폴 매카트니: 두 판 사이의 차이
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46번째 줄:
매카트니는 1947년에서 1949년까지 스톡턴 우드 로드 프라이머리 학교에 다녔다.<ref>{{harvnb|Benitez|2010|p=1}}: Transferred to Joseph Williams Junior School due to overcrowding at Stockton; {{harvnb|Carlin|2009|p=13}}: Transferred to Joseph Williams in 1949.</ref> 나중에는 학교의 정원 초과로 조셉 윌리엄스 주니어 학교로 전학을 가게 되었다.<ref>{{harvnb|Benitez|2010|p=1}}: Transferred to Joseph Williams Junior School due to overcrowding at Stockton; {{harvnb|Carlin|2009|p=13}}: Transferred to Joseph Williams in 1949.</ref> 1953년, 매카트니는 90명의 수험생 중 3명만이 통과한 일레븐 플러스 시험을 통과했고, 세컨드 모던 학교보다 [[그래머 스쿨]] 다운, 리버풀 인스티튜트 남자 고등학교에 입학했다.<ref>For his attendance at Joseph Williams Junior School see: {{뉴스 인용|url=http://news.bbc.co.uk/2/hi/uk_news/england/merseyside/8203923.stm|title=Beatle's schoolboy photo auction |publisher=BBC News|date=16 August 2009|accessdate=13 June 2012}}; For McCartney passing the 11-plus exam see: {{harvnb|Miles|1997|p=9}}: (primary source); {{harvnb|Benitez|2010|pp=1–2}}: (secondary source).</ref> 1954년, 그는 스피크에 위치한 집에 가는 버스에서 [[조지 해리슨]]을 만났다. 둘은 빠르게 친구가 되었다. 폴 매카트니는 이렇게 말했다. "난 그를 깔보듯이 말하곤 했는데, 그가 나보다 한 살 어렸기 때문이다."<ref>{{harvnb|Benitez|2010|p=2}}: The two soon became friends, "I tended to talk down to him because he was a year younger"; {{harvnb|Spitz|2005|pp=82–83}}: On grammar school versus secondary modern, 125: On meeting Harrison.</ref>
{{quote box|align=오른쪽|width=25em|bgcolor = LightCyan|quote="내가 자랐던 곳에는, 이보다 좋을 수 없을 사람들이 있었다! 전 세계를 둘러봐도! 내 말은, 대통령이든, 수상이든, 리버풀 사람의 다정함을 반이라도 따라갈 사람은 어디에도 없을 것이다. 그들은 유명세에 연연하지 않지만, 영리하다. 내 아버지가 그랬듯. 내 말은, 그 사람들은 뜨거운 칼로 버터를 자르듯이 문제를 헤쳐나갔다. 당신의 삶에 필요한 사람들이지. 세상의 소금이다."|source=폴
매카트니의 어머니 매리는 조산사였고, 가족의 주요 수입원이었다. 그녀의 수입 덕분에 그들은 앨러튼의 포틀린 20번지에 이사를 갔고, 1964년까지 거기서 살았다.<ref>{{harvnb|Benitez|2010|p=2}}: "Mary was the family's primary wage earner"; {{harvnb|Harry|2002|pp=340–341}}: "where they lived through 1964".</ref> 그녀는 환자에게 자전거를 타고 갔는데, 매카트니는 그녀가 집을 떠나던 어릴 때의 기억을 이렇게 묘사했다. "새벽 3시의 거리였고 ... 눈은 두껍게 쌓여 있었다".