#wow I love Dave grohl

[queeniemay39]

Y’all I’m drunk, I went to a Super Bowl party and I love Dave Grohls commercial and Rihanna is amazing. That’s it. That’s the post.

Goodnight everyone!

[yes-my-paladin]

if I found out my husband or father not only fathered a whole ass child with someone else outside of marriage but also announced it to the whole world so fucking nonchalantly like that, I'd lose my goddamn MIND.

[s1eep-o]

Hey! Hope your having a good day!! I was wondering if you could do something with a Dave Grohl (early foo fighters) x sunshine fem reader who’s also the lead singer of a band? Like they meet and she doesn’t realize who his is but he’s freaking out inside? Just some cute fluff. Sorry if that’s too much!!

-🔮

AHHH I LOVE THIS IDEA *smooches your head*

A/N: OMG i am so sorry this came out so late! i have been so lazy and i didn't know what i should write, but hopefully this checks your boxes on you list!

warnings: cursing, smoking (brief mention), and drinking (brief mention). inform me if there are more.

pairing: earlyff!dave grohl x leadsinger!sunshine!fem!reader. ( i don’t rlly like the y/n thing so i gave her a name if ya don’t mind)

It was 1998 and the Foo Fighters were attending a music festival to promote their newest album, The Colour and the Shape. All the bands and their tour buses have just arrived at the festival grounds and a young Dave Grohl was exploring the place when he saw her, “Oh my god..” but before he could get a chance to say hi, you were gone. He practically ran back to the bus, “Oh my god, T. You will not believe who I just saw.” Taylor was lounging on the couch, “Huh?” He answered groggily, “Aurora fucking Sparks, the lead singer from Velvet Ecstasy!” He was basically jumping up and down like a little child.

Taylor jumped from his spot on the couch, “You’re fucking joking Dave.” Taylor said in disbelief, “T you gotta believe me, man. Let’s go look for her dude!” He grabbed Taylor’s shoulders and started shaking him. “Who knows, maybe you could even get her number. I heard they’re rehearsing right now.” Taylor smirked and wiggled his eyebrows at his friend while they exited the bus.

“Okay good work, I think we should just turn up Donny’s mic up a little and it’ll be perfect.” Aurora said to the band, she looked off to the side looking for a stage tech but instead saw a brunette and a blonde watching the band. She walked over to the pair and noticed how they were completely starstruck, “Hey, I’m Aurora. Are you guys the stage techs?” She asked with a soft smile. “No we’re uhm actually in a band.. we just came to watch- we’re huge fans.” Dave said nervously, basically stumbling over all his words. “Oh! Well thank you, what’s your band name?” Dave was so shocked about having a conversation with her that he was silent so Taylor had so speak up, “What he’s trying to say is that we’re in a band called Foo Fighters, we’re actually promoting our second album!” Taylor told her enthusiastically, “Wow, Foo Fighters? I think you guys are actually opening for us!” She replied.

Later that night.

“Calm down Dave, we’ve done this a bunch of times.” Pat told him, putting a hand on his shoulder as an attempt to calm his nerves. "It's not his performance that's making him nervous," Chris piped up "It's who's watching." This earned a laugh from the rest of the boys except for Dave. "You guys are up." A stage tech came by and informed the group, they all got up and came together in a small circle and all mumbled a little goodluck prayer.

"We are Foo Fighters and this is a song from our new album!" All the nerves Dave previously had dissipated, being on the stage made him feel amazing. Little did he know he also had that same effect on those who watched. From the side of the stage Aurora watched in awe, "Rory, what are ya doin man- we're doing our pre-concert ritual!" Her bandmate, Hannah yelled at her over the music. "Sorry Han, I got a little distracted. I'll be right there!."

"Hey guys!" Aurora said, out of breath standing in the doorway of the green room. "Look who decided to show up!" Donny said from the leather couch, "Someone was a little distracted by the opening band, eh?" Ricky chuckled. "To be fair, they are really good! I'm surprised I've never heard of them before.." Aurora said as she picked up her guitar and plopped down onto the couch. Strumming some chords on the guitar as the band was having a normal conversation, "So Aurora, you and Grohl, huh?" Ricky asked, "Me and Grohl? What do ya mean Ricky?” Aurora asked curiously, “Oh cmon Rory, I saw how you were ogling him just now!” Hannah exasperated. “Hey man, if ya ever get close you should hook me up with one of his bandmates.” she joked as she got close to Auroras face, “No way man!” Aurora replied, sticking her tongue out.

“Hey you guys are up.” said one of the stage directors. The band all stood in a small circle and put their hands into the center of the circle, letting out a little holler before leaving the room. Everyone was on stage, Aurora began to walk up the steps to join them, but someone grabbed her arm. "Uh- hey Rory, is that okay if I call you Rory?" Dave stammered out, Aurora just smiled sweetly and gave him a curt nod. "Well, Rory- good luch out there! You probably don't need it but, yeah." He replied, trying to seem as chill as possible. "Thank you, Dave!" Rory shouted out over the cheers and made her way up the stairs to join the band.

"That was hil-ar-i-ous, dude!" Taylor said to Dave the second he walked back over to the band, "Man. I never seen you like that with a girl before." he continued, playfully slapping Daves shoulder. "Shut up, Hawkins." Dave muttered, plopping down onto a nearby couch. "Alright dude," Taylor said, raising his hands in mock surrender, "All I'm gonna say is that you should so ask her out tonight." he said plopping down next to Dave.

"Thank you so much everyone, it was amazing to perform for you all. Till next time, see ya!" Aurora shouted through the mic and began to walk off the stage, followed by the rest of the band, heading straight to the snack bar. "Hell yeah, they made us sandwiches!" Hannah pumped her fist in the air and went to grab a sandwich from the table. "Pace yourself Han, don't want a stomach ache tonight." Donny joked, also grabbing a sandwich. Rory just grabbed a water bottle and some chips, heading to the seating area with Ricky.

"Hey Aurora, over here!" someone shouts her name and she turns to look towards the voice to see the Foos sitting at a couch and drinking, "I'm gonna go head over there, you think you can goback to the snack bar and bring the rest of the band over here, please?" She turned back to her side and asked her bandmate Ricky, who gave her a quick thumbs up before turning back to the snack bar.

"Howdy guys!" Rory walked over to the couches and plopped down to sit next to Dave, "Hey Dave!" she says, smiling at the nervous boy. "Hi Rory. You did really great up there, you looked very pretty, too." He said nervously, rubbing the back of his neck and looking at his shoes. Pat snickered from where he stood with Taylor, "Aw, thank you Dave. I really appreciate it, and if we're throwing out compliments.. you looked very handsome earlier." Dave immediately began to burn up, "Thank you.." He replied, finally looking into her eyes, "I've been meaning to ask-" he quickly gets cut off by Donny, "Heyo! The party has officially arrived lame-os!." He shouted, putting his arm around Nates shoudler. Ricky and Hannah came from behind him, arm in arm, "Let's bounce ya'll, we're hitting up the karaoke bar!"

A bunch of shots later, at the karaoke bar

Taylor and Donny we're screaming out the lyrics of the song Don't Stop Believin very drunkinly, causing the both the bands to double over in laughter. Rory grabbed her drink and finished off what little remained, "Hey Dave?" she called out to him who sat at the other end of the table of her, "You wanna go for a smoke with me?" She asked, her dreamy smile and glimmering eyes catching the tipsy Dave off guard, almost sobering him up completely. "Sure!" he replied, getting up from his end of the table and walking over to the still sitting Aurora. Standing up from her seat she linked her arms with Dave, resting her head on his shoulder and slowly walking outside. The loud singing coming from Donny and Taylor dying down as the pair walked out into the crisp air.

Quickly unlinking their arms to grab a smoke and a lighter, Rory lights it and looks at a mesmerized Dave, smiling sweetly at him when the two make eye contact. "You were asking me something earlier?" she questioned him, "before Donny cut you off." she added, giggling lightly. "Oh! Yeah.. well, I was going to ask you if you wanted to go out tonight, but seeing as we all ended up at a karaoke bar, I don't think that's possible anymore.." he replied quietly. Rory was a little taken aback, her face dropping, but she quickly smiled again and walked over to Dave, throwing her cigarette to the ground. "Who says we can't ditch these losers and go on our own date?" she suggests, grabbing his hand and holding it in hers.

The pair ended up on the swings of an old playground, talking about everything and nothing. Rory was rambling on about something, when she noticed she wasn't recieving any quips from Dave she turned to look at him, noticing how he was admiring her in the pale moonlight. "S-sorry.. you just look so beautiful." he says quietly, glancing down to her lips, "Can I?" he whispers, Rory nods and leans just a bit closer to Dave, he reciprocates her actions and slowly he closes the gap and kisses her softly, holding her face. Kissing him back, Rory places her hand on the back of his neck, the kiss is quickly broken when there is a loud snap of a twig. "Damn it, Donny!" Taylor shouts at him and smacks him, "Ow! What the heck, Tay!" Donny shouts back, the pair ended up on the ground wrestling each other. Rory and Dave just look at each other and burst out in laughter.

