoughts in the comment section below. Did you like this video? Please click the thumbs up button and turn on notifications to get more. Also, don’t forget to explore our other videos for more interesting stories and insights.