{{sfn|Miles|1997|p=6}} 1956년 10월 31일, 매카트니가 14살이 되던 해, 그의 어머니는 [[색전증]]으로 사망했다.<ref>{{harvnb|Benitez|2010|p=2}}: On Mary's death (secondary source); {{harvnb|Miles|1997|p=20}}: On Mary's death (primary source); {{harvnb|Womack|2007|p=10}}: Mary died from an embolism.</ref> 이것은 그의 인생에 큰 영향을 미쳤다. [[존 레논|레논]]의 어머니 줄리아 레논은 [[1958년]] [[7월 15일]] 레논이 17세 되던 해에 사망했는데, 후에 매카트니는 [[존 레논|레논]]과의 이러한 공통점을 통해 더욱 친해질 수 있었다.{{sfn|Miles|1997|p=31}}
68번째 줄:
1985년 8월, 비틀즈는 매카트니가 작곡한, [[현악 사중주]]가 들어가 있는 노래 〈[[Yesterday]]〉를 발표했다. 이것는 LP 《[[Help!]]》에 수록되었다. 〈Yesterday〉는 비틀즈가 처음으로 고전 음악의 요소를 사용하고, 한 멤버만이 녹음에 참여한 첫 노래다.<ref>{{harvnb|Buk|1996|p=51}}: Their first recording that involved only a single band member; {{harvnb|Gould|2007|p=278}}: The group's first recorded use of classical music elements in their music.</ref> 〈Yesterday〉는 대중 음악 사상 가장 많이 커버된 곡이 되었다.<ref>{{harvnb|MacDonald|2005|pp=157–158}}: "Yesterday" as the most covered song in history.</ref> 다음해, 《[[Rubber Soul]]》의 녹음 세션 때, 매카트니는 레논을 대신하여 비틀즈에 우세한 음악적 힘을 불어넣는다. [[음악학자]] [[이안 맥크라켄]]이 적기를, "[1965년] 부터 ... [매카트니]는 비틀즈의 송라이터 뿐만이 아닌, 기악 연주자, 편곡자, 프로듀서, 그리고 사실상 음악 감독으로서 우세해졌다."{{sfn|MacDonald|2005|p=172}} 비평가는 《Rubber Soul》을 정제, 그리고 밴드의 음악과 가사에서의 깊이에 큰 발전이 있었다고 묘사했다.<ref>{{harvnb|Levy|2005|p=18}}: ''Rubber Soul'' is described by critics as an advancement of the band's music; {{harvnb|Brown|Gaines|2002|pp=181–82}}: As they explored facets of romance and philosophy in their lyrics.</ref> 비틀즈의 곡 중에서도 정상에 있다고 여겨지는 〈[[In My Life|In My Life〉]]는, 레논과 매카트니 둘 다 자신이 썼다고 주장한다.<ref>{{Harvnb|MacDonald|2005|pp=169–170}}: "In My Life" as a highlight of the Beatles catalogue.; {{Harvnb|Spitz|2005|p=587}}: Both Lennon and McCartney have claimed lead authorship for "In My Life".</ref> 매카트니가 음반에 대해 말하길, "우린 귀여운 시간을 보냈고, 이제는 확장할 시간이였다."{{sfn|The Beatles|2000|p=197}} 녹음 엔지니어 노만 스미스는 《Rubber Soul》의 세션이 늘어나는 밴드의 불화의 조짐을 들어나게 했다고 말한다. "존과 폴 사이에서의 충돌은 점점 명백해졌다 ... [그리고] 폴로서는, 조지에겐 아무 권리가 없다고 여겼다—폴은 너무나 까다로웠다."{{sfn|Harry|2000b|p=780}}
1966년, 비틀즈는 《[[Revolver]]》를 발표했다.
