季辛格的大半職涯和矽晶片有關，韋德則是光傳輸專家，熱門的矽光子(SiPh)就是要將晶片和光學元件封裝在一起，稱為Co-Packaged Optic, CPO, 兩人合作就相當於Co-Packaging.
季辛格去年12月自英特爾離開後，在今年加入Playground Global這家創投公司擔任合夥人，並在今天帶領投資組合裡的7家新創到台灣，包含Ayar Labs, 都是和下世代運算科技有關，也都需要台灣廠商協助。
季辛格在過去40年已來台灣超過50次，見證本地供應商從OEM、ODM到目前和矽谷公司從前期開始共同研發的轉變，以及不變的彈性和速度。「早餐談想法、午餐看到產品雛型、晚餐就進到生產。」
Ayar Labs是全球矽光子關注度最高的公司之一，韋德光是今年就來台灣第十次，從在新竹設辦公室，到密集與台積電、日月光等先進封裝業者試作，以及其他光學元件和測試廠商合作。今年ㄧ月我到他們矽谷辦公室參訪時，他有一頁簡報列了約一打的台灣合作夥伴名單，現在名單增加到兩打了。他也在稍早的記者會上提到和世芯及創意電子的合作。
季辛格擔任英特爾執行長時，曾公開表達台灣處於地緣政治高危險區，投資應該要避開這裡，如今轉行做創投，又鼓勵所投資公司積極善用台灣生態圈，前後是否矛盾？他認為，當你從大企業角度出發，考慮的是大規模生產的穩定和供應鏈韌性，但從新創角度出發則不同，重點在於盡快找到可以幫忙把產品生產出來的夥伴，規模、穩定性和韌性是等新創有機會長大以後才要考慮的事。
採訪結束後，我們聊到他任職英特爾執行長四年碰到的最大問題、如何看英特爾目前的發展，以及將來是否還是走向拆分、怎麼拆，這些他都有非常明確的觀點，但因講好是off the record, 就等有興趣的朋友私下交流。
謝謝同事聖華、幃帆和俊偉的支援協作。
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中國翻譯家布隆（李登科，1941年—）
根據百度百科，布隆累計翻譯出版《洪堡的禮物》《約翰生傳》《培根隨筆全集》《吉姆老爺》《項狄傳》等30餘部英美文學。
上海譯文出版社 仿企鵝圖書公司的套書，可能比精裝更講究的 "特精裝本"( 封面立體圖案)，定價不菲 (RMB 人民幣)
蒲隆譯 《約翰生傳》 三卷（全）1500多頁，RMB 698元 ；這是道地的全譯本，有詳註，中國已出版2本以上的摘要本，譯筆不差。
《項狄傳 》特精裝 RMB289元
根據百度百科，布隆累計翻譯出版《洪堡的禮物》《約翰生傳》《培根隨筆全集》《吉姆老爺》《項狄傳》等30餘部英美文學。
上海譯文出版社 仿企鵝圖書公司的套書，可能比精裝更講究的 "特精裝本"( 封面立體圖案)，定價不菲 (RMB 人民幣)
蒲隆譯 《約翰生傳》 三卷（全）1500多頁，RMB 698元 ；這是道地的全譯本，有詳註，中國已出版2本以上的摘要本，譯筆不差。
《項狄傳 》特精裝 RMB289元
ＷＷＷＷ
藍弋丰
ＷＷＷＷ
2024年7月，政治人類學大師詹姆斯・斯科特突然離世；斯科特後期將目光投向國家框架之外。《不受統治的藝術》與《反穀》從歷史與地理角度重新思考人類社會「不被治理」的可能性與相應的歷史觀，試圖探討國家之外的社會形式與政治想像。在《人類學家的無政府主義觀察》這本充滿魅力的小書中，得以窺見其對日常生活敏銳的洞察與思維。
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1909年的今天，廖添丁（1883年5月21日－1909年11月18日）去世，得年26歲。
廖添丁，臺灣府大肚上堡秀水庄（今日臺中市清水區秀水里）人，是日治時期的江湖人物，在1909年8月開始的三個月內，偷竊、搶劫大量北臺灣的衙門與富豪，後在臺北八里山區與警方搏鬥時，被友人殺死。廖屢襲官府的行為，似乎表現出反政府思想；且廖添丁多劫親日的門閥士紳，傳聞中也有濟貧的義行，因而罪犯英雄化，而後在臺灣民間信仰中被神化，又加上戲曲、講古的渲染，終於演變為的今日臺灣人眼中的抗日傳奇人物。
（資料整理自維基百科，圖片來自於網路）
《陽光寓言： 心理學、藝術及其他領域的觀察》
｜悼念陳耀昌老師：一段從《傀儡花》開始的同行歲月
｜文／蔡瑞珊
與陳耀昌老師認識，是在青鳥書店開幕後的第二年。
那時我剛踏入書店的世界，還有許多未知與不確定。而《傀儡花》像一道光，為我打開了台灣歷史的大門，也讓我第一次深刻理解：文學可以是一種召喚，召喚我們往更深的土地走去。
也是因為這本書，我鼓起勇氣，到屏東開拓第一家南方書店。
開幕那天，他特地從台北南下，站在門口陪我一起開門。那畫面至今鮮明，他像是一位守護者，把祝福交到我手上。
第一次與他見面，是在華山青鳥。他笑著說：「我辦公室就在對面，以後可以常來書店看妳。」
後來，他真的常走進書店，邊散步邊看我有沒有進他的書。有時只是路過，有時會停下來跟我說兩句話，但我一直記得，那種被長輩默默照顧的安心感。
有一次，我跟他說我想爭取牡丹社事件紀錄片紀錄片，但覺得自己學歷和知識不夠。他回我：「妳放心，我當妳顧問，當妳的倚靠，妳去試試看。」
那一句話，把我推向了後來的很多可能。
我和團隊也踏入拍攝的七年旅程。
拍攝、奔走、爭議、壓力……每一段路他都默默陪伴。每一次紛擾，他都會傳來一兩句鼓勵，要我不要放棄。他總是這樣溫柔、這樣堅定。
後來，書店一年年開，他的作品也一本本出版。只要有新店開幕、有活動、有人群，他幾乎一定會出現。
我記得青鳥居所在大稻埕開幕的那天，他臉色發白。他說剛剛吃麵噎到，多虧太太拍背才沒事。我緊張地問：「要不要回家休息？」
他淡淡一笑：「沒事，我是醫生，這是小事。」
還有一次在高雄城市書展，他傍晚活動，但中午就坐高鐵一個人到現場，問我：「有沒有便當？」
我把便當遞給他，他吃完就在原地閉目休息：「年紀大了，我坐一下就好。」
到了演講時，他精神奕奕，滔滔不絕，像完全換了另一個人一樣。
今年二月牡丹社紀錄片在沖繩影展開幕首映，他人在休養，希望我即時轉播現場評論，我用日文即時翻譯。他一邊聽、一邊評論誰說得好、誰說得不好，精神好得不得了。
後來三月見面，他滿懷興致地跟我說，他正在寫一本關於牡丹社事件的新書，六月要出版，序由作家野島剛撰寫。一同晚餐的台灣史前輩提醒他要注意身體，他只是輕輕地說：
「我自己是醫生，我知道自己何時會離開。我要把握時間趕快把書寫完。」
那時我沒有多想，只覺得他依舊是那個總是往前走、永遠在寫作、永遠在行動的人。
最後一封訊息，是他要我替他向野島剛問好。
我們相約十月要再見面。
但這一次，他先走了。