A/N: hey ya'll i tried to get this out as quickly as i could so there may be a few mistakes, or a lot.. anyways!!

[alanangels]

Love this interview from Josh. He's such an awesome dude😊

@heehawkins

[ridethehammett]

I COULD TALK ABOUT THIS FOREVER!

obviously kirk hammett 🩷

there’s so many reasons why i love him. he’s super sweet and caring and i relate so much to him because we share a lot of the same experiences. my father would play metallica frequently when i was a child, and his favorite song was enter sandman. i loved this song growing up, but this year when i saw who was playing the badass guitar solo i would pretend to play with my air guitar, i was like oh my god he’s fucking beautiful. i kid you not the whole reason i dug deep into metallica and discovered more about metal in the first place is because an edit of kirk popped up on my fyp!! i just love genuine people and he certainly is one!! probably my favorite rock star of all time i love my husband!! 🫶🏾

dave grohl 🩷

i really forgot how i got into him it just happened. i think it’s because i was like “wait that’s dave from nirvana, he’s the lead singer of foo fighters wtf!?”but i love his personality so much, he’s so strong. it really hit me with everything he went through, losing the people important in his life and still he kept pushing and helps out others. he’s just very selfless and i love him to pieces. AND HE’S SO CUTE LOOK AT HIM!!

sebastian bach 🩷

WOOO JESUS. okay. i was scrolling through pinterest one day and saw this man because i discovered rachel bolan existed and he was in a picture with him. i was like sorry rachel, but your friend is way hotter LMFAO. so the more i looked at him i was like wow i need him. i started looking at videos and interviews of him and i fell in love with his personality! he’s so fucking funny, also the whole reason he got kicked out of skid row is fucking insane and i love seb so much.

chris cornell 🩷

oh jesus, okay. i love chris because you can hear the passion of music in his songs. when i was younger in elementary school my dad would play soundgarden a lot too, his favorite song being black hole sun. i didn’t understand why i felt the way i felt listening to this song being that i was only a kid, but it did something to me. growing up i found myself going back to that song and the more i grew up the more i understood why i felt that way and why my feelings towards that song increased. chris is such a creative mind and i miss him and his beautiful smile dearly.

cliff burton 🩷

i’m sorry to make y’all cry back to back (also this picture i love it so much bye)

but cliff…oh god. when i first really got into metallica i didn’t know he passed. i was just so attracted to his “don’t give a fuck, society is fake” attitude because that’s kinda how i am. he was himself regardless of what anyone else thought and his smile just always made me happy. and oh my god he’s so talented. but he was just there to live life and do what he enjoyed and i admired that so much.

THANK YOU IF YOU MADE IT THIS FAR I LOVE YOU AND IM SORRY IF THIS IS A LOT!! 🩷

@gogobo0ts THANKS DEAR! 🫶🏾

[cyarskj1899]

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OPINION: Kanye let his antisemitism DESTROY his net worth

OPINION2 WEEKS AGO

OPINION: Kanye let his antisemitism DESTROY his net worth

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‘Cause karma is my boyfriend

Karma is a god

Karma is the breeze in my hair on the weekend

Karma’s a relaxing thought

But for you, it’s not sweet like honey

Karma is a cat purring in my lap ’cause it loves me

Flexing like a goddamn acrobat

Me and karma vibe like that

–Taylor Swift, who’s had her share of beefs with Kanye West, “Karma”

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Started: “I can say anti-Semitic s—- and Adidas cannot drop me,” said Ye (his legal name now) on the Drink Champs podcast earlier this month. Ye had worked with Adidas since 2013 on his Yeezy line of super expensive, super popular sneakers, and thought he was untouchable like most overpaid, over-indulged “artists.”

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Going, as of Tuesday:

“Immediately” in adidas-speak translates to “a couple of weeks of silence after we originally said we’d review our relationship with Kanye because we had a whole lot of money numbers to crunch.” Karma comes in various guises, and she often travels with her equally stealthy pal, schadenfreude. What you put out there WILL come back to you, even if it does take adidas a full nineteen days to make it happen.

Adidas didn’t drop Kanye West to stand against anti-semitism.

They dropped him because their stock was falling hard and an analyst told them to in order to salvage their stock value they needed to drop him.

Nothing heroic about what they did.

— Tony Posnanski (@tonyposnanski) October 25, 2022

It’s been reported that adidas got an estimated 4% to 8% of its sales from Yeezy products, according to investment bank Cowen. For Ye, it was an even bigger deal, accounting for $1.5 billion of his net worth. But I mean, what’s a Jewish life worth to a sneaker company founded by anti-Semites?

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Wow hope this widely available information about the Nazi origins of @adidas doesn’t go viral and cause a massive international boycott in light of their recent silence in the face of violent antisemitism by their partner Kanye West. pic.twitter.com/LTPsKGHYzg

— Bess Kalb (@bessbell) October 24, 2022

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We’d been seeing accountability for Kanye’s hate speech from plenty of others before adidas finally made its announcement Tuesday morning. Gap, Balenciaga, and Vogue Magazine all announced they were cutting ties with Ye. And now Forbes joins them by dropping him from their Billionaires’ List.

Kanye West is no longer a billionaire after Adidas cut ties with him, Forbes reports.

His loss of Adidas has caused his net worth to plummet to $400 million and he is no longer on the Forbes billionaire list. pic.twitter.com/8SzyQqJVjC

— Pop Base (@PopBase) October 25, 2022

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Hopefully, more artists and sportsball people will end their own relationships with adidas. They only did right by themselves, and the last time I checked, there are other companies that make sneakers and track pants. BYE, YE!

Tara Dublin is a woefully underappreciated and unrepresented writer currently shopping a super cool novel that has nothing to do with politics while also fighting fascism on the daily.

Follow her on Twitter @taradublinrocks.

Editor’s note: This is an opinion column that solely reflects the opinions of the author.

TARA DUBLIN

TARA DUBLIN IS A WOEFULLY UNREPRESENTED WRITER WHO THINKS MORE PEOPLE WOULD READ HER COOL ROCK & ROLL LOVE STORY INSPIRED BY DAVE GROHL THAN ANY GHOSTWRITTEN GOP CRAPBOOK, AGENTS & PUBLISHERS. FOLLOW TARA ON TWITTER @TARADUBLINROCKS

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Sent from my iPhone

[nightcoremoon]

i don’t give a fuck if millionaire celebrities have affairs. i literally actually genuinely do not care.

there are enough white supremacists and child molesters and tax evaders in the music industry that the bar is so low. it’s so fucking low. people only pretend to care about dave grohl and jay z because the internet tells them to. nobody has ever said anything on chester bennington’s affair and rightly so because you shouldn’t care about the personal lives of people who you are never going to rub elbows with. if you marry a famous singer, you sign the contract that you fully expect to be cheated on, THAT’S JUST LIFE. get over it. you’ll continue to give money to actual nazis while shitting all over people who listen to the artists you virtue signal boycott because wow look at you you’re so cool and in the know and everybody should be like you. you’re not moralistic because you pretend to care about the personal lives of the rich and powerful. you treat your peers like shit and expect to be applauded by strangers; you are a bigger problem with society than Rock Singers having sex with groupies. as long as those groupies are 18+ I don’t give a shit. dave grohl and jay z and chester bennington can fuck as many women as they want and I’ll still love the foo fighters and linkin park.

[want2belikegracekelly]

The Diddler and other stories

I'm back dah-lings

It's mid September and alot of things have happened and so I shall begin with the arrest by the (actual) Feds of Brother Love. Wow it get's better the ninja just got denied bail. Even after he diabolically offered a 50 M bond. how much evil money does this guy have. it's quiet all over celebrity land as the indictment was unsealed and the government confirmed there was videos. So DIddy Evil or Sean Johnson n' Johnson (1000 bottles of baby oil is beyond narsty sir!! its fcken diabolical)

is wearing the orange jumpsuit in fed jail awaiting his next court hearing. I know all them attendees of the "freak offs" needing IV transfusions coz the sessions be so back-to-back are all wondering am I next on the meet the Feds? I feel that this mans need to be under the jail. For all those caught up in his evil web may your freedom be soon and may your peace be abundant.