[[File:Sgt. Pepper's Lonely Hearts Club Band.jpg|thumb|alt=An image of the Beatles, holding marching band instruments and wearing colourful uniforms, standing near a grave covered with flowers that spell "Beatles". Standing behind the band are several dozen famous people.|《Sgt. Pepper's Lonely Hearts Club Band》, "그 어떤 커버보다 유명한 음반 커버", 비틀즈 전기 작가 [[빌 해리]]가 씀.{{sfn|Harry|2000a|p=970}}]]
The band gave their final commercial concert at the end of their [[The Beatles' 1966 US tour|1966 US tour]].{{sfn|Lewisohn|1992|p=230}} Later that year, McCartney completed his first musical project apart from the group—a [[film score]] for the UK production ''[[The Family Way (soundtrack)|The Family Way]]''. The score was a collaboration with Martin, who used two McCartney themes to write thirteen variations. The soundtrack failed to chart, but it won McCartney an [[Ivor Novello Awards|Ivor Novello Award]] for Best Instrumental Theme.{{sfn|Blaney|2007|p=8}}
Upon the end of the Beatles' performing career, McCartney sensed unease in the band and wanted them to maintain creative productivity. He pressed them to start a new project, which became ''[[Sgt. Pepper's Lonely Hearts Club Band]]'', widely regarded as [[Rock music|rock]]'s first [[concept album]].<ref>{{harvnb|Harry|2000a|p=970}}: Rock's first concept album; {{harvnb|MacDonald|2005|p=254}}: McCartney sensed unease among the bandmates and wanted them to maintain creative productivity.</ref> Inspired to create a new [[persona]] for the group, to serve as a vehicle for experimentation and to demonstrate to their fans that they had musically matured, McCartney invented the fictional band of the album's [[Sgt. Pepper's Lonely Hearts Club Band (song)|title track]].<ref>{{harvnb|Miles|1997|p=303}}: McCartney creating a new identity for the group.</ref> As McCartney explained, "We were fed up with being the Beatles. We really hated that fucking four little [[mop-top]] approach. We were not boys we were men ... and [we] thought of ourselves as artists rather than just performers."{{sfn|Miles|1997|p=303}}
Starting in November 1966, the band adopted an experimental attitude during recording sessions for the album.{{sfn|Lewisohn|1992|p=232}} According to engineer [[Geoff Emerick]], "the Beatles were looking to go out on a limb, both musically and sonically ... we were utilising a lot of [[Magnetic tape|tape]] [[Pitch control|varispeeding]] and other manipulation techniques ... [[Compressor limiter|limiters]] and ... effects like [[flanging]] and [[Automatic double tracking|ADT]]."<ref>{{harvnb|Emerick|Massey|2006|p=170}}: Flanging and ADT use, {{harvnb|Emerick|Massey|2006|p=190}}: "we were utilising a lot of tape varispeeding", {{harvnb|Emerick|Massey|2006|p=192}}: "The Beatles were looking to go out on a limb".</ref> Their recording of "[[A Day in the Life]]" required a forty-piece orchestra, which Martin and McCartney took turns conducting.<ref>{{harvnb|Emerick|Massey|2006|p=158}}: Martin and McCartney took turns conducting; {{harvnb|Gould|2007|pp=387–388}}: Recording "A Day in the Life" required a forty-piece orchestra.</ref> The sessions produced the [[double A-side]] single "[[Strawberry Fields Forever]]"/"[[Penny Lane]]" in February 1967, and the LP followed in June.{{sfn|Lewisohn|1992|pp=350–351}}{{refn|group=nb|Written by McCartney as a commentary on his childhood in Liverpool, "Penny Lane" featured a [[piccolo trumpet]] solo inspired by [[Johann Sebastian Bach|Bach]]'s second [[Brandenburg concertos|Brandenburg concerto]].{{sfn|Sounes|2010|pp=161–162}}}} McCartney's "[[She's Leaving Home]]" was an orchestral pop song. MacDonald described the track as "[among] the finest work on ''Sgt. Pepper''—imperishable popular art of its time".