這麼悲傷的消息，我怎麼都不願相信。
陳耀昌老師的一生，是用文字、醫學與行動替台灣留下深刻痕跡的一生。
對我來說，他更是一位在我創業、創作、走進土地的每個轉彎處，都在那裡等著我、提醒我、鼓勵我的長輩。
他的離開，是台灣文化的一大損失。
而我的生命裡，永遠會記得他站在屏東書店門口，陪我一起推開門那天的光。
願他在另一個地方，繼續書寫、繼續守望這片他深愛的土地。
耀昌老師，謝謝你。
我會把你的故事、你的精神、你的鼓勵，放在心裡，繼續往前走VERSERSE〈紀念陳耀昌：以醫學、文學與歷史重構島嶼的 DNA〉
https://www.verse.com.tw/article/chen-yao-chang2025 年臺大傑出校友學術類 - 吳成文
https://youtu.be/ZDKVcKjxnWk?si=Bjxeut7-h_ZVWx54
轉引自公視新聞網報導：
第13屆總統科學獎頒獎 中研院院士梁賡義、葉均蔚獲獎
總統科學獎每兩年頒發一次，今（2025）年是第13屆，上午在總統府舉行頒獎典禮，本屆獲獎者有兩位，分別為生命科學組的梁賡義院士及工程科學組的葉均蔚院士，由總統賴清德頒獎，表彰兩位院士的重大貢獻。
中研院院士葉均蔚表示，「我發現了高熵材料的成分世界，讓很多全世界的科學家都可以進來開發跟研究，跟傳統材料一樣可以用在各個領域，從民生到交通到國防到生醫都可以。」
中研院院士梁賡義提及，「主要是針對縱貫性的數據的統計方法的分析，提出來一個叫GEE，幾十年了，我們還是很高興還是持續受到使用，尤其是在譬如說在公共衛生政策評估，還有就是前後側臨床試驗的正確的療效評估，其實我們都扮演重要的角色。」
中研院院士梁賡義是縱貫研究方法的奠基者，是生物統計領域的全球先驅，成為全球流行病學與健康研究不可或缺的工具；而中研院院士葉均蔚則開創高熵合金新典範，引領材料科學革新，為材料科學建構全新架構。
兩位獲頒總統科學獎的院士，彰顯科學研究如何超越學術疆界，嘉惠社會與人群，得獎人可獲頒獎金新台幣300萬元。
李安導演：這本舊書提醒我「純真年代」的重要，它提醒並慰藉著我，生命中有值得追求與珍惜的東西。嚮往回到「樂園」是生命無窮的動力！
拍電影是個很真切的體驗,裡面有著我許多的掙扎，而且我是帶著許多人和我一起掙扎的。它影響著我，也影響過許多人的生命、生活及情感。
它是我與幻想扭鬥、企圖將它顯像過程中的一抹留痕。
它是我將思緒表達在紙張、膠卷、音符等媒體上的一個烙印。
它是一種顛倒眾生、真情流露的做作。
它是我的青冥劍，是我心裡的玉嬌龍，是我心底深處那個自作多情的小魔鬼。
它是我企圖自圓其說所留下的一筆口供。
它是我想要了解這個世界的一點努力。
不論好與不好、成與不成、順或不順，我都必須面對這些紀錄, 明瞭它矛盾與無常不全的本質，
我才能夠坦然，才能繼續我以後的創作與生活。
這本書記述了我電影生涯前十年的第一個大高潮，感覺上，《臥虎藏龍》真是一個階段的總結，一切並非故意，而是自然發展的結果，如今看來，還真是「十年一覺電影夢」！
寫李安，當初想得很單純、很簡單！我沒想到自己選上的是一座這麼難爬的山。——張靚蓓
回顧八○年代以來的「台灣新電影」，那些年來，台灣的確出現了好些傑出的導演，諸如侯孝賢、楊德昌、蔡明亮等人。他們以台灣這片土地為題材，拍出深觸人心的電影，也贏得國際影展的肯定。美中不足但至關重要的是，當時國片的票房每下愈況，得獎電影更是上片難過三日，不靠政府的補助金幾乎無以為繼。
唯一的例外，就是李安。從《推手》《喜宴》《飲食男女》嶄露頭角，引起國際影壇的注目；執導《理性與感性》《冰風暴》《與魔鬼共騎》，打入美國主流的電影工業界；到大放異彩的《臥虎藏龍》，李安從一個懷抱電影夢的南台灣小孩，一躍而成口碑與票房兼具、國際影星爭相合作的國際級導演。看在台灣人的眼裡，李安就是台灣電影的希望與榮耀，深感與有榮焉。
一貫帶著靦腆笑容的李安，電影拍得令國際電影人心服，但向來說的不多。他說，要瞭解他，去看他的電影就好了。誠如其助理所言，李安所接受過的訪問，最多不超過兩小時，但在本書寫作期間，他卻破天荒接受了三次的訪談，其中一回，作者張靚蓓更是三天緊隨著李安作息活動；執筆者不停提問，李安不停地答。李安所言之多，連他自己也感意外。《十年一覺電影夢》從童年開始說起，但主要記錄了李安電影生涯前十年──李安的電影夢如何從夢逐步實現。李安拍的電影，讓我們看到他的藝術思維；李安在電影背後與電影之外所想、所為的點點滴滴，則盡現於《十年一覺電影夢》中。
兩度獲得奧斯卡最佳導演獎的李安，於台灣時間2025年2月9日獲頒美國導演工會（DGA）最高榮譽——終身成就獎，成為該獎項創設88年來第37位得主。這也是李安自2021年獲英國電影學院終身成就獎之後，人生第2座終身成就獎。這份榮譽不僅肯定了李安的藝術成就，也印證他在全球電影圈的深遠影響力。
這本書作為李安目前唯一的傳記，不僅讓我們能一窺李安那最純粹的電影生涯前十年，更從他的人、他的事、他的想法中，也觸動引發了我們更深的思考，開啟了我們不同的眼界。
法国总统马克龙与阿尔斯通公司周一（11月17日）共同宣布消息称，乌克兰铁路公司通过一份总额约4.7亿欧元的合同向法国阿尔斯通公司采购55台机车。合同将主要由欧洲复兴开发银行提供3亿欧元资金，以及世界银行提供1.9亿美元（约合1.7亿欧元）。马克龙在泽连斯基访法期间表示，这些机车采购“是我们长期经济与战略伙伴关系的又一具体体现”，旨在支持乌克兰抵御俄罗斯攻势。
Fluellen. Henry V
Fortune is painted blind, with a muffler afore her eyes, to signify to you that
Fortune is blind;
and she is painted also with a wheel,
to signify to you, which is the moral of it,
that she is turning, and inconstant,
and mutability, and variation:
and her foot, look you, is fixed upon a spherical stone, which rolls, and rolls, and rolls:
in good truth,the poet makes a most excellent description of it:
Fortune is an excellent moral.
