#ag真人发牌是真是假

[atomicenigmaobserver]

2025全球最大最靠谱的线上博彩娱乐平台

在线上娱乐飞速发展的今天，玩家面对的选择越来越多，各种博彩平台纷纷打出“高返水”“极速出款”等口号。然而，真正能做到全球认可、玩家信赖、出金安全的平台，凤毛麟角。

而创联娱乐，正是这其中当之无愧的佼佼者。 不靠夸张宣传，而靠实打实的实力与口碑，成为2025年东南亚乃至全球华人圈中最值得信赖的娱乐平台之一。

 为什么越来越多玩家选择创联娱乐？

🔒 1.资金安全有保障，平台稳如实体银行

创联娱乐拥有实体运营背景，配有多国支付端口，支持银行卡、支付宝、USDT、缅甸KBZ、微信转账等多种方式灵活出入款。

24小时极速出款，无冻结、无拖延

专人专线服务，全程保密安全

🕹️ 2.游戏种类齐全，72张牌桌同步实况连线

平台涵盖：

真人百家乐、龙虎斗、炸金花、牛牛、推筒子

AG视讯、PG电子游戏、开云棋牌、巴沙体育

VIP房+透明牌靴，全程直播发牌，先发后注，100%防作弊

 无论手机还是电脑端，都可流畅体验，完全同步东南亚线下实体大赌场的真实牌局。

🤝 3.服务贴心，专属客服一对一管理

不管你是新手还是老玩家，平台都配备专属客户经理，一对一协助你完成开户、出入金、赛事推荐、风控建议等服务。

 创联娱乐，不只是娱乐平台，更是一个“信得过”的线上港湾

很多玩家反馈：

“之前换了几个平台不是被拖延出金就是被清零，自从用了创联娱乐，从没出过问题。”

也有玩家表示：

“每次提现都十分钟内到账，还有客服凌晨都在，真的很安心。”

 想试试真正靠谱的娱乐平台？立刻体验创联娱乐：

游戏APP官网：CL136.com 官网地址：CL136.com 微信客服：De50510 纸飞机：@De50510 QQ客服：3683600863

🏆 结语：信赖不靠噱头，体验才是检验真假的唯一标准！

2025年，��再用你的资金和时间去试错。 加入创联娱乐，选择一个能真正兑现承诺、能保障你资金与隐私的平台，让你的线上娱乐更自由、更安心、更尽兴！

[sttutd]

如果在网上赌博赢钱平台客服不给提现怎么取回了？

咨询wx；aiqi574820追回纸飞机；@lq4856

当系统升级导致数据延迟，提款问题无法及时解决时，这无疑会给我们带来很大的困扰。本文将分析这个问题，探讨其原因，并提出解决方案并真正实现这个数字化时代，人们越过来越依赖于互联网和计算机技术。以此帮助我们更好地处理类似的问题。

网被黑不给提现会以系统升级或网络故障导致数据传输延迟为借口，不给提款本身就不是你的问题，一般网上赌博网站都是虚拟网络。一些网站看着光鲜亮丽，只是背后一个杀猪盘养猪仔，打着澳门赌场平台，就是一个程序员做出来的诈骗网络赌博APP。来吸引客户网投娱乐投注，什么ag mg真人在线发牌，甚至视频的美女荷官都是假的的，都是从澳门赌场对接买过来为了来骗取客户来玩。你在平台上赢钱根本不可能拿走一分钱，资金过少可以提现，金额大可能各种借口来推迟你出款维护，你账户，数据延迟，通道出现第三方出现异常。你申请提现过多会提示你提款次数过多。最可恶的上让你充值多少激活账户就能提，结果你充值了也提了不行。在继续各种借口来推迟你。像这样黑平台真让人怒气冲天。到最后还是拿一点办法都没有。如果你遇到这样的情况及时联系我们团队，不要拖，如果拖到账号冻结那真的一点办法了。希望能帮助被黑的网友们早日拿回被黑的损失。我们出黑团队有8牛的出黑经验，出款无数案例。

需要的请及时联系我WX：aiqi574820

[kklj123456]