{{sfn|MacDonald|2005|p=245}} Based on an ink drawing by McCartney, the LP's cover included a collage designed by [[pop art]]ists [[Peter Blake (artist)|Peter Blake]] and [[Jann Haworth]], featuring the Beatles in costume as the Sgt. Pepper's Lonely Hearts Club Band, standing with [[List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band|a host of celebrities]].<ref>{{harvnb|Gould|2007|pp=391–395}}: The ''Sgt. Pepper'' cover featured the Beatles as the imaginary band alluded to in the album's title track, standing with a host of celebrities (secondary source); {{harvnb|The Beatles|2000|p=248}}: Standing with a host of celebrities (primary source); {{harvnb|Miles|1997|p=333}}: On McCartney's design for the ''Sgt. Pepper'' cover (primary source); {{harvnb|Sounes|2010|p=168}}: On McCartney's design for the ''Sgt. Pepper'' cover (secondary source).</ref>{{refn|group=nb|The ''Sgt. Pepper'' cover piqued a frenzy of analysis.<ref>{{harvnb|Gould|2007|pp=391–395}}: The ''Sgt. Pepper'' cover attracted curiosity and analysis; {{harvnb|Miles|1997|p=333}}: On McCartney's design for the ''Sgt. Pepper'' cover (primary source); {{harvnb|Sounes|2010|p=168}}: On McCartney's design for the ''Sgt. Pepper'' cover (secondary source).</ref>}} The heavy moustaches worn by the Beatles reflected the growing influence of [[hippie]] style trends on the band, while their clothing "spoofed the vogue in Britain for military fashions", wrote Gould.<ref>{{harvnb|The Beatles|2000|p=236}}: The growing influence of hippie style on the Beatles; {{harvnb|Gould|2007|p=385}}: "spoofed the vogue in Britain for military fashions".</ref> Scholar David Scott Kastan described ''Sgt. Pepper'' as "the most important and influential rock-and-roll album ever recorded".{{sfn|Kastan|2006|p=139}}
{{quote box|quote= "After Brian died ... Paul took over and supposedly led us you know ... we went round in circles ... We broke up then. That was the disintegration. I thought, 'we've fuckin' had it.'"{{sfn|Wenner|George-Warren|2000|pp=24–25}} |source=—John Lennon, ''Rolling Stone'' magazine, 1970 |width=25%|align=right|style=padding:8px;}}
Epstein's death in August 1967 created a void, which left the Beatles perplexed and concerned about their future.{{sfn|Brown|Gaines|2002|p=247}} McCartney, stepping in to fill that void, gradually became the ''de facto'' leader and business manager of the group Lennon had once led.{{sfn|Benitez|2010|pp=8–9}} His first creative suggestion after this change of leadership was to propose that the band move forward on their plans to produce a film for television, which was to become ''[[Magical Mystery Tour (film)|Magical Mystery Tour]]''. The project was "an administrative nightmare throughout", according to Beatles' historian [[Mark Lewisohn]].{{sfn|Lewisohn|1992|pp=238–239}} McCartney largely directed the film, which brought the group their first unfavourable critical response.{{sfn|Gould|2007|pp=455–456}} However, the [[Magical Mystery Tour|film's soundtrack]] was more successful. It was released in the UK as a six-track double [[extended play]] disc (EP), and as an identically titled LP in the US, filled out with five songs from the band's recent singles.{{sfn|Lewisohn|1992|pp=350–351}} The only Capitol compilation later included in the group's official canon of studio albums, the ''Magical Mystery Tour'' LP achieved $8 million in sales within three weeks of its release, higher initial sales than any other Capitol LP up to that point.{{sfn|Harry|2000a|p=699}}