Shakespeare
Fluellen. Artist : Unknown
弗魯倫。 《亨利五世》
感謝您的耐心，親愛的皮斯托爾。
命運女神被畫成雙眼失明，眼前蒙著一塊圍巾，以此向你表明：
命運女神是盲目的；
她還被畫成腳踏車輪，
以此向你表明，這也是這幅畫的寓意：
命運女神在轉動，變幻莫測，
變化無常，變幻莫測：
看，她的腳踩在一塊球形石頭上，這塊石頭不停地滾動，滾動，滾動：
詩人對命運女神的描述真是妙極了：
命運女神是個絕佳的寓意。
莎士比亞
上海譯文出版社 仿企鵝 特精裝
蒲隆譯
《約翰生傳》 三卷（全）1500多頁，RMB 698元 ；《項狄傳 》特精裝289元
傅雷譯
《約翰 克力斯朵夫》 四卷近百萬字 RMB458元 特精裝 可能全插圖 特編過
Paul McCartney (麥卡尼1942~ ): 披頭四解散後新生個人專輯《McCartney》1970: 83歲 新出版 唱片集 2025 全美演唱會.GOT BACK..... 70 and beyond; Linda McCartney.
保羅麥卡尼公開抗議英國政府擬議的版權法修改方案，該方案將允許人工智慧公司在未經許可或支付報酬的情況下使用藝術家的作品。麥卡尼和其他音樂人認為，此舉“將音樂盜竊合法化”，損害了創造力，並危及藝術家的生計。他參與製作了一張名為《這就是我們想要的嗎？ 》（Is This What We Want?）的無聲專輯，以強調他的立場，即「英國政府絕不能為了讓人工智慧公司獲利而將音樂盜竊合法化」。
版權立場：麥卡尼認為，未經藝術家同意和補償，不應使用受版權保護的音樂來訓練人工智慧。他認為，音樂的創作者應該從中獲利，而不是科技巨頭。
反對修改的理由：正如BBC新聞報道的那樣，他警告說，放寬版權法可能導致“創造力的喪失”，並造成藝術家作品不受保護的“蠻荒西部”局面。
抗議行動：麥卡尼為專輯《這就是我們想要的嗎？ 》貢獻了一首47分鐘的無聲曲目。根據《告示牌》報道，抗議者將走上街頭，抗議政府可能修改版權法。
英國政府的立場：政府正在考慮各種方案，以平衡人工智慧發展與創作者權益之間的關係，包括要求使用受版權保護的作品必須獲得許可，或允許未經許可使用。
披頭四並沒有在特定時間正式解散，但保羅麥卡尼於 1970 年 4 月 10 日宣布暫時退出樂隊，同時宣傳他的首張個人專輯《麥卡尼》。該專輯於 1970 年 4 月 17 日在英國發行。這張專輯的發行時間比披頭四最後一張錄音室專輯《順其自然》僅早一個月，鞏固了公眾對樂團解散的看法。
Paul McCartney is publicly protesting proposed UK government changes to copyright law that would allow AI companies to use artists' work without permission or payment
. McCartney and other musicians argue that this "legalizes music theft," undermines creativity, and puts artists' livelihoods at risk. He has contributed to a silent album, Is This What We Want?, to highlight his position, which states, "the British government must not legalize music theft to benefit AI companies". - Stance on copyright: McCartney argues that AI should not be trained on copyrighted music without artists' consent and compensation. He believes that the people creating the music should be the ones earning from it, not tech giants.
- Arguments against changes: He warns that loosening copyright laws could lead to a "loss of creativity" and a "Wild West" scenario where artists' work is not protected, as noted by BBC News.
- Protest action: McCartney contributed a 47-minute silent track to the album Is This What We Want? to protest the government's potential changes to copyright law, reports Billboard.
- The UK government's position: The government is considering options to balance AI growth with creator rights, including requiring licenses for using copyrighted work or allowing use without opt-out.
麥卡尼的專輯很有趣，因為我
從EMI買了一台機器，只有四軌，
就放在我當時住在倫敦的客廳。我白天會像
馬格利特先生一樣，進去做點東西，
然後創作一些東西，晚上就下班了。做這件事非常有趣，而且
有一種原始的感覺，因為我
在披頭四樂團之後開始嘗試突破，我想我們都有這種感覺。
The McCartney album was good fun because I
got a machine from EMI, only a four-track, and I
just had it in my living room where I lived in
London at the time. I’d just go in for the day like
Monsieur Magritte. Go in and do a little bit of stuff
and make something up, and knock off in the
evenings. It was very interesting to do and it had
a certain kind of rawness, because I was
breaking loose after The Beatles, we all got a
feeling of that, I think
The Beatles did not formally break up at a specific moment, but Paul McCartney announced his temporary break from the band on April 10, 1970, in conjunction with the promotion of his first solo album, "McCartney," which was released in the UK on April 17, 1970. The album's release preceded the Beatles' final studio album, "Let It Be," by just a month, solidifying the public perception of the split.
Linda McCartney, photographer, artist, musician, businesswoman, cookery writer and animal rights activist, was born #onthisday 1941.
McCartney grew up in New York and studied Art History at the University of Arizona where she started taking photographs at the Tucson Art Centre. Returning to New York she soon acquired a reputation for informal and intimate portraits. While on assignment in London in 1967 she first met Paul McCartney; they were married two years later. She took photographs for more than thirty years, embracing a wide range of subjects, and has been exhibited in major galleries around the world. Her children with McCartney include the successful photographer Mary McCartney and fashion designer Stella McCartney.
2018.3.25
Former Beatle Paul McCartney attended the March for Our Lives in New York, telling CNN the cause was important to him because he lost his bandmate John Lennon to gun violence
A Grammy-Winning Formula for Paul McCartney: Don't Show Up
February 21, 2013
Would you have any interest in speaking to Paul McCartney about the Grammy Award he won on Sunday, a publicist asked over e-mail the other day. O.K., O.K., twist our arms, why don't you?Mr. McCartney won the Grammy for traditional pop album for "Kisses on the Bottom," a collection of his covers of standards like "It's Only a Paper Moon" and "Ac-Cent-Tchu-Ate the Positive," as well as new songs like "My Valentine," which he wrote for his wife, Nancy Shevell. It is one of at least a few distinctions Mr. McCartney has received in a career that includes numerous solo offerings, several albums with Wings and, before that, his records made with a pop quartet called the Beatles.