I will never be able to articulate the fact that black women survivors are rarely believed and that a video of an egregious act had to surface for y'all to believe that brother Love was a monster. May he get all the years

Onto other stories, so this couple of weeks have been hard for the women who have been putting trust in ninjas. all I have to say to you is you have got to listen to the prophetic message of sister Khia when the she said Don't Trust No Niggaz

It all began when everybody was shocked when Dave Grohl had a baby on his wife after 21 years of marriage. Gworls were crying, vomiting, losing their damn breath but since i have been on the words of Khia I knew "you put your trust in a nigga? Stupid ho, how you figure He won't fuck your best friend and your sister? lie to ya, a-then screw ya" so 21 years hasn't changed who he is inside

the were still trusting in some British podcaster whose platform is mainly black women and they went to a white very racist podcasters show in USof A to keke with him. Shucking and jiving to derogatory stereotypes of black women, Nigerians and Muslims. My brothers just sat there and got dog walked on a podcast laughing at themselves. that white boy played you like a fiddle and laughed at you. we knew you were for the snow but to just sit there and take it like that, bruh STAND the FUCK UP!!!

but to say fight or flight in your apology. both you dudes was bigger than that guy and could have made his ass uncomfortable with just a "What do you mean by that?" make everybody uncomfortable.

but now you know Khia wasn't lying!!!

(also to say you didn't find a hot babe in ATL we know you fucking lying!)

so, before you go forgiving them coz of that weak ass apology remember Khia's words " Oh, you forgave him, ho? Dumb, silly ho That nigga don't mean you no good"

What I'm trying to put across to all you ladies with list of "non-problematic " men including Chosen running mate Tim you had better decenter these men from your lives, free yourself, stay knowing it could all blow up in your face coz good men also be benefiting from the systems of oppression. Hope for the best on your list sis but anything can change

Finally, I remember wondering how extremely racist DT campaign was going to be and I must say, final boss racist statements were not on my bingo card. to have the audacity to say immigrants are eating pets. Wow! Turns out some Karen in Ohio wrote this in her Facebook post and the thing caught traction. Now schools be closing early in Ohio due to death threats all on the backdrop of white woman lies! JD I fuck couches guy even has the gall to say they will make up lies to get people to listen. The brown woman who bore your kids must be one of them self-hating ones. this also applies to all the black and brown people descendants of immigrants voting for this man. you gotta hate yourself alot to think racist whitpypo will be salvation!

I can't help you see the truth but imma just leave it at how long will they play in your face before you stop licking them boots. As for the whites riding with this madness, under the banner of God's chosen or saving America, I never fucked with you, never will and stay losing forever!!

It will always be black women, believe black women, black women are beautiful up in here

[beforethepoison]

Like what’s something pop culture related that you constantly think about?

wow....Thats a very interesting question! I am not sure if I am going to answer what you want me to answer. Ok, Pop Culture that I'm constantly thinking about: The Beatles, Friends (The TV show) , The Office, Paul McCartney, Alexa Chung, Metallica, Arctic Monkeys, Alexandra Savior ( I created a tumblr for her) , Mia Goth (I even created a tumblr for her), AMY ADAMS!!!!!!LOIS LANE (specially if is Amy's). I am into some girls like Jane Birkin, Brigitte Bardot, Audrey Hepburn, Eartha Kitt, Nina Simone, Aretha Franklin, Anna Karina, Patty Boyd.

Also alot of Brazilian culture stuff: The architect Mauricio Arruda, Pão de Queijo (its a brazilian food. Its great!), Brigadeiro and Churros (sweets). And music like artists like Céu (I am wearing her merch right now lol) , Elza Soares, Rita Lee, Djavan, Chico Buarque, Caetano Veloso, Milton Nascimento (I am into their songs). I was just now listening to the record Clube da Esquina which was a HUGE record for the brazilian music.,

I think it's easier to say what I don't think about about at ALL. Sorry: I dont think about Taylor Swift, Harry Styles, Teenage Tv Shows such as American Horror Story, Stranger things, Black Mirror, Justin Bieber, Jonas Brothers, anything about Disney, Nickelodeon...Sweeney Sidney (I dont know if this is right. That blonde girl), that Glew guy....Whats the name of the Wednesday girl?Jenna Ortega (Ok, maybe this one I think about sometimes because I relate to her because of the eyes and hair). I dont ever think about Anya Taylor Joy because...I dont know I dont think she is interesting to me. TO ME (for other people she may is). I dont ever think about that Thimothee guy. I dont ever think about Keanu Reeves or River Phoenix. I dont ever think about Lily Rose Depp. (BUT I DO SEARCH some pics of her mom because i think its very nostalgic some how?? and I wish I had her mother's problems when she was young).

I guess this a ok answer I guess.

BUT.I just created the now and then....the so-so list of artists that I think...Now and then...or so-so...

Selena Gomez

Lupita Nyong'O

Jessica Chastain

Bella Hadid (I think so...I wish she has more selfies. Why people are getting so fucking professional in instagrams... is missing all the fun!)

Angelina Jolie

Jennifer Aniston

Jolie kids

Shakira

Riri

Dave Grohl

Joaquin Phoenix e ROONEY MARA (specially her. The thing about her, is that I think is very lovely but she is a bit boring and closed person so we dont get to know her on interviews...Its very frustrating cause I wish I was her friend lol)

Margareth Qualley (I like her a lot!)

FKA Twigs. ( I basically support all the ladies victims of Shia LaShit*)

Karolyn Pho

Sometimes I think about Louise Verneuil.

I guess this is getting longer as fuck

sorrYy anon!. But here it is!

thank you so much for your creative question <3

[lost-highwayy]

Hi!! I fully understand for the late replies!! It's finals for me right now so I fully understand about being busy! I'm gonna listen to Long Cold Winter over the weekend! They're cute, right!? Tbh I found pendulum reading simple to do! If you like when I reveal myself I can teach you! That's so cool! What songs do you know how to play? You can find the Anne of Green Gables books in used or local bookstores! A national holiday we have here is Boxing Day which is the day after Christmas, shopping deals pretty much! All of that sounds amazing! Oh wow! Which band did you see three times this year!? I saw Guns N' Roses back in September and the Pretenders opened for them! No idea who I'm seeing next year yet. Ah for books: Anne of Green Gables by L.M. Montgomery, The Storyteller by Dave Grohl, Percy Jackson by Rick Riordan, The Wonderful Wizard of Oz by Frank L. Baum, and The Hunger Games by Susanne Collins. I have a pet pug named Jasmine! Movies: The Wizard of Oz, Star Wars, Beauty and the Beast, The Hunger Games, and the Lord of the Rings. Do you have any pets? What are your top five bands and albums? - Secret Santa 🔮

Hi! Oh, I wish you good luck and hope you can relax!

Jake reminds me of a young Jimmy Page in some of the photos and I definitely like it even more because I love Led Zeppelin. And I’ll glad if you can teach me!

I’ll definitely buy this book before Christmas! I can play a couple of Cinderella songs, songs from The Wall by Pink Floyd, and I'm trying to learn something from GNR. Boxing Day is definitely the best day for shopping haha. Oh, I went to concerts of a local band, I believe that now they are known only in the post-USSR countries, but in the 90s a member of this group as part of another group received an award from the hands of drummer Bon Jovi for the best-selling album lol. Omg!! The GNR concert is great, I was at a concert a couple of years ago, but now it's especially exciting because of the new singles. Btw, how do you like Perhaps and The General?

Wow! I really like your top books! Dave's book is really cool. I've only read a couple of chapters so far, but I'm thrilled. Oh pug Jasmine, I hope to see her! I have two cats, Gina and Tom and their photos!!

My Top 5 bands are Guns N Roses, Led Zeppelin, Metallica, Cinderella and Pink Floyd.

Top 5 albums:

Guns N Roses - Chinese Democracy

Aerosmith - Nine Lives

Led Zeppelin - Physical Graffiti

Bon Jovi - Keep The Faith

Warrant - Dog Eat Dog

What about you?

🎄Which countries/cities would you like to visit and why?

🎄Which band that doesn't exist right now would you like to go to a concert?

🎄 When traveling, do you prefer to see famous sights or explore a place on your own?

[lindsaywesker]

Good morning! I hope you slept well and feel rested? Currently sitting at my desk, in my study, attired only in my blue towelling robe, enjoying my first cuppa of the day. Welcome to the weekend!

Wow! Here we are again: Friday! Where did that week go? No, seriously, where did that week go?

You’re probably hearing the term ‘artificial intelligence’ a lot, and lots of people are probably trying to scare you by saying that, fairly soon, artificial intelligence a.k.a. robots will take over. At present, lazy students are using A.I. to write their essays and cynical business men (people like Spotify) are using A.I. to make music. Oh, make no mistake, it’s definitely artificial and it’s definitely intelligent but it’s NOT going to replace real talent! The great artists of our lifetime (writers, actors, songwriters, musicians, singers etc.) have that essential spark of magic that no machine will ever have. You really think A.I. will create a Stevie Wonder song like ‘Sir Duke’ or a Bob Marley composition like ‘Redemption Song’? What they’re doing right now is feeding Stevie songs into a computer and getting the computer to write like Stevie. The computer may be able to write like Stevie but real artists are unpredictable and machines are not. Creative people like Stevie or Pharrell or Dave Grohl or Jacob Collier innovate. A computer will never innovate. A.I. might be able to replace some musicians but NOT the truly great ones!

