Il modo in cui si fa storia, lo storicismo, non è sempre lo stesso, pur essendo rimasto nella sostanza sempre lo stesso. La filosofia della storia, le considerazioni sullo storicismo, ci dicono che ogni generazione percepisce la storia in un certo modo. La scrittura storica evolve, cambia.
Lo storicismo inizia con Tucidide ma è sulla fine…
01.03.21 / I was really lazy last couple weeks. I have not wanted to read or study anything. It was a time with lack of motivation and productivity for me. But finally today I feel like I can get back to study and put things back on track! I made a plan to make March a productive month, with this motivation. I am planning to fill especially this week with lots of reading and study. Besides, If any of you are waiting for a sign to start something, that sign is that sign, join me!
George Harrison playing I Me Mine for John Lennon and the other Beatles during Get Back, 8 Jan. 1969.
“George Harrison agreed that my harpsichord idea [for Piggies] was a good one and suggested that I play it. This I did, but while George and I were tinkling away on this harpsichord he started playing another new song to me, which later turned out to be ‘Something’. I said ‘That’s great! Why don’t we do that one instead?’ and he replied ‘Do you like it, do you really think it’s good?’. When I said yes he said ‘Oh, maybe I’ll give it to Jackie Lomax then, he can do it as a single!’” - Chris Thomas,The Complete Beatles Recording Sessions
“'There’s a little song I’ve been working on, it’s very simple, I call it, “Something”.’ He cleared his throat, strummed an opening chord, and slowly worked his way into the arrangement he had completed the night before. He looked up and saw his guests sitting motionless, enraptured by what they were hearing. The song ended and one by one, they emerged from the music’s magic hold. ‘Do you think it will sell?’ George asked sheepishly, Pattie smiled accustomed to his insecurities.” - Joshua M. Greene,Here Comes the Sun: The Spiritual and Musical Journey of George Harrison
“George [Harrison]’s material wasn’t really paid all that much attention to – to such an extent that he asked me to stay behind after [everyone else had gone]. He was terribly nice, as if he was imposing on me. And then he plays this song that just completely blows me away.” - Glyn Johns onthe demo of Something, recorded on 25 Feb. 1969,Rolling Stone (April 2020)
“In the autumn of 1970, George Harrison flew to New York and called up Allan Steckler, who ran the US office of Apple Records. ‘Can you book me some studio time?’ George asked. ‘I want to play you something.’ So Steckler arrived at the Record Plant East, to find George in the control room, alongside a stack of tapes. ‘For the next 90 minutes,’ Steckler told me, ‘he played me the All Things Must Pass album. I listened to it, and I was stunned. It was awesome.’ Meanwhile, George sat shyly alongside him, almost frightened to meet his gaze. When it was over, Steckler said, ‘George, that’s the most amazing album I’ve heard’. George looked startled, then bemused, then finally suspicious, as if he might be the subject of an elaborate joke. ‘Really?’ he muttered at last. ‘George, it’s great!’ Steckler assured him. ‘I can immediately hear at least three hit singles.’ George smiled with relief, but then his face clouded over. ‘But don’t you realise, Al,’ he said sadly, ‘they would never let me release this!’- Peter Doggett,British Beatles Fan Club
“It was a really nice experience making [All Things Must Pass], because I was really a bit paranoid, musically. Having this whole thing with The Beatles had left me really paranoid. I remember having those people in the studio and thinking, ‘God, these songs are so fruity! I can’t think of which song to do.’ Slowly I realized, 'We can do this one’ and I’d play it to them and they’d say, ‘Wow, yeah! Great song!’ And I’d say, ‘Really? Do you really like it?’ I realized that it was okay, that they were sick of playing all that other stuff.” - George Harrison,Crawdaddy (Feb. 1977)