Mr. McCartney spoke from Britain about his Grammy victory and why, by design, he wasn't at this year's ceremony. The conversation (excerpts below) began just before 7 a.m. Friday morning, when an unlisted phone number appeared on this reporter's cell phone and a voice responded, "Hello, David."
Q.Is this who I think it is?
A.Yeah, sorry, this is Paul. Yeah, Paul McCartney.
Q.[after ecstatic laughter] Good morning, how are you?
A.You're in a jolly mood this morning. I'm very well, thank you. How can I help you?
Q.So you've just won another Grammy Award. Don't you ever get tired of these things?
A.Nope. You don't get tired. It's very nice. And the Grammys have become more and more important, media-wise. It's a bigger, better show. When you look at all the people in the musical field who are up for them, it's gratifying to think that you've picked one up.
Q.It's been reported that this is your first Grammy for an album of new recordings since "Let It Be." [Mr. McCartney has also since won Grammys for individual songs, and the "Band on the Run" album won a Grammy for its engineer, Geoff Emerick.] Does that sound right to you?
A.You know what? I don't keep count. I'm the worst on facts about me or facts about the Beatles. It's like, "It's 50 years to the day--" And I go, "Oh is it?" What am I supposed to do? Keep a little diary and watch every little event? So, no, I'm always pleasantly surprised at these facts or these fictions. I can't help you on that. I'm sure there's a million experts who could verify that. It's nice, because I don't have to keep track. There's a lot of other people who keep track for me. It's a luxury.
Q.I imagine it must be gratifying to be recognized for this album in particular, which was such a departure for you.
A.It is a completely different kind of album. I'm very pleased, also, for the producer, Tommy LiPuma, and Al Schmitt, the engineer, they're such cool guys, very old school. And we had such a ball with Diana Krall. There was a moment in the studio where we were struggling with an intro, I think - although I must say, we didn't struggle too much on this album - but it wasn't like it was all charted. We just had the chords and the words, and we did pretty much improvisations. And there was a moment where we were struggling with an intro - should it be this or should we open like this? And Diana was looking a little bit worried. And I said, "Diana, look. I'm from Britain and I'm in L.A., the sun is shining, I'm in Capitol's famous Studio A where Nat King Cole recorded. Diana, I'm on holiday."
Q.The victory is its own reward, of course, but you weren't at the Grammys ceremony this year. Why not?
A.We started to get a theory that when you don't go, that's when you win. But Nancy likes the event, and I do too, because she does. In some ways, it's better than the Oscars - the Oscars are great and super-important, but the Grammys is like a really cool concert and you get some very good performances. But this is what happens: We went a couple of times and sort of sat there, and graciously accepted defeat. With that moment you look for at the Oscars or the Grammys, when the cameras go to the people who didn't win, and they're smiling wonderfully and applauding. "And the winner is - John Mayer!" And you go: [through clenched teeth] "Oh, wonderful. How wonderful. What a good singer." Secretly you're thinking, "He's not as good as me though." It's a very human moment.
This year I was actually presenting at the Baftas, they'd asked me to present a film music award that night. And then coming home from that, I got a text saying "You've won a Grammy." So the car was alight with triumph. Hence the theory, you mustn't go if you want to win. But having said that, we might go next year.
Q.Do you have one place where you keep all your awards and trophies?
A.No, I don't. I'm particularly lax on that. I don't know where they all are. I'm just not organized. I said to someone the other day, "Would you believe the Beatles were up for an Oscar, for 'Let It Be,' and we didn't even know we were up for it?"
Q.Is that even possible?
A.Well, exactly. In those days, it was. Because it was less of a global ceremony. And the Beatles were very much in a - "Let It Be" was the time that we were breaking up, so the news had not reached us. If you take that as indication, how unconcerned - how unplugged - we just weren't plugged into that. Nowadays it's very hard to avoid it. I don't think any of us ever collected all of our gold discs, to put them up on walls. So I don't have a trophy room. Some of them go up in my office, which I think is an appropriate place to intimidate businesspeople. [laughs] Which is my aim in life.
I'm very honored to get them. I don't organize them and catalog them. The excuse is always - which is the truth - I'm too busy doing it. I'm talking to you now before I go into the recording studio to record new songs of mine. I love that - I love that I still am enthusiastic, I've still got the energy and the desire to keep doing it. So the analysis has to take a back seat.
Q.What's the album you're working on now?
A.It's a new studio record, my new songs. I'm always writing songs and I've got a bunch that I want to record. I've been working with a variety of producers, and today I'm actually working George Martin's son, Giles. I'm actually just going down the road to the studio. I'm just going to pull over, have a little walk down the road, pull into the studio and start thrashing about on my guitar.
Q.Those fellows that you worked with at the 12-12-12 benefit concert, will they show up on your new album?
A."Cut Me Some Slack," which I did with the Nirvana boys, will be on Dave Grohl's album. That's his project. He just rang me up, said: "Do you want to come over for a jam? I'm working on this project about the old Sound City days." I was in L.A., so I went over with my wife and two of my daughters and they just hung, the gals, while me and Dave went over to the studio, feeling like two little teenagers escaping. Dave got on the drums, I got on guitar, Krist Novoselic got on bass, Pat Smear got on guitar. I just shouted some words - [demonstrates] "Mamaaaaaaaa!" - got into that mode. What was so lovely about it was that it really was just, "Hey, do you want to have a jam?" It was totally organic. It was like an improv afternoon. Really if you think about it, it should be something that a major label would dream up. [executive's voice] "I want you boys to get together, and we're going to put a lot of money behind this." But it wasn't, it was just our idea and we did it in one afternoon.
Q.Well, you've got my number now. Feel free to give me a ring if you'd ever like to jam in New York.
A.What do you play?
Q.I play the plastic guitar in Rock Band.
A.Oh, cool. I bet you're better at it than I am. My grandkids always beat me at Rock Band. And I say, Listen, you may beat me at Rock Band, but I made the original records, so shut up.