In January 1968, EMI filmed the Beatles for a [[Trailer (promotion)|promotional trailer]] intended to advertise the animated film ''[[Yellow Submarine (film)|Yellow Submarine]]'', loosely based on the imaginary world evoked by McCartney's 1966 [[Yellow Submarine (song)|composition]]. Though critics admired the film for its visual style, humour and music, the [[Yellow Submarine (album)|soundtrack album]] issued seven months later received a less enthusiastic response.<ref>{{harvnb|Gould|2007|p=487}}: Critical response; {{harvnb|Lewisohn|1992|p=278}}: Filming of the promotional trailer, {{harvnb|Lewisohn|1992|p=304}}: ''Yellow Submarine'' soundtrack release.</ref> By late 1968, relations within the band were deteriorating. The tension grew during the recording of their self-titled double album, also known as the "[[The Beatles (album)|White Album]]".{{sfn|Lewisohn|1992|pp=276–304}}{{refn|group=nb|''The Beatles'' was the band's first [[Apple Records]] LP release; the label was a subsidiary of [[Apple Corps]], a conglomerate formed as part of Epstein's plan to reduce the group's taxes.<ref>{{harvnb|Gould|2007|p=470}}: Apple Corps formed as part of Epstein's business plan; {{harvnb|Lewisohn|1992|p=278}}: The Beatles' first Apple Records LP release.</ref>}} Matters worsened the following year during the ''[[Let It Be]]'' sessions, when a camera crew filmed McCartney lecturing the group: "We've been very negative since Mr. Epstein passed away ... we were always fighting [his] discipline a bit, but it's silly to fight that discipline if it's our own".<ref>{{harvnb|Brown|Gaines|2002|p=299}}: "We've been very negative since Mr. Epstein passed away"; {{harvnb|Lewisohn|1992|pp=276–304}}: ''The White Album'', {{harvnb|Lewisohn|1992|pp=304–314}}: ''Let It Be''.</ref>
In March 1969, McCartney married [[Linda McCartney|Linda Eastman]], and in August, the couple had their first child, [[Mary McCartney|Mary]], named after his late mother.<ref>{{harvnb|Sounes|2010|pp=171–172}}: Paul and Linda's first meeting; {{harvnb|Sounes|2010|pp=245–248}}: On their wedding; {{harvnb|Sounes|2010|p=261}}: On the birth of their first child Mary.</ref> For ''[[Abbey Road]]'', the band's last recorded album, Martin suggested "a continuously moving piece of music", urging the group to think [[Symphony|symphonically]].{{sfn|Gould|2007|p=563}} McCartney agreed, but Lennon did not. They eventually compromised, agreeing to McCartney's suggestion: an LP featuring individual songs on side one, and a long [[Medley (music)|medley]] on side two.{{sfn|Gould|2007|p=563}} In October 1969, [[Paul is dead|a rumour surfaced]] that McCartney had died in a car crash in 1966 and been replaced by a lookalike, but this was quickly refuted when a November ''[[Life (magazine)|Life]]'' magazine cover featured him and his family, accompanied by the caption "Paul is still with us".{{sfn|Gould|2007|pp=593–594}}
On 10 April 1970, in the midst of business disagreements with his bandmates, McCartney announced his departure from the group.<ref>{{harvnb|Lewisohn|1992|p=349}}: McCartney's departure from the Beatles (secondary source); {{harvnb|Miles|1998|pp=314–316}}: McCartney's departure from the Beatles (primary source); {{harvnb|Spitz|2005|pp=243, 819–821}}: Lennon's personal appointment of Klein, {{harvnb|Spitz|2005|pp=832–833}}: McCartney's disagreement with Lennon, Harrison, and Starr over Klein's management of the Beatles.</ref> He filed suit for the band's formal dissolution on 31 December 1970. More legal disputes followed as McCartney's attorneys, his in-laws [[Lee Eastman|John and Lee Eastman]], fought Lennon's, Harrison's, and Starr's business manager, [[Allen Klein]], over royalties and creative control. An English court legally dissolved the Beatles on 9 January 1975, though sporadic lawsuits against their record company [[EMI]], Klein, and each other persisted until 1989.{{sfn|Benitez|2010|pp=8–9}}{{refn|group=nb|When the Beatles were inducted into the [[Rock and Roll Hall of Fame]] in 1988, their first year of eligibility, McCartney did not attend the ceremony, stating that unresolved legal disputes would make him "feel like a complete hypocrite waving and smiling with [Harrison and Starr] at a fake reunion".