It might sound weird but … I love my house. When it’s cold outside, I love stepping into my house. It’s small and warm and cute (like me) but, above everything else, it’s a home. There’s space for us to eat, space for us to socialise, and room for friends or relatives to crash out! Burt Bacharach and Hal David wrote, “A house is not a home when there's no one there to hold you tight, and no one there you can kiss good night.” Well, some single people might disagree (because they get their love somewhere else) but it’s another line from another great song co-written by the great Burt Bacharach, who sadly died on Wednesday aged 94.

In a way, Dionne Warwick was the first black music artist to have a profound impact on me. My mum used to play her all the time. I knew all the words and we would sing along. I had no idea who wrote the songs. I later found out they were written by two Jewish white guys called Hal David and Burt Bacharach. I didn’t know where San Jose was but I really wanted to go. Burt’s catalogue is absolutely stunning. So many people have covered his songs! Hope you can join me tomorrow at 1.00 p.m. for ‘The A-Z Of Mi-Soul Music’. It’s going to be a very special show.

Have a fabulous and funky Friday! I love you all. You’re probably thinking, “You don’t even know me!” but, if people can hate for no reason, why can’t I love?

[thisislizheather]

The Storyteller: Tales of Life and Music By Dave Grohl - A Review

It’s a well known fact that I intensely love Dave Grohl. Always have, always will. Whatever he does, I will support. I’m a little shocked that it took me so long to finally read his memoir, but here we are! Favourite parts ahead.

“DNA is a miraculous thing. We all carry traits of people we have never met somewhere deep within our chemistry. I’m no scientist, but I believe that my musical abilities are proof of this. There is no divine intervention here. This is flesh and blood. This is something that comes from the inside out.”

“From my first tour at the age of eighteen, I always loved traveling to Canada. The has was good, the girls were cute, and the shows were consistently wild. Canadians are fucking awesome. Laid-back, genuine, and funny as hell. I defy anyone to walk one city block without making a fast friend in Canada.”

And speaking of Canada, I absolutely love the fact that he met and played with Iggy Pop at the goddam Rivoli of all places.

The story where he breaks his leg during a show is incredible.

He spoke so high of the Ring of Kerry in Ireland that I looked it up and wow. Putting it on the travel list.

He mentioned how his mom wrote a book (with contributions from others) called From Cradle To Stage: Stories from the Mothers Who Rocked and Raised Rock Stars that sounds great and I really want to read next. They also appears to be a series??

One of the post-show meals he kept mentioned? KFC chicken and champagne. And I mean, it honestly sounds just gross enough to be fantastic.

Obviously this was published after Taylor Hawkins passed away, so I can’t imagine how hard that must have been for his to go through since he talks about him so lovingly throughout the whole book. Honestly, just such a great read.

[geo-bby]

Ahhhhh hi it's secret santa again sorry I disappeared. I am feeling so exhausted right now and I have a busy weekend coming up but I didn't want to leave you hanging so here's a mini message until I can respond properly in a couple days!

I don't know much about the Monkees, tell me about Peter Tork and why he's your favorite! And what makes him strange hehe. I don't know too much about Dave Grohl either, but I think I've seen that he and Ringo are friends so that's pretty neat!

Omg I've never seen those pictures of Paul before, he's so goofy I love it. I love that one super tall hat in the second picture ahaha!

I'll talk about my favorite members of bands and listen to those songs you linked when I have more time, but I swear I *will* get to them! But ooh what's your favorite tv show?? What types of shows do you like to watch?

Sorry again for the delay, I will be back stronger and more Santa-y than ever very soon!!

no worries at all!! i totally understand, don’t stress yourself 💞🌟

so this is peter:)

he’s my favorite because he was definitely the most unique monkee… he was very interested in eastern religion, something i also find very fascinating!! he was the most “hippie-ish” of the monkees.. if that makes any sense hahaha.

he was the goofiest monkee on the show, he’s often referred to as the “ringo of the group”, but in real life, he was probably the deepest thinker of the four. he was very open about who he was, even though a lot of his ideologies and beliefs were somewhat controversial at the time, and i love that!!

and dave grohl is awesome!!! he was the drummer for nirvana, and later became the lead singer of foo fighters :). he is friends with ringo!! and paul mccartney is also a friend of his, i believe he’s dave grohl’s daughter’s piano teacher.

and my favorite show is it’s always sunny in philadelphia… a pretty dark humored show— it isn’t for everyone! 😅 and i love all types of shows!! some of my other favorites are breaking bad, the office, american horror story, and stranger things. (wow, i’m just now realizing how “basic” my taste in shows is haahaha) but yeah :)

and again, no worries!! i look forward to more santa-isms in the near future!!

[path-of-my-childhood]

Musicians On Musicians: Paul McCartney & Taylor Swift

By: Patrick Doyle for Rolling Stone Date: November 13th 2020

On songwriting secrets, making albums at home, and what they’ve learned during the pandemic.

Taylor Swift arrived early to Paul McCartney’s London office in October, “mask on, brimming with excitement.” “I mostly work from home these days,” she writes about that day, “and today feels like a rare school field trip that you actually want to go on.”

Swift showed up without a team, doing her own hair and makeup. In addition to being two of the most famous pop songwriters in the world, Swift and McCartney have spent the past year on similar journeys. McCartney, isolated at home in the U.K., recorded McCartney III. Like his first solo album, in 1970, he played nearly all of the instruments himself, resulting in some of his most wildly ambitious songs in a long time. Swift also took some new chances, writing over email with the National’s Aaron Dessner and recording the raw Folklore, which abandons arena pop entirely in favor of rich character songs. It’s the bestselling album of 2020.

Swift listened to McCartney III as she prepared for today’s conversation; McCartney delved into Folkore. Before the photo shoot, Swift caught up with his daughters Mary (who would be photographing them) and Stella (who designed Swift’s clothes; the two are close friends). “I’ve met Paul a few times, mostly onstage at parties, but we’ll get to that later,” Swift writes. “Soon he walks in with his wife, Nancy. They’re a sunny and playful pair, and I immediately feel like this will be a good day. During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. We walk into his office for a chat, and after I make a nervous request, Paul is kind enough to handwrite my favorite lyric of his and sign it. He makes a joke about me selling it, and I laugh because it’s something I know I’ll cherish for the rest of my life. That’s around the time when we start talking about music.”

Taylor Swift: I think it’s important to note that if this year had gone the way that we thought it was going to go, you and I would have played Glastonbury this year, and instead, you and I both made albums in isolation.

Paul McCartney: Yeah!

Swift: And I remember thinking it would have been so much fun because the times that I’ve run into you, I correlate with being some of the most fun nights of my life. I was at a party with you, when everybody just started playing music. And it was Dave Grohl playing, and you...

McCartney: You were playing one of his songs, weren’t you?

Swift: Yes, I was playing his song called “Best of You,” but I was playing it on piano, and he didn’t recognize it until about halfway through. I just remember thinking, “Are you the catalyst for the most fun times ever?” Is it your willingness to get up and play music that makes everyone feel like this is a thing that can happen tonight?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very... Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice... I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: I listened to your new record. And I loved a lot of things about it, but it really did feel like kind of a flex to write, produce, and play every instrument on every track. To me, that’s like flexing a muscle and saying, “I can do all this on my own if I have to.”

McCartney: Well, I don’t think like that, I must admit. I just picked up some of these instruments over the years. We had a piano at home that my dad played, so I picked around on that. I wrote the melody to “When I’m 64” when I was, you know, a teenager.

Swift: Wow.

McCartney: When the Beatles went to Hamburg, there were always drum kits knocking around, so when there was a quiet moment, I’d say, “Do you mind if I have a knock around?” So I was able to practice, you know, without practicing. That’s why I play right-handed. Guitar was just the first instrument I got. Guitar turned to bass; it also turned into ukulele, mandolin. Suddenly, it’s like, “Wow,” but it’s really only two or three instruments.

Swift: Well, I think that’s downplaying it a little bit. In my mind, it came with a visual of you being in the country, kind of absorbing the sort of do-it-yourself [quality] that has had to come with the quarantine and this pandemic. I found that I’ve adapted a do-it-yourself mentality to a lot of things in my career that I used to outsource.  I’m just wondering what a day of recording in the pandemic looked like for you.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music - I had to do an instrumental for a film thing - so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas... “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

So when lockdown happened, I was in L.A., and we kind of got stuck there. It’s not a terrible place to be stuck. We were there for four months maybe, and during that time, I sent an email to Aaron Dessner and I said, “Do you think you would want to work during this time? Because my brain is all scrambled, and I need to make something, even if we’re just kind of making songs that we don’t know what will happen...”

McCartney: Yeah, that was the thing. You could do stuff -  you didn’t really worry it was going to turn into anything.