別問保羅·麥卡特尼有關「披頭士」的事
報道 2013年02月21日
你願不願和保羅·麥卡特尼(Paul McCartney)聊聊他在星期日獲得格萊美獎的事？那天，一個公關人員給我發郵件說。沒問題，沒問題。我們被說服了，為什麼不呢？麥卡特尼以一張傳統流行專輯《信末的吻》(Kisses on the Bottom) 而獲得格萊美獎，專輯中收錄了他翻唱的標準曲，如《紙月亮》(It’s Only a Paper Moon)和《最愛美好》(Ac-Cent-Tchu-Ate the Positive)，此外還有《我的情人》(My Valentine)等新歌，這首歌是獻給他的妻子南希·舍維爾(Nancy Shevell)的。這個獎項至少是麥卡特尼先生在作品眾多的音樂生涯中所獲得的榮譽之一——他的有些專輯是與雙翼樂隊(Wings)合作完成，而在那之 前則是作為一個流行四人樂隊的成員錄專輯，樂隊的名字就叫做“披頭士”(Beatles)。
問：是你嗎？
答：耶，對不起，是保羅。保羅·麥卡特尼。
問：（狂喜地大笑後）早上好，你最近怎麼樣？
答：今天早上你很開心嘛。我很好，謝謝你。都聊點什麼呢？
問：你剛剛贏得了又一個格萊美獎，你就從來沒厭倦過嗎？
答：不，你不會厭倦的。這很美好。從媒體的角度而言，格萊美獎愈來愈重要了。它成了一個更大、更好的秀。看着音樂人座席上那些渴望獲得它的人們，你會覺得自己能獲得一個獎是很令人高興的事。
問：有報道說這是自從《隨它去》(Let It Be)以來，你第一次因為新專輯而獲得格萊美獎（麥卡特尼此前曾有單獨的歌曲拿過格萊美獎，他的《奔跑中的樂隊》[Band on the Run]專輯亦為其製作人喬夫·艾默里克[Geoff Emerick]贏得過格萊美獎）？
答：你知道嗎，我根本沒數過。我對自己和“披頭士”的事實最糊塗了。比如所謂“到現在已經有50年了——”（“披頭士”首張專輯Please Please Me發行50周年——譯註），我說，“啊，什麼？我該做點什麼？寫點日記，參加所有大小活動？所以，不，這些事實和虛構總能令我驚喜。這件事上我幫不了 你。我敢肯定，有一百萬個專家能確認這個事實。這很好，因為這樣我就用不着去記住了。有很多人幫我記着。這真是一種奢侈啊。”
問：我想這張專輯獲得認可一定會讓你很高興，因為它是你的新嘗試。
答：它完全是另一種專輯。我也很為專輯的製作人湯米·利普馬(Tommy LiPuma)和音響工程師艾爾·施密特(Al Schmitt)高興，他們是很棒的傢伙，作風非常老派。我們和戴安娜·克勞(Diana Krall)好好玩了一次。我記得有一次，我們在錄音室費勁錄一段前奏——雖然我必須說，我們錄這張專輯沒怎麼費勁——但是聽上去好像不是所有東西都定下 來了。我們有了和弦和歌詞，然後即興演奏了很多。還有一次，我們也是費勁錄一段前奏——想不出應是這樣開始還是那樣開始好。戴安娜似乎有點擔心。我說： “戴安娜，你看，我從英國過來，來到洛杉磯，陽光那麼明媚，我在國會唱片公司最有名的A錄音室，納特·金·科爾(Nat King Cole)也在這兒錄專輯。戴安娜，我是在度假呢。”
問：當然，成功本身就是回報。但是你今年沒出席格萊美頒獎禮，為什麼呢？
答：我們有了一個理論：只要你沒去，那你就能獲獎。但是南希喜歡這個活動，我也喜歡，因為她喜歡。在某些方面它比奧斯卡強——奧斯卡很偉大，也非常 重要，但格萊美有點像一場真正精彩的音樂會，你能看到非常精彩的表演。但事實上，我們去過好幾次，基本就是坐在那兒，優雅地接受失敗。你能在奧斯卡或者格 萊美的頒獎禮上找到這樣的時刻，攝像機對準那些沒獲獎的人，他們開心地笑着鼓掌。“獲獎者是——約翰·梅爾(John Mayer)！然後你就（咬緊牙關地）說：“啊，太棒了。真不錯，他是個好歌手。”私底下你覺得：“可是他不如我啊。”這是非常顯人性的時刻。
今年我其實去了英國影視藝術學院獎(Baftas)的頒獎禮，他們邀請我頒發一個電影配樂獎。回家路上，我收到一條短訊說：“你贏得了一項格萊美獎”。車裡頓時充滿了勝利的喜悅。所以還是那個理論，“想獲獎你就別去”。但是雖說如此，我們明年可能還是會去的。
問：你有沒有一個地方專門用來放獎盃和紀念品？
答：沒有。我在這方面很隨便。我都不知道它們到底放哪兒了。我根本就不整理。有一次我對人說：“你相信嗎，‘披頭士’因為《隨它去》獲得過奧斯卡提名，我們自己根本都不知道這件事。”
問：怎麼可能啊？
答：就是這樣。在那時候是可能的。因為當時它還不是一個全球性的盛典。而“披頭士”那時候非常——錄《隨它去》的時候我們就快解散了，所以我們沒聽 說那個消息。如果你把這當成一個象徵，就能明白我們那時候有多麼冷漠，多麼與世隔絕——我們根本就不關心這個。今天這種事是不可能發生的。我覺得我們都沒 搞收齊自己的所有金唱片掛在牆上這一套。所以我沒有專門的榮譽陳列室。我把有些獎品放在辦公室里了，我覺得放在那裡，用來恐嚇生意上來往的人很不錯 （笑）。這可是我畢生的目標。
能獲得那些獎我感到很榮幸。但我並不去整理和分類。借口永遠是——這也是真話——我太忙了顧不上。跟你聊完我就要去錄音室里錄我專輯的新歌了。我喜歡這樣——我喜歡自己仍然有激情，仍然有一直做音樂的活力和慾望。所以分析整理就變得次要。
問：你現在在做什麼專輯啊？
答：是一張新的錄音室專輯，收錄的是我的新歌。我一直都在寫歌，現在有了不少我想錄的。我和很多製作人合作過，今天是和喬治·馬丁(George Martin)的兒子蓋爾斯合作。其實我正在往錄音室去的路上呢。我馬上就把車停在路邊，走一小段路，一進錄音室就開始拚命彈吉他。
問：跟你在12-12-12義演上合作的那些傢伙們也會在你的新專輯裡出現嗎？
答：我和“涅槃”(Nirvana)的小夥子們合作的那首《放過我吧》(Cut Me Some Slack)會收錄在戴夫·格羅爾(Dave Grohl)的專輯裡。這是他的項目。他給我打電話說：“你想過來即興玩一下嗎，我在搞一個項目，回憶過去在‘聲音城市’(Sound City)錄音室的日子。”我當時在洛杉磯，所以就和妻子還有兩個女兒過去了。我和戴夫在錄音室里，就像兩個逃學青少年，姑娘們在那兒閑逛。戴夫打鼓，我 彈吉他，克里斯·諾沃斯利克(Krist Novoselic)彈貝斯，帕特·斯米爾(Pat Smear)彈吉他。我按當時的調子吼出一些歌詞——（展示）“媽媽——”最好的一點就是，事實上它就是“嘿，你想玩即興演奏嗎？”完全是有機的。就像下 午的即興演出。仔細想想看，這可是大廠牌夢寐以求的東西。（模仿行政人員的聲音）“我希望你們這些小夥子們一起做東西，我們要在這上投很多錢。”但並不是 這樣，這只是我們的創意，是我們在一個下午做出的東西。
問：好吧，你現在有
2012.6
Happy Birthday, Paul McCartney: 70 Iconic Images for 70 Years
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An incised sandstone plaque on the wall of St. Peter’s Church Hall in Woolton, a sleepy suburb on the outskirts of Liverpool, commemorates the event as if it had religious significance—as indeed it very nearly does:
In This Hall On
6th July 1957
John & Paul
First Met
No need to ask about last names.The afternoon was oppressively hot and humid. The occasion was a church fete, a few -summer hours of festivities in the yard next to St. Peter’s cemetery: lemonade and ice cream and cakes and musical acts and performing horses and police dogs. Lots of kids. One of the acts was a group of local boys called the Quarrymen, named after the public high school they attended, Quarry Bank (itself named after Woolton Quarry, where sandstone was mined). The band played skiffle—kind of an English variety of jug-band music popular in the ’50s, thumped out on guitar, banjo, drums and tea-chest bass—along with a little rock ’n’ roll. Its singer and lead guitarist, a sideburned, eagle-nosed 16-year-old in a checked cowboy shirt with the collar turned up, preferred rock ’n’ roll. John Lennon could barely play his guitar—it had only four strings, and he used banjo chords—but with his hoarse yet tuneful voice and cheeky attitude, he was spellbinding. Among the band’s rock repertory was the Del-Vikings’ “Come Go with Me.” Lennon, not really knowing the words, simply made up his own: “Come go with me/ Down to the penitentiary . . .” Somehow he made it work.