{{sfn|Harry|2002|p=753}}}}{{refn|group=nb|The Beatles released twenty-two UK singles and twelve LPs, of which seventeen singles and eleven LPs reached number one on various charts.{{sfn|Roberts|2005|p=54}} The band topped the US [[Billboard Hot 100|''Billboard'' Hot 100]] twenty times, and recorded fourteen number-one albums, as Lennon and McCartney became one of the most celebrated [[Lennon–McCartney|songwriting partnerships]] of the 20th century.<ref>{{harvnb|Lewisohn|1992|pp=350–351}}: US and UK singles and album release dates with peak chart positions; {{harvnb|Gould|2007|pp=8–9}}: "one of the greatest phenomena in the history of mass entertainment", "widely regarded as the greatest concentration of singing, songwriting, and all-around musical talent that the rock'n'roll era has produced"; {{harvnb|Spitz|2005|p=856}}: "not anything like anything else ... [a] vastness of talent ... of genius, incomprehensible".</ref> McCartney was the primary writer of five of their last six US number-one singles: "[[Hello, Goodbye]]" (1967), "[[Hey Jude]]" (1968), "[[Get Back]] (1969)", "[[Let It Be (song)|Let It Be]]" and "[[The Long and Winding Road]]" (1970).<ref>For song authorship see: {{harvnb|MacDonald|2005|pp=333–334}}: "Get Back", {{harvnb|MacDonald|2005|pp=272–273}}: "Hello, Goodbye", {{harvnb|MacDonald|2005|pp=302–304}}: "Hey Jude", {{harvnb|MacDonald|2005|pp=337–338}}: "Let it Be", {{harvnb|MacDonald|2005|pp=339–341}}: "The Long and Winding Road"; For release dates, US and UK peak chart positions of the preceding songs see: {{harvnb|Lewisohn|1992|pp=350–351}}.</ref>}} They are widely regarded as one of the most popular and influential acts in the history of rock music.<ref>{{Allmusic|id=mn0000754032|first=Richie|last=Unterberger|accessdate=5 July 2013}}</ref>
Prior to, and for a while after leaving the group, McCartney suffered from a deep depression as a result of the band's break-up. He spent days in bed and drank excessively: "I nearly had a breakdown," he said. "I was going crazy."<ref name=Sounes2/> Biographer [[Howard Sounes]] writes that "McCartney sank into whisky-soaked oblivion, [and] only Linda knew how to save him."<ref name=Sounes2>Sounes, Howard. [http://www.dailymail.co.uk/femail/article-1303629/Strangers-said-abrasive-gauche-Paul-McCartney-sank-whisky-soaked-oblivion-Linda-knew-save-him.html "Strangers said she was abrasive and gauche, but as Paul McCartney sank into whisky-soaked oblivion, only Linda knew how to save him"], ''Daily Mail'', 17 August 2010</ref> She helped him pull out of that emotional crisis by praising his work as a songwriter and convincing him to continue writing and recording. In her honor, he later wrote "[[Maybe I'm Amazed]]", explaining that with the Beatles breaking up, "that was my feeling: Maybe I'm amazed at what's going on... Maybe I'm a man and maybe you're the only woman who could ever help me; Baby won't you help me understand... Maybe I'm amazed at the way you pulled me out of time, hung me on the line, Maybe I'm amazed at the way I really need you." He added that "every love song I write is for Linda."<ref>Heatley, Michael; Hopkinson, Frank. ''The Girl in the Song: The Real Stories Behind 50 Rock Classics'', Pavilion Books (2010) e-book</ref><ref>[http://www.beatlesbible.com/people/paul-mccartney/songs/maybe-im-amazed/ "Maybe I’m Amazed"], ''The Beatles Bible''</ref>
=== 1970–81: 윙스 ===
줄 143 ⟶ 163:
::'''클래식'''
* 《[[Paul McCartney's Liverpool Oratorio]]》 (1991)<br><small>([[칼
* 《[[Standing Stone (음반)|Standing Stone]]》 (1997)
* 《[[Working Classical]]》 (1999)
* 《[[Ecce Cor Meum]]》 (2006)
* 《[[Ocean's Kingdom]]》 (2011)<br><small>(
{{col-break}}
::'''기타'''
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