Swift: Yeah, and it turned out he had been writing instrumental tracks to keep from absolutely going crazy during the pandemic as well, so he sends me this file of probably 30 instrumentals, and the first one I opened ended up being a song called “Cardigan,” and it really happened rapid-fire like that. He’d send me a track; he’d make new tracks, add to the folder; I would write the entire top line for a song, and he wouldn’t know what the song would be about, what it was going to be called, where I was going to put the chorus. I had originally thought, “Maybe I’ll make an album in the next year, and put it out in January or something,” but it ended up being done and we put it out in July. And I just thought there are no rules anymore, because I used to put all these parameters on myself, like, “How will this song sound in a stadium? How will this song sound on radio?” If you take away all the parameters, what do you make? And I guess the answer is Folklore.

McCartney: And it’s more music for yourself than music that’s got to go do a job. My thing was similar to that: After having done this little bit of film music, I had a lot of stuff that I had been working on, but I’d said, “I’m just going home now,” and it’d be left half-finished. So I just started saying, “Well, what about that? I never finished that.” So we’d pull it out, and we said, “Oh, well, this could be good.” And because it didn’t have to amount to anything, I would say, “Ah, I really want to do tape loops. I don’t care if they fit on this song, I just want to do some.” So I go and make some tape loops, and put them in the song, just really trying to do stuff that I fancy.

I had no idea it would end up as an album; I may have been a bit less indulgent, but if a track was eight minutes long, to tell you the truth, what I thought was, “I’ll be taking it home tonight, Mary will be cooking, the grandkids will all be there running around, and someone, maybe Simon, Mary’s husband, is going to say, ‘What did you do today?’ And I’m going to go, ‘Oh,’ and then get my phone and play it for them.” So this became the ritual.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

McCartney: Yeah, well, this was being done in 2020, and I didn’t really think about it. I think everyone expected great things of 2020. “It’s gonna be great! Look at that number! 2020! Auspicious!” Then suddenly Covid hit, and it was like, “That’s gonna be auspicious all right, but maybe for the wrong reasons.” Someone said to me, “Well, you put out McCartney right after the Beatles broke up, and that was 1970, and then you did McCartney II in 1980.” And I said, “Oh, I’m going to release this in 2020 just for whatever you call it, the numerology...”

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13... 89 is a big one. I have a few others that I find...

McCartney: Thirteen is lucky for some.

Swift: Yeah, it’s lucky for me. It’s my birthday. It’s all these weird coincidences of good things that have happened. Now, when I see it places, I look at it as a sign that things are going the way they’re supposed to. They may not be good now, they could be painful now, but things are on a track. I don’t know, I love the numerology.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s...

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Yeah, one of my favorite artists, Bon Iver, he has this thing with the number 22. But I was also wondering: You have always kind of seeked out a band or a communal atmosphere with like, you know, the Beatles and Wings, and then Egypt Station. I thought it was interesting when I realized you had made a record with no one else. I just wondered, did that feel natural?

McCartney: It’s one of the things I’ve done. Like with McCartney, because the Beatles had broken up, there was no alternative but to get a drum kit at home, get a guitar, get an amp, get a bass, and just make something for myself. So on that album, which I didn’t really expect to do very well, I don’t think it did. But people sort of say, “I like that. It was a very casual album.” It didn’t really have to mean anything. So I’ve done that, the play-everything-myself thing. And then I discovered synths and stuff, and sequencers, so I had a few of those at home. I just thought I’m going to play around with this and record it, so that became McCartney II. But it’s a thing I do. Certain people can do it. Stevie Wonder can do it. Stevie Winwood, I believe, has done it. So there are certain people quite like that.

When you’re working with someone else, you have to worry about their variances. Whereas your own variance, you kind of know it. It’s just something I’ve grown to like. Once you can do it, it becomes a little bit addictive. I actually made some records under the name the Fireman.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us]... We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper...” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

Swift: Yeah, I think, when a pseudonym comes in is when you still have a love for making the work and you don’t want the work to become overshadowed by this thing that’s been built around you, based on what people know about you. And that’s when it’s really fun to create fake names and write under them.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: I think it is now, but it wasn’t. I wrote under the name Nils Sjöberg because those are two of the most popular names of Swedish males. I wrote this song called “This Is What You Came For” that Rihanna ended up singing. And nobody knew for a while. I remembered always hearing that when Prince wrote “Manic Monday,” they didn’t reveal it for a couple of months.

McCartney: Yeah, it also proves you can do something without the fame tag. I did something for Peter and Gordon; my girlfriend’s brother and his mate were in a band called Peter and Gordon. And I used to write under the name Bernard Webb.

Swift: [Laughs.] That’s a good one! I love it.

McCartney: As Americans call it, Ber-nard Webb. I did the Fireman thing. I worked with a producer, a guy called Youth, who’s this real cool dude. We got along great. He did a mix for me early on, and we got friendly. I would just go into the studio, and he would say, “Hey, what about this groove?” and he’d just made me have a little groove going. He’d say, “You ought to put some bass on it. Put some drums on it.” I’d just spend the whole day putting stuff on it. And we’d make these tracks, and nobody knew who Fireman was for a while. We must have sold all of 15 copies.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

Swift: I think it’s so cool that you do projects that are just for you. Because I went with my family to see you in concert in 2010 or 2011, and the thing I took away from the show most was that it was the most selfless set list I had ever seen. It was completely geared toward what it would thrill us to hear. It had new stuff, but it had every hit we wanted to hear, every song we’d ever cried to, every song people had gotten married to, or been brokenhearted to. And I just remembered thinking, “I’ve got to remember that,” that you do that set list for your fans.

McCartney: You do that, do you?

Swift: I do now. I think that learning that lesson from you taught me at a really important stage in my career that if people want to hear “Love Story” and “Shake It Off,” and I’ve played them 300 million times, play them the 300-millionth-and-first time. I think there are times to be selfish in your career, and times to be selfless, and sometimes they line up.

McCartney: I always remembered going to concerts as a kid, completely before the Beatles, and I really hoped they would play the ones I loved. And if they didn’t, it was kind of disappointing. I had no money, and the family wasn’t wealthy. So this would be a big deal for me, to save up for months to afford the concert ticket.

Swift: Yeah, it feels like a bond. It feels like that person on the stage has given something, and it makes you as a crowd want to give even more back, in terms of applause, in terms of dedication. And I just remembered feeling that bond in the crowd, and thinking, “He’s up there playing these Beatles songs, my dad is crying, my mom is trying to figure out how to work her phone because her hands are shaking so much.” Because seeing the excitement course through not only me, but my family and the entire crowd in Nashville, it just was really special. I love learning lessons and not having to learn them the hard way. Like learning nice lessons I really value.

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks... it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

Swift: That’s the best. I want to hear current things, too, to update me on where the artist is. I was wondering about lyrics, and where you were lyrically when you were making this record. Because when I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely...

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

Swift: “Peace” is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture - the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school...

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

McCartney: All of them did, yeah. It was important, but it worked pretty well, because when they kind of reached adulthood, they would meet other kids who might have gone to private schools, who were a little less grounded.

And they could be the budding mothers to [kids]. I remember Mary had a friend, Orlando. Not Bloom. She used to really counsel him. And it’s ’cause she’d gone through that. Obviously, they got made fun of, my kids. They’d come in the classroom and somebody would sing, “Na na na na,” you know, one of the songs. And they’d have to handle that. They’d have to front it out.

Swift: Did that give you a lot of anxiety when you had kids, when you felt like all this pressure that’s been put on me is spilling over onto them, that they didn’t sign up for it? Was that hard for you?

McCartney: Yeah, a little bit, but it wasn’t like it is now. You know, we were just living a kind of semi-hippie life, where we withdrew from a lot of stuff. The kids would be doing all the ordinary things, and their school friends would be coming up to the house and having parties, and it was just great. I remember one lovely evening when it was Stella’s birthday, and she brought a bunch of school kids up. And, you know, they’d all ignore me. It happens very quickly. At first they’re like, “Oh, yeah, he’s like a famous guy,” and then it’s like [yawns]. I like that. I go in the other room and suddenly I hear this music going on. And one of the kids, his name was Luke, and he’s doing break dancing.

Swift: Ohhh!

McCartney: He was a really good break dancer, so all the kids are hanging out. That allowed them to be kind of normal with those kids. The other thing is, I don’t live fancy. I really don’t. Sometimes it’s a little bit of an embarrassment, if I’ve got someone coming to visit me, or who I know…

Swift: Cares about that stuff?

McCartney: Who’s got a nice big house, you know. Quincy Jones came to see me and I’m, like, making him a veggie burger or something. I’m doing some cooking. This was after I’d lost Linda, in between there. But the point I’m making is that I’m very consciously thinking, “Oh, God, Quincy’s got to be thinking, ‘What is this guy on? He hasn’t got big things going on. It’s not a fancy house at all. And we’re eating in the kitchen! He’s not even got the dining room going,’” you know?

Swift: I think that sounds like a perfect day.