After the fete, there was to be a grand dance in the Village Hall across the road. George Edge’s Orchestra would play for the adults; the Quarrymen would entertain the kids. As the long summer twilight faded, thunder rumbled portentously; the heat wave would break that night. As the skiffle group took its instruments into the hall, a close friend of Lennon’s named Ivan Vaughan approached him with a request: Did he have any interest in meeting another friend of his, a boy who could sing and play guitar? The boy was good, Vaughan said.
In a few minutes, Lennon found out how good. The boy, a cherub-faced 15-year-old with big hazel eyes, pouty lips and his dark hair slicked back rock-’n’-roll style, was ceremoniously dressed in a white sports jacket backed with silver threads: a showy touch that Lennon, in his tight teddy-boy jeans and cowboy shirt, would have found disconcerting.
Then Paul McCartney asked to borrow a guitar.
(MORE: Happy Birthday, Paul McCartney: 70 Iconic Images for 70 Years)
The Quarrymen’s instruments were strung for right-handers; McCartney was a lefty. No matter. He’d dealt with this problem before: you simply played upside-down. And that’s what he did, performing a near letter-perfect cover of Eddie Cochran’s fast-moving mouthful -“Twenty Flight Rock,” to the astonishment of Lennon and his bandmates. “I knew a lot of the words,” McCartney later recalled. “That was very good currency in those days.”
Then the young natural showman decided to top that.
McCartney sat down at the hall’s upright piano and blazed through Little Richard’s “Long Tall Sally.” “It was uncanny,” Quarrymen guitarist Eric Griffiths told Bob Spitz, author of The Beatles, many years later. “He could play and sing in a way that none of us could, including John. He had such confidence; he gave a performance. It was so natural. We couldn’t get enough of it. It was a real eye opener.”
For his part, Lennon recalled (to Beatles biographer Hunter Davies), “I half thought to myself, ‘He’s as good as me.’ Now I thought, if I take him on, what will happen? It went through my head that I’d have to keep him in line if I let him join [the band]. But he was good, so he was worth having. He also looked like Elvis. I dug him.”
That was an understatement. From that day forward, the two would be inextricably bound, in each other’s minds as well as the world’s.
(MORE: Old Paul McCartney Letter Shows Early Search for Beatles Drummer)
The doe-eyed phenom who rocked John Lennon’s world that hot July afternoon was, underneath the white sports jacket and the bravado, far more vulnerable than he let on. Paul McCartney’s adored mother, Mary, a midwife and visiting nurse, had died of breast cancer, at age 47, only nine months earlier, leaving Paul, his younger brother, Mike, and their father, Jim, an amateur musician who worked as a salesman for a Liverpool cotton firm, to try to muddle through without her.
For several months, they barely made it: Jim was reeling with grief. “That was the worst thing for me, hearing my dad cry,” Paul remembered. “You expect to see women crying or kids in the playground or even yourself . . . But when it’s your dad, then you know something’s really wrong, and it shakes your faith in everything. But I was determined not to let it affect me. I carried on. I learned to put a shell around me at that age.”
Music was the main component of the shell. It came naturally: the whole extended McCartney family was musical. As a young man in the 1920s, Jim had fronted a dance band, and he still played a mean piano by ear (“His left one,” Paul McCartney liked to joke).
The McCartneys made music whenever they got together, and at first, trumpet was Paul’s instrument. But he was also beginning to listen to American rock ’n’ roll late at night on Radio Luxembourg—there was no rock on English radio in those days—and to grow intoxicated by its rhythms. Rock ’n’ roll wasn’t about trumpets. And then there was the fact that you couldn’t sing while you played a horn.
(MORE: McCartney Comes Back)
Rock was hitting England like a slow-moving tsunami in the mid-’50s. Prior to 1950, as Liver-pool local historian Joan Murray explains, “there were no teenagers.” Especially in that rough-hewn, northern port city along the River Mersey, where working-class and middle-class kids mostly just got out of school and got on with life. But Liverpool, so red brick dingy and looked down upon by London, was also peculiarly receptive to rock ’n’ roll—in part, because of the steady inflow of American culture through the docks. Now, suddenly, amid the postwar recovery, Liverpool kids had a couple of shillings to rub together, and with the records they were buying—records by Little Richard, Chuck Berry, Buddy Holly and, especially, Elvis—came new dreams.
Shortly after his 14th birthday, Paul went to a downtown music shop and traded his trumpet for a Zenith acoustic guitar. He practiced obsessively, struggling to teach himself chords, but everything felt backward to the left-hander, until he hit on the idea of restringing the instrument—with the bass and treble strings reversed.
In the wake of his mother’s death, his obsession with the instrument redoubled. He would lock himself in the bathroom and practice for hours at a time. Initially a promising student—English literature and languages (Spanish and German) were his best subjects—at the prestigious public Liverpool Institute, he began to neglect his studies for the one thing that could take him away from all his troubles. When John Lennon sent a message (through a bandmate named Pete Shotton) asking him to join the Quarrymen, Paul McCartney didn’t have to think twice.
Skiffle stayed in the group’s repertoire for a while, but Lennon had little patience for it. Elvis Presley’s “Heartbreak Hotel” had electrified him (as it had McCartney). That—the sound, the look, the attitude—was what he was after. Meanwhile, the band started to break apart, as Lennon and his original mates graduated from Quarry Bank in 1958, and all but John, the dreamer and misfit, drifted off toward real life. But McCartney had introduced Lennon to a younger schoolmate from the Institute, a tiny, cocky 14-year-old, with jug ears and big hair. His name was George Harrison. “George was my little friend,” McCartney recalled many years later, with fond condescension. “But he could play guitar.” And George liked rock ’n’ roll.
(MORE: That Old Feeling: Meet the Beatles)
McCartney helped Lennon advance on the instrument, and with the big-eared little guy playing lead, all at once they were a rock-’n’-roll trio. On Sept. 18, 1959, a front-page story in the West Derby Reporter covered the recent opening of the Casbah, a new club for teenagers in the Liverpool suburb. The club was in the windowless basement of a huge, rambling old house in a residential neighborhood—the performance space, such as it was, the size of a coal bin. The account went on to mention “a guitar group which entertains the club members on Saturday nights . . . [T]he group, who call themselves ‘The Quarrymen,’ travel from the south end of the city to play. They are: John Lennon, Menlove Avenue, Woolton; Paul McCartney, Forthlin Road, Allerton; and George Harrison, Upton Green, Speke.”
A photo with the story shows McCartney, soulful in dark shirt and light tie, -confidently strumming his guitar and singing into a mike while Lennon, seemingly a little less sure of his playing, stares down at his instrument, carefully fingering a chord. Two girls and a boy sit on a bench to the right, paying careful attention. The caption reads: “Three ‘cool cats’ listen to ‘The Quarrymen.’ ” The polite-looking, well-dressed young English people resemble anything but cool cats. The girl on the left, smiling at McCartney, is Cynthia Powell, who will later marry Lennon.
In honor of Paul McCartney’s 70th birthday on June 18,
LightBox culled various photography archives to feature 70 iconic images
of the Beatle—one for each year of his life—with text from the
introduction of TIME’s new book, Paul McCartney: The legend rocks on, by James Kaplan.
He is the most ordinary of extraordinary men: a historical figure with a common streak, a genius who’s still not entirely sure where it all comes from, or came from.
“I’ve always had this thing of him and me,” Paul McCartney told Barry Miles, his authorized biographer, in 1996. “He goes onstage, he’s famous, and then me; I’m just some kid from Liverpool … this little kid who used to run down the streets in Speke … collecting jam jars, damming up streams in the woods. I still very much am him grown up.
“Occasionally, I stop and think, I am Paul McCartney … hell, that is a total freak-out! You know, Paul McCartney! Just the words, it sounds like a total kind of legend. But, of course, you don’t want to go thinking that too much because it takes over.” And yet, “when I go on tour, I’m glad of the legendary thing,” he said. “I wouldn’t want to try and entertain 60,000 people in a Texas stadium with just the guy next door.”
No, that wouldn’t do at all. And so—still, in 2012—he steps out on the stage of whatever arena he may be playing, in whichever corner of the world—it scarcely matters where or what language they speak; everyone knows him and loves him, everyone knows the words to all the songs—and, as the roar rises to the rafters, begins singing, for the umpteenth time and with undiminished joy:
Roll up, roll up for the magical mystery tour, step right this way …
Today—inconceivably—he turns 70, and he’s still rolling. Fast. In the months before the big day, he seemed to be everywhere at once: touring in Helsinki and Moscow and Liverpool. Getting a star on the Hollywood Walk of Fame. Playing at the MusiCares benefit (where he was honored as Person of the Year). Playing at the Grammys. Attending his daughter Stella’s fashion show in Paris. Vacationing in St. Barts with his wife Nancy Shevell—and then touring some more, in Rotterdam and Zurich and London.
It was almost as though, if he moved fast enough and squeezed in enough events, he might sideslip the 18th of June altogether and proceed to the next golden stage, untouched and untallied. Exactly the kind of dream a little kid running down the street in Liverpool might dream.
Except that no one, in his wildest imaginings, could have dreamed all that had happened to him in the years between then and now.
All four of them had remarkable faces, but only his was beautiful, the big-eyed, long-lashed looks saved from mere prettiness by a persistent, perhaps willfully untended, five-o’clock shadow and those asymmetrical, ironically arched brows, which seemed to say, I’ve got the goods. No, really. Think I’m kidding?
He had the goods, and then some. “Oh, beyond measure—on a Mozart level,” the musician and record producer Peter Asher told TIME recently, speaking of the musical gifts of the brash young -Liverpudlian who, beginning in 1963, dated his sister Jane and, though already famous, bunked in the attic of the Asher family’s town house on Wimpole Street: the attic where the melody of “Yesterday” came to him one night in a dream.
That, of course, was many yesterdays ago. And while Paul McCartney’s youthful beauty has gone the way of youth, the immense musical talent endures, along with, at the biblical three score and 10, something perhaps even more remarkable: “He keeps on going,” says another longtime acquaintance, the writer and director Michael Lindsay-Hogg. “He doesn’t have to. He’s got all the money and all the success, and he’s written some great songs. In Tennessee Williams’ Camino Real … there’s [a line]: ‘Make voyages, attempt them; there’s nothing else.’ I think that’s Paul.”
At 70, he voyages still, maintaining a schedule that would give pause to a man half his age: a 30-concert tour in 2011-2012, from the Bronx to Bologna, Moscow to Montevideo to Mexico City. “My wife says he’s an alien from the Planet Fab,” says Paul “Wix” Wickens, the keyboardist in the band that has backed McCartney for the past 10 years. (The band also includes bassist Rusty Anderson, guitarist/bassist Brian Ray and drummer Abe Laboriel Jr.)
“If you’re enjoying it, why do something else?” McCartney asked Rolling Stone, rhetorically, earlier this year. His pleasure in his art and his craft seems as pure as it was when he first picked up a guitar almost 60 years ago. “He absolutely loves music,” Wickens says. “He loves to play. And he loves being involved. He’s always doing something. When we [in the band] are not working, he is not not-working. He does relax, and he does take holidays. But he puts his head into other places, not just pop music, because he likes a challenge, he likes just to be doing it.”
Funny, the things an ordinary man will come up with.
Excerpted from TIME’s new book; Paul McCartney: The legend rocks on, by James Kaplan, copyright ©2012 by Time Home Entertainment Inc. To buy a copy, go to
Paul McCartney has announced his first European tour in more than five years
Paul
McCartney will make his first European tour in more than five years
this December, a seven-city run that will include his only United
Kingdom concert appearance of 2009.
"This is my chance to bring our current show home to where it all began," McCartney said in a statement on his website. "Starting in Hamburg, ending in London and rocking everywhere in between. I'm very much looking forward to ending the year on a high."
On the heels of this summer's blockbuster U.S. tour, the December dates will see Macca play seven arena shows across Europe, culminating with his first public performance at London's O2 Arena, and his only U.K. date of the year. Other firsts on the tour include shows at Berlin’s O2 World venue and Dublin’s The O2.
Berlin will get their first Paul McCartney concert in 16 years - since 1993's "New World Tour" - and the tour commences in Hamburg, Germany, a city The Beatles made history in 49 years ago. The run will mark his first time in Hamburg, Arnhem, Cologne and Dublin since the "Back in the World" tour in 2003. McCartney's last Paris concert was an intimate club show at the Olympia in 2007.
London's O2 Arena will host the final Paul McCartney show of 2009.