McCartney: But that’s me. I’m awkward like that. That’s my kind of thing. Maybe I should have, like, a big stately home. Maybe I should get a staff. But I think I couldn’t do that. I’d be so embarrassed. I’d want to walk around dressed as I want to walk around, or naked, if I wanted to.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

Swift: I remember what I wanted to know about, which is lyrics. Like, when you’re in this kind of strange, unparalleled time, and you’re making this record, are lyrics first? Or is it when you get a little melodic idea?

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics - for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and...

Swift: Oh, I know that song - “The Kiss of Venus”?

McCartney: Yeah, “The Kiss of Venus.” And I just thought, “That’s a nice phrase.” So I was actually just taking phrases out of the book, harmonic sounds. And the book is talking about the maths of the universe, and how when things orbit around each other, and if you trace all the patterns, it becomes like a lotus flower.

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack - I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use - kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

McCartney: I think a love of words is a great thing, particularly if you’re going to try to write a lyric, and for me, it’s like, “What is this going to say to that person?” I often feel like I’m writing to someone who is not doing so well. So I’m trying to write songs that might help. Not in a goody-goody, crusading kind of way, but just thinking there have been so many times in my life when I’ve heard a song and felt so much better. I think that’s the angle I want, that inspirational thing.

I remember once, a friend of mine from Liverpool, we were teenagers and we were going to a fairground. He was a schoolmate, and we had these jackets that had a little fleck in the material, which was the cool thing at the time.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember - this is what happens with songs - there was this girl at the fair. This is just a little Liverpool fair - it was in a place called Sefton Park - and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house - I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: I love that, when people stop me in the street and say, “Oh, I was going through an illness and I listened to a lot of your stuff, and I’m better now and it got me through,” or kids will say, “It got me through exams.” You know, they’re studying, they’re going crazy, but they put your music on. I’m sure it happens with a lot of your fans. It inspires them, you know?

Swift: Yeah, I definitely think about that as a goal. There’s so much stress everywhere you turn that I kind of wanted to make an album that felt sort of like a hug, or like your favorite sweater that makes you feel like you want to put it on.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way - like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

McCartney: I think a lot of people have found that. I would say to people, “I feel a bit guilty about saying I’m actually enjoying this quarantine thing,” and people go, “Yeah, I know, don’t say it to anyone.” A lot of people are really suffering.

Swift: Because there’s a lot in life that’s arbitrary. Completely and totally arbitrary. And [the quarantine] is really shining a light on that, and also a lot of things we have that we outsource that you can actually do yourself.

McCartney: I love that. This is why I said I live simply. That’s, like, at the core of it. With so many things, something goes wrong and you go, “Oh, I’ll get somebody to fix that.” And then it’s like, “No, let me have a look at it...”

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really - talk about dumpy - little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down - “I’ll have that one” - and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology - it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

The weird thing was, Stella went up to Scotland recently and I said, “Isn’t it there?” and she said, “No.” Anyway, I searched for it. Nobody remembered it. Somebody said, “Well, there’s a pile of wood in the corner of one of the barns, maybe that’s it. Maybe they used it for firewood.” I said, “No, it’s not firewood.” Anyway, we found it, and do you know how joyous that was for me? I was like, “You found my table?!” Somebody might say that’s a bit boring.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

Swift: And I was just thinking, “I really want to spend time with my hands, making something for their children.” So I made this really cool flying-squirrel stuffed animal that I sent to one of my friends. I sent a teddy bear to another one, and I started making these little silk baby blankets with embroidery. It’s gotten pretty fancy. And I’ve been painting a lot.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: It’s a bit of a romantic dream. I agree with you, though, I think you’ve got to have dreams, particularly this year. You’ve got to have something to escape to. When you say “escapism,” it sounds like a dirty word, but this year, it definitely wasn’t. And in the books you’re reading, you’ve gone into that world. That’s, I think, a great thing. Then you come back out. I normally will read a lot before I go to bed. So I’ll come back out, then I’ll go to sleep, so I think it really is nice to have those dreams that can be fantasies or stuff you want to achieve.

Swift: You’re creating characters. This was the first album where I ever created characters, or wrote about the life of a real-life person. There’s a song called “The Last Great American Dynasty” that’s about this real-life heiress who lived just an absolutely chaotic, hectic...

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

Swift: Her name was Rebekah Harkness. And she lived in the house that I ended up buying in Rhode Island. That’s how I learned about her. But she was a woman who was very, very talked about, and everything she did was scandalous. I found a connection in that. But I also was thinking about how you write “Eleanor Rigby” and go into that whole story about what all these people in this town are doing and how their lives intersect, and I hadn’t really done that in a very long time with my music. It had always been so microscope personal.

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: I was, before my luck changed [laughs]. I still write breakup songs. I love a good breakup song. Because somewhere in the world, I always have a friend going through a breakup, and that will make me write one.

McCartney: Yeah, this goes back to this thing of me and John: When you’ve got a formula, break it. I don’t have a formula. It’s the mood I’m in. So I love the idea of writing a character. And, you know, trying to think, “What am I basing this on?” So “Eleanor Rigby” was based on old ladies I knew as a kid. For some reason or other, I got great relationships with a couple of local old ladies. I was thinking the other day, I don’t know how I met them, it wasn’t like they were family. I’d just run into them, and I’d do their shopping for them.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime - because I was born actually in the war - and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios - you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents... it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal - we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves - this crystal attracts them - they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

Swift: One thing I just find so cool about you is that you really do seem to have the joy of it, still, just no matter what. You seem to have the purest sense of joy of playing an instrument and making music, and that’s just the best, I think.

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

McCartney: I must tell you a story I told Mary the other day, which is just one of my favorite little sort of Beatles stories. We were in a terrible, big blizzard, going from London to Liverpool, which we always did. We’d be working in London and then drive back in the van, just the four of us with our roadie, who would be driving. And this was a blizzard. You couldn’t see the road. At one point, it slid off and it went down an embankment. So it was “Ahhh,” a bunch of yelling. We ended up at the bottom. It didn’t flip, luckily, but so there we are, and then it’s like, “Oh, how are we going to get back up? We’re in a van. It’s snowing, and there’s no way.” We’re all standing around in a little circle, and thinking, “What are we going to do?” And one of us said, “Well, something will happen.” And I thought that was just the greatest. I love that, that’s a philosophy.

Swift: “Something will happen.”

McCartney: And it did. We sort of went up the bank, we thumbed a lift, we got the lorry driver to take us, and Mal, our roadie, sorted the van and everything. So that was kind of our career. And I suppose that’s like how I ended up being a musician and a songwriter: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

[sgt-paul]

MUSICIANS ON MUSICIANS: Paul McCartney & Taylor Swift

© Mary McCartney

❝ During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. ❞

interview below the cut:

Taylor Swift arrived early to Paul McCartney’s London office in October, “mask on, brimming with excitement.” “I mostly work from home these days,” she writes about that day, “and today feels like a rare school field trip that you actually want to go on.”

Swift showed up without a team, doing her own hair and makeup. In addition to being two of the most famous pop songwriters in the world, Swift and McCartney have spent the past year on similar journeys. McCartney, isolated at home in the U.K., recorded McCartney III. Like his first solo album, in 1970, he played nearly all of the instruments himself, resulting in some of his most wildly ambitious songs in a long time. Swift also took some new chances, writing over email with the National’s Aaron Dessner and recording the raw Folklore, which abandons arena pop entirely in favor of rich character songs. It’s the bestselling album of 2020.

Swift listened to McCartney III as she prepared for today’s conversation; McCartney delved into Folkore. Before the photo shoot, Swift caught up with his daughters Mary (who would be photographing them) and Stella (who designed Swift’s clothes; the two are close friends). “I’ve met Paul a few times, mostly onstage at parties, but we’ll get to that later,” Swift writes. “Soon he walks in with his wife, Nancy. They’re a sunny and playful pair, and I immediately feel like this will be a good day. During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. We walk into his office for a chat, and after I make a nervous request, Paul is kind enough to handwrite my favorite lyric of his and sign it. He makes a joke about me selling it, and I laugh because it’s something I know I’ll cherish for the rest of my life. That’s around the time when we start talking about music.”

Taylor Swift: I think it’s important to note that if this year had gone the way that we thought it was going to go, you and I would have played Glastonbury this year, and instead, you and I both made albums in isolation.

Paul McCartney: Yeah!

Swift: And I remember thinking it would have been so much fun because the times that I’ve run into you, I correlate with being some of the most fun nights of my life. I was at a party with you, when everybody just started playing music. And it was Dave Grohl playing, and you…

McCartney: You were playing one of his songs, weren’t you?

Swift: Yes, I was playing his song called “Best of You,” but I was playing it on piano, and he didn’t recognize it until about halfway through. I just remember thinking, “Are you the catalyst for the most fun times ever?” Is it your willingness to get up and play music that makes everyone feel like this is a thing that can happen tonight?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very … Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice.… I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: I listened to your new record. And I loved a lot of things about it, but it really did feel like kind of a flex to write, produce, and play every instrument on every track. To me, that’s like flexing a muscle and saying, “I can do all this on my own if I have to.”

McCartney: Well, I don’t think like that, I must admit. I just picked up some of these instruments over the years. We had a piano at home that my dad played, so I picked around on that. I wrote the melody to “When I’m 64” when I was, you know, a teenager.

Swift: Wow.

McCartney: When the Beatles went to Hamburg, there were always drum kits knocking around, so when there was a quiet moment, I’d say, “Do you mind if I have a knock around?” So I was able to practice, you know, without practicing. That’s why I play right-handed. Guitar was just the first instrument I got. Guitar turned to bass; it also turned into ukulele, mandolin. Suddenly, it’s like, “Wow,” but it’s really only two or three instruments.

Swift: Well, I think that’s downplaying it a little bit. In my mind, it came with a visual of you being in the country, kind of absorbing the sort of do-it-yourself [quality] that has had to come with the quarantine and this pandemic. I found that I’ve adapted a do-it-yourself mentality to a lot of things in my career that I used to outsource.  I’m just wondering what a day of recording in the pandemic looked like for you.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music — I had to do an instrumental for a film thing — so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas… “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

So when lockdown happened, I was in L.A., and we kind of got stuck there. It’s not a terrible place to be stuck. We were there for four months maybe, and during that time, I sent an email to Aaron Dessner and I said, “Do you think you would want to work during this time? Because my brain is all scrambled, and I need to make something, even if we’re just kind of making songs that we don’t know what will happen…”

McCartney: Yeah, that was the thing. You could do stuff — you didn’t really worry it was going to turn into anything.

Swift: Yeah, and it turned out he had been writing instrumental tracks to keep from absolutely going crazy during the pandemic as well, so he sends me this file of probably 30 instrumentals, and the first one I opened ended up being a song called “Cardigan,” and it really happened rapid-fire like that. He’d send me a track; he’d make new tracks, add to the folder; I would write the entire top line for a song, and he wouldn’t know what the song would be about, what it was going to be called, where I was going to put the chorus. I had originally thought, “Maybe I’ll make an album in the next year, and put it out in January or something,” but it ended up being done and we put it out in July. And I just thought there are no rules anymore, because I used to put all these parameters on myself, like, “How will this song sound in a stadium? How will this song sound on radio?” If you take away all the parameters, what do you make? And I guess the answer is Folklore.

McCartney: And it’s more music for yourself than music that’s got to go do a job. My thing was similar to that: After having done this little bit of film music, I had a lot of stuff that I had been working on, but I’d said, “I’m just going home now,” and it’d be left half-finished. So I just started saying, “Well, what about that? I never finished that.” So we’d pull it out, and we said, “Oh, well, this could be good.” And because it didn’t have to amount to anything, I would say, “Ah, I really want to do tape loops. I don’t care if they fit on this song, I just want to do some.” So I go and make some tape loops, and put them in the song, just really trying to do stuff that I fancy.

I had no idea it would end up as an album; I may have been a bit less indulgent, but if a track was eight minutes long, to tell you the truth, what I thought was, “I’ll be taking it home tonight, Mary will be cooking, the grandkids will all be there running around, and someone, maybe Simon, Mary’s husband, is going to say, ‘What did you do today?’ And I’m going to go, ‘Oh,’ and then get my phone and play it for them.” So this became the ritual.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

McCartney: Yeah, well, this was being done in 2020, and I didn’t really think about it. I think everyone expected great things of 2020. “It’s gonna be great! Look at that number! 2020! Auspicious!” Then suddenly Covid hit, and it was like, “That’s gonna be auspicious all right, but maybe for the wrong reasons.” Someone said to me, “Well, you put out McCartney right after the Beatles broke up, and that was 1970, and then you did McCartney II in 1980.” And I said, “Oh, I’m going to release this in 2020 just for whatever you call it, the numerology.…”

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13  … 89 is a big one. I have a few others that I find…

McCartney: Thirteen is lucky for some.

Swift: Yeah, it’s lucky for me. It’s my birthday. It’s all these weird coincidences of good things that have happened. Now, when I see it places, I look at it as a sign that things are going the way they’re supposed to. They may not be good now, they could be painful now, but things are on a track. I don’t know, I love the numerology.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s…

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Yeah, one of my favorite artists, Bon Iver, he has this thing with the number 22. But I was also wondering: You have always kind of seeked out a band or a communal atmosphere with like, you know, the Beatles and Wings, and then Egypt Station. I thought it was interesting when I realized you had made a record with no one else. I just wondered, did that feel natural?

McCartney: It’s one of the things I’ve done. Like with McCartney, because the Beatles had broken up, there was no alternative but to get a drum kit at home, get a guitar, get an amp, get a bass, and just make something for myself. So on that album, which I didn’t really expect to do very well, I don’t think it did. But people sort of say, “I like that. It was a very casual album.” It didn’t really have to mean anything. So I’ve done that, the play-everything-myself thing. And then I discovered synths and stuff, and sequencers, so I had a few of those at home. I just thought I’m going to play around with this and record it, so that became McCartney II. But it’s a thing I do. Certain people can do it. Stevie Wonder can do it. Stevie Winwood, I believe, has done it. So there are certain people quite like that.

When you’re working with someone else, you have to worry about their variances. Whereas your own variance, you kind of know it. It’s just something I’ve grown to like. Once you can do it, it becomes a little bit addictive. I actually made some records under the name the Fireman.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us].… We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper…” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

Swift: Yeah, I think, when a pseudonym comes in is when you still have a love for making the work and you don’t want the work to become overshadowed by this thing that’s been built around you, based on what people know about you. And that’s when it’s really fun to create fake names and write under them.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: I think it is now, but it wasn’t. I wrote under the name Nils Sjöberg because those are two of the most popular names of Swedish males. I wrote this song called “This Is What You Came For” that Rihanna ended up singing. And nobody knew for a while. I remembered always hearing that when Prince wrote “Manic Monday,” they didn’t reveal it for a couple of months.

McCartney: Yeah, it also proves you can do something without the fame tag. I did something for Peter and Gordon; my girlfriend’s brother and his mate were in a band called Peter and Gordon. And I used to write under the name Bernard Webb.

Swift: [Laughs.] That’s a good one! I love it.

McCartney: As Americans call it, Ber-nard Webb. I did the Fireman thing. I worked with a producer, a guy called Youth, who’s this real cool dude. We got along great. He did a mix for me early on, and we got friendly. I would just go into the studio, and he would say, “Hey, what about this groove?” and he’d just made me have a little groove going. He’d say, “You ought to put some bass on it. Put some drums on it.” I’d just spend the whole day putting stuff on it. And we’d make these tracks, and nobody knew who Fireman was for a while. We must have sold all of 15 copies.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

Swift: I think it’s so cool that you do projects that are just for you. Because I went with my family to see you in concert in 2010 or 2011, and the thing I took away from the show most was that it was the most selfless set list I had ever seen. It was completely geared toward what it would thrill us to hear. It had new stuff, but it had every hit we wanted to hear, every song we’d ever cried to, every song people had gotten married to, or been brokenhearted to. And I just remembered thinking, “I’ve got to remember that,” that you do that set list for your fans.

McCartney: You do that, do you?

Swift: I do now. I think that learning that lesson from you taught me at a really important stage in my career that if people want to hear “Love Story” and “Shake It Off,” and I’ve played them 300 million times, play them the 300-millionth-and-first time. I think there are times to be selfish in your career, and times to be selfless, and sometimes they line up.

McCartney: I always remembered going to concerts as a kid, completely before the Beatles, and I really hoped they would play the ones I loved. And if they didn’t, it was kind of disappointing. I had no money, and the family wasn’t wealthy. So this would be a big deal for me, to save up for months to afford the concert ticket.

Swift: Yeah, it feels like a bond. It feels like that person on the stage has given something, and it makes you as a crowd want to give even more back, in terms of applause, in terms of dedication. And I just remembered feeling that bond in the crowd, and thinking, “He’s up there playing these Beatles songs, my dad is crying, my mom is trying to figure out how to work her phone because her hands are shaking so much.” Because seeing the excitement course through not only me, but my family and the entire crowd in Nashville, it just was really special. I love learning lessons and not having to learn them the hard way. Like learning nice lessons I really value.

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks … it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

Swift: That’s the best. I want to hear current things, too, to update me on where the artist is. I was wondering about lyrics, and where you were lyrically when you were making this record. Because when I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely …

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

Swift: “Peace” is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture — the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school .…

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

McCartney: All of them did, yeah. It was important, but it worked pretty well, because when they kind of reached adulthood, they would meet other kids who might have gone to private schools, who were a little less grounded.