Last week, Paul McCartney revealed the full details of his Good Evening New York City CD/DVD package, due to be released November 17 in America through Hear Music/Concord Music Group. The muli-disc set will include his performances of Beatles, Wings and solo classics during his three-night stand at Citi Field in Flushing, NY, July 17, 18 and 21 on the "Summer Live '09" tour.
Good Evening Europe Tour:
12/02/09 Hamburg, Germany - Color Line Arena
12/03/09 Berlin, Germany - O2 World
12/09/09 Arnhem, Holland - Gelredome
12/10/09 Paris, France - Bercy
12/16/09 Cologne, France - Koln Arena
12/20/09 Dublin, Ireland - The O2
12/22/09 London, England - The O2 Arena
RELATED LINKS
Paul McCartney releases full package details for "Good Evening New York City" CD/DVD
He is the most ordinary of extraordinary men: a historical figure with a common streak, a genius who’s still not entirely sure where it all comes from, or came from.
“I’ve always had this thing of him and me,” Paul McCartney told Barry Miles, his authorized biographer, in 1996. “He goes onstage, he’s famous, and then me; I’m just some kid from Liverpool … this little kid who used to run down the streets in Speke … collecting jam jars, damming up streams in the woods. I still very much am him grown up.
“Occasionally, I stop and think, I am Paul McCartney … hell, that is a total freak-out! You know, Paul McCartney! Just the words, it sounds like a total kind of legend. But, of course, you don’t want to go thinking that too much because it takes over.” And yet, “when I go on tour, I’m glad of the legendary thing,” he said. “I wouldn’t want to try and entertain 60,000 people in a Texas stadium with just the guy next door.”
No, that wouldn’t do at all. And so—still, in 2012—he steps out on the stage of whatever arena he may be playing, in whichever corner of the world—it scarcely matters where or what language they speak; everyone knows him and loves him, everyone knows the words to all the songs—and, as the roar rises to the rafters, begins singing, for the umpteenth time and with undiminished joy:
Roll up, roll up for the magical mystery tour, step right this way …
Today—inconceivably—he turns 70, and he’s still rolling. Fast. In the months before the big day, he seemed to be everywhere at once: touring in Helsinki and Moscow and Liverpool. Getting a star on the Hollywood Walk of Fame. Playing at the MusiCares benefit (where he was honored as Person of the Year). Playing at the Grammys. Attending his daughter Stella’s fashion show in Paris. Vacationing in St. Barts with his wife Nancy Shevell—and then touring some more, in Rotterdam and Zurich and London.
It was almost as though, if he moved fast enough and squeezed in enough events, he might sideslip the 18th of June altogether and proceed to the next golden stage, untouched and untallied. Exactly the kind of dream a little kid running down the street in Liverpool might dream.
Except that no one, in his wildest imaginings, could have dreamed all that had happened to him in the years between then and now.
All four of them had remarkable faces, but only his was beautiful, the big-eyed, long-lashed looks saved from mere prettiness by a persistent, perhaps willfully untended, five-o’clock shadow and those asymmetrical, ironically arched brows, which seemed to say, I’ve got the goods. No, really. Think I’m kidding?
He had the goods, and then some. “Oh, beyond measure—on a Mozart level,” the musician and record producer Peter Asher told TIME recently, speaking of the musical gifts of the brash young -Liverpudlian who, beginning in 1963, dated his sister Jane and, though already famous, bunked in the attic of the Asher family’s town house on Wimpole Street: the attic where the melody of “Yesterday” came to him one night in a dream.
That, of course, was many yesterdays ago. And while Paul McCartney’s youthful beauty has gone the way of youth, the immense musical talent endures, along with, at the biblical three score and 10, something perhaps even more remarkable: “He keeps on going,” says another longtime acquaintance, the writer and director Michael Lindsay-Hogg. “He doesn’t have to. He’s got all the money and all the success, and he’s written some great songs. In Tennessee Williams’ Camino Real … there’s [a line]: ‘Make voyages, attempt them; there’s nothing else.’ I think that’s Paul.”
At 70, he voyages still, maintaining a schedule that would give pause to a man half his age: a 30-concert tour in 2011-2012, from the Bronx to Bologna, Moscow to Montevideo to Mexico City. “My wife says he’s an alien from the Planet Fab,” says Paul “Wix” Wickens, the keyboardist in the band that has backed McCartney for the past 10 years. (The band also includes bassist Rusty Anderson, guitarist/bassist Brian Ray and drummer Abe Laboriel Jr.)
“If you’re enjoying it, why do something else?” McCartney asked Rolling Stone, rhetorically, earlier this year. His pleasure in his art and his craft seems as pure as it was when he first picked up a guitar almost 60 years ago. “He absolutely loves music,” Wickens says. “He loves to play. And he loves being involved. He’s always doing something. When we [in the band] are not working, he is not not-working. He does relax, and he does take holidays. But he puts his head into other places, not just pop music, because he likes a challenge, he likes just to be doing it.”
Funny, the things an ordinary man will come up with.
Excerpted from TIME’s new book; Paul McCartney: The legend rocks on, by James Kaplan, copyright ©2012 by Time Home Entertainment Inc. To buy a copy, go to
-----
2009.10.23
Paul McCartney announces Good Evening Europe Tour, including only U.K. date of 2009
Paul McCartney has announced his first European tour in more than five years
"This is my chance to bring our current show home to where it all began," McCartney said in a statement on his website. "Starting in Hamburg, ending in London and rocking everywhere in between. I'm very much looking forward to ending the year on a high."
On the heels of this summer's blockbuster U.S. tour, the December dates will see Macca play seven arena shows across Europe, culminating with his first public performance at London's O2 Arena, and his only U.K. date of the year. Other firsts on the tour include shows at Berlin’s O2 World venue and Dublin’s The O2.
Berlin will get their first Paul McCartney concert in 16 years - since 1993's "New World Tour" - and the tour commences in Hamburg, Germany, a city The Beatles made history in 49 years ago. The run will mark his first time in Hamburg, Arnhem, Cologne and Dublin since the "Back in the World" tour in 2003. McCartney's last Paris concert was an intimate club show at the Olympia in 2007.
London's O2 Arena will host the final Paul McCartney show of 2009.
Last week, Paul McCartney revealed the full details of his Good Evening New York City CD/DVD package, due to be released November 17 in America through Hear Music/Concord Music Group. The muli-disc set will include his performances of Beatles, Wings and solo classics during his three-night stand at Citi Field in Flushing, NY, July 17, 18 and 21 on the "Summer Live '09" tour.
Good Evening Europe Tour:
12/02/09 Hamburg, Germany - Color Line Arena
12/03/09 Berlin, Germany - O2 World
12/09/09 Arnhem, Holland - Gelredome
12/10/09 Paris, France - Bercy
12/16/09 Cologne, France - Koln Arena
12/20/09 Dublin, Ireland - The O2
12/22/09 London, England - The O2 Arena
RELATED LINKS
Paul McCartney releases full package details for "Good Evening New York City" CD/DVD
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