And they could be the budding mothers to [kids]. I remember Mary had a friend, Orlando. Not Bloom. She used to really counsel him. And it’s ’cause she’d gone through that. Obviously, they got made fun of, my kids. They’d come in the classroom and somebody would sing, “Na na na na,” you know, one of the songs. And they’d have to handle that. They’d have to front it out.

Swift: Did that give you a lot of anxiety when you had kids, when you felt like all this pressure that’s been put on me is spilling over onto them, that they didn’t sign up for it? Was that hard for you?

McCartney: Yeah, a little bit, but it wasn’t like it is now. You know, we were just living a kind of semi-hippie life, where we withdrew from a lot of stuff. The kids would be doing all the ordinary things, and their school friends would be coming up to the house and having parties, and it was just great. I remember one lovely evening when it was Stella’s birthday, and she brought a bunch of school kids up. And, you know, they’d all ignore me. It happens very quickly. At first they’re like, “Oh, yeah, he’s like a famous guy,” and then it’s like [yawns]. I like that. I go in the other room and suddenly I hear this music going on. And one of the kids, his name was Luke, and he’s doing break dancing.

Swift: Ohhh!

McCartney: He was a really good break dancer, so all the kids are hanging out. That allowed them to be kind of normal with those kids. The other thing is, I don’t live fancy. I really don’t. Sometimes it’s a little bit of an embarrassment, if I’ve got someone coming to visit me, or who I know…

Swift: Cares about that stuff?

McCartney: Who’s got a nice big house, you know. Quincy Jones came to see me and I’m, like, making him a veggie burger or something. I’m doing some cooking. This was after I’d lost Linda, in between there. But the point I’m making is that I’m very consciously thinking, “Oh, God, Quincy’s got to be thinking, ‘What is this guy on? He hasn’t got big things going on. It’s not a fancy house at all. And we’re eating in the kitchen! He’s not even got the dining room going,’” you know?

Swift: I think that sounds like a perfect day.

McCartney: But that’s me. I’m awkward like that. That’s my kind of thing. Maybe I should have, like, a big stately home. Maybe I should get a staff. But I think I couldn’t do that. I’d be so embarrassed. I’d want to walk around dressed as I want to walk around, or naked, if I wanted to.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

Swift: I remember what I wanted to know about, which is lyrics. Like, when you’re in this kind of strange, unparalleled time, and you’re making this record, are lyrics first? Or is it when you get a little melodic idea?

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics — for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and.…

Swift: Oh, I know that song — “The Kiss of Venus”?

McCartney: Yeah, “The Kiss of Venus.” And I just thought, “That’s a nice phrase.” So I was actually just taking phrases out of the book, harmonic sounds. And the book is talking about the maths of the universe, and how when things orbit around each other, and if you trace all the patterns, it becomes like a lotus flower.

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack — I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use — kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

McCartney: I think a love of words is a great thing, particularly if you’re going to try to write a lyric, and for me, it’s like, “What is this going to say to that person?” I often feel like I’m writing to someone who is not doing so well. So I’m trying to write songs that might help. Not in a goody-goody, crusading kind of way, but just thinking there have been so many times in my life when I’ve heard a song and felt so much better. I think that’s the angle I want, that inspirational thing.

I remember once, a friend of mine from Liverpool, we were teenagers and we were going to a fairground. He was a schoolmate, and we had these jackets that had a little fleck in the material, which was the cool thing at the time.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember — this is what happens with songs — there was this girl at the fair. This is just a little Liverpool fair — it was in a place called Sefton Park — and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house — I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: I love that, when people stop me in the street and say, “Oh, I was going through an illness and I listened to a lot of your stuff, and I’m better now and it got me through,” or kids will say, “It got me through exams.” You know, they’re studying, they’re going crazy, but they put your music on. I’m sure it happens with a lot of your fans. It inspires them, you know?

Swift: Yeah, I definitely think about that as a goal. There’s so much stress everywhere you turn that I kind of wanted to make an album that felt sort of like a hug, or like your favorite sweater that makes you feel like you want to put it on.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way — like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

McCartney: I think a lot of people have found that. I would say to people, “I feel a bit guilty about saying I’m actually enjoying this quarantine thing,” and people go, “Yeah, I know, don’t say it to anyone.” A lot of people are really suffering.

Swift: Because there’s a lot in life that’s arbitrary. Completely and totally arbitrary. And [the quarantine] is really shining a light on that, and also a lot of things we have that we outsource that you can actually do yourself.

McCartney: I love that. This is why I said I live simply. That’s, like, at the core of it. With so many things, something goes wrong and you go, “Oh, I’ll get somebody to fix that.” And then it’s like, “No, let me have a look at it.…”

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really — talk about dumpy — little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down — “I’ll have that one” — and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology — it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

The weird thing was, Stella went up to Scotland recently and I said, “Isn’t it there?” and she said, “No.” Anyway, I searched for it. Nobody remembered it. Somebody said, “Well, there’s a pile of wood in the corner of one of the barns, maybe that’s it. Maybe they used it for firewood.” I said, “No, it’s not firewood.” Anyway, we found it, and do you know how joyous that was for me? I was like, “You found my table?!” Somebody might say that’s a bit boring.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

Swift: And I was just thinking, “I really want to spend time with my hands, making something for their children.” So I made this really cool flying-squirrel stuffed animal that I sent to one of my friends. I sent a teddy bear to another one, and I started making these little silk baby blankets with embroidery. It’s gotten pretty fancy. And I’ve been painting a lot.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: It’s a bit of a romantic dream. I agree with you, though, I think you’ve got to have dreams, particularly this year. You’ve got to have something to escape to. When you say “escapism,” it sounds like a dirty word, but this year, it definitely wasn’t. And in the books you’re reading, you’ve gone into that world. That’s, I think, a great thing. Then you come back out. I normally will read a lot before I go to bed. So I’ll come back out, then I’ll go to sleep, so I think it really is nice to have those dreams that can be fantasies or stuff you want to achieve.

Swift: You’re creating characters. This was the first album where I ever created characters, or wrote about the life of a real-life person. There’s a song called “The Last Great American Dynasty” that’s about this real-life heiress who lived just an absolutely chaotic, hectic…

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

Swift: Her name was Rebekah Harkness. And she lived in the house that I ended up buying in Rhode Island. That’s how I learned about her. But she was a woman who was very, very talked about, and everything she did was scandalous. I found a connection in that. But I also was thinking about how you write “Eleanor Rigby” and go into that whole story about what all these people in this town are doing and how their lives intersect, and I hadn’t really done that in a very long time with my music. It had always been so microscope personal.

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: I was, before my luck changed [laughs]. I still write breakup songs. I love a good breakup song. Because somewhere in the world, I always have a friend going through a breakup, and that will make me write one.

McCartney: Yeah, this goes back to this thing of me and John: When you’ve got a formula, break it. I don’t have a formula. It’s the mood I’m in. So I love the idea of writing a character. And, you know, trying to think, “What am I basing this on?” So “Eleanor Rigby” was based on old ladies I knew as a kid. For some reason or other, I got great relationships with a couple of local old ladies. I was thinking the other day, I don’t know how I met them, it wasn’t like they were family. I’d just run into them, and I’d do their shopping for them.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime — because I was born actually in the war — and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios — you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents … it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal — we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves — this crystal attracts them — they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

Swift: One thing I just find so cool about you is that you really do seem to have the joy of it, still, just no matter what. You seem to have the purest sense of joy of playing an instrument and making music, and that’s just the best, I think.

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

McCartney: I must tell you a story I told Mary the other day, which is just one of my favorite little sort of Beatles stories. We were in a terrible, big blizzard, going from London to Liverpool, which we always did. We’d be working in London and then drive back in the van, just the four of us with our roadie, who would be driving. And this was a blizzard. You couldn’t see the road. At one point, it slid off and it went down an embankment. So it was “Ahhh,” a bunch of yelling. We ended up at the bottom. It didn’t flip, luckily, but so there we are, and then it’s like, “Oh, how are we going to get back up? We’re in a van. It’s snowing, and there’s no way.” We’re all standing around in a little circle, and thinking, “What are we going to do?” And one of us said, “Well, something will happen.” And I thought that was just the greatest. I love that, that’s a philosophy.

Swift: “Something will happen.”

McCartney: And it did. We sort of went up the bank, we thumbed a lift, we got the lorry driver to take us, and Mal, our roadie, sorted the van and everything. So that was kind of our career. And I suppose that’s like how I ended up being a musician and a songwriter: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

[ophelia-mj]

I'm reading a biography on Kurt Cobain and theres some things blowing my mind. I'm half way through the book. Kurt is 23, he finally met Dave Grohl. Kurt is 23, and hasnt wrote Smells like Teen Spirit yet. He is not world famous yet. In fact, hes only world famous for 4 years of his life. The perspective this is giving me is like wow....27 is so young. And I knew some of this stuff, but it's making me love and appreciate him more. I've been so defensive for him. I hate most of his family. I hate the shit he had been through. It's sad. It's so sad.