缅甸腾龙公司 tl10172.com

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腾龙赌场真人实体平台   【 tl10172.com】 复制到浏览器打开注册下载APP登录 腾龙注册官网注册链接 ： tl10172.com 万宝路注册网址 :   www.112381.com 开户联系在线客服 纸飞机✈️ : @vi11008 QQ : 75842674 微信 ：fkyf89 从几张桌子 秉承着以信为本的理念 在新老客户的见证下 兢兢业业发展至今  离不开各位老板的支持与信任 🔥  🏆 16年实体老赌场  资���安全干净  大额提款无忧 无须绑卡 /身份证 隐秘性更强 娱乐更加放心🏆 🔰 上下分支持： USDT 💸银行卡💸 支付宝💸 缅币 💸KBZpay

[lfrty]

网络赌博被黑怎么办？

解决

+v【mn12615】+【康讯号 lf888999】 +【纸飞机【gf5577】出款不成功不收任何原始费用！ （10个被黑9个出款成功）80%的把握出款成功[[只要账号可以正常登录

网赌被黑不给提现会以系统升级或网络故障导致数据传输延迟为借口，不给提款本身不是你的问题，一般网上赌博网站都是虚拟网络。一些网站看着光鲜亮丽，背后只是一个杀猪盘养猪仔，打着澳门赌场平台，就是一个程序员做出来的虚假网络赌博APP。来吸引客户网投娱乐投注，什么ag mg 真人在线发牌，甚至视频的美女荷官都是假的，都是从澳门赌场对接买过来为了来骗取客户来玩。你在平台上赢钱根本不可能拿走一分钱，资金过少可以提现，额度大就会各种借口来推迟你出款维护，你账户异常，数据延迟，通道第三方发生故障。你申请提现过多还会提示你提款次数过多。最可恶的上让你充值多少激活账户就能提现，结果你充值了也是提现不了。在接着各种借口来推迟你。像这样黑平台真让人怒气冲天。到最后还是拿它一点办法都没有。如果你遇到这样情况及时联系我们团队，不要拖，如果拖到账号冻结那真的一点办法了。希望能帮助到被黑的网友们早日拿回被黑的损失。我们出黑团队有8牛的出黑经验，出款无数案例

[kaiyunhk]

开云体育出金速度快吗？会不会有诈骗的行为？

开云体育提供快速的出金服务成为吸引玩家的一个关键因素，其中开云体育百家乐在出金方面以快速且稳定而闻名。对于线上博弈玩家来��，不需要再等待过长的时间才能够领取赢得的奖金，是可以确保自己没有误入博弈诈骗的网站。

开云体育百家乐出金快速免烦恼

开云体育百家乐出金服务快速，使玩家可以享受更好的线上博弈体验，因为玩家知道自己赢得的奖金不会受到长时间的延迟，这种高效率的出金流程，不但让玩家有更多的控制权，更有备受尊重的感觉，毫无疑问的也吸引了更多玩家选择开云体育百家乐游玩，因为他们知道自己的盈利可以立即领取，不会有不出金的风险。

不过尽管出金快速是一个相当吸引人的特点，但是玩家仍然要谨慎地参与线上博弈，在选择线上娱乐城的时候，玩家必须确保娱乐城是受到合法且受监督的，以确保他们是否有保障玩家的资金和个人资料的安全。除此之外，玩家也要设定一个投注的预算，不能因为开云体育百家乐出金快速，就肆无忌惮的一直投注，同时也要避免自己过度沉迷线上博弈。

总而言之，虽然开云体育百家乐出金快速，让玩家有很好的游戏体验，但是玩家同时也要谨记博弈的原则，以确保自己的线上博弈活动是安全且有趣，不能给自己的生活带来太大的影响。高效率的出金服务只是开云体育百家乐游戏平台的一个方面，选择合法且受信任的娱乐城也是一样重要，才能确保自己是在一个愉快的游戏环境。

开云体育百家乐会不会作弊、诈骗？

假设开云体育百家乐的游戏画面是预录好的，系统商是绝对不可能没注意到「荷官还没翻牌就显示开牌结果」这种问题。随着科技的进步开云体育百家乐系统当然也会不断更新技术，在荷官发牌的部分，开云体育百家乐是使用智慧科技来发牌，利用稳定的AI侦侧让游戏的进行可以更加顺畅，除了可以大幅减少人力成本之外，也能降低出错的机会，让玩家获得更优质的游戏体验，以赢得更多的信任。

● 开云体育百家乐作弊、诈骗不可能

开云体育百家乐、AG百家乐等等，这些线上真人百家乐品牌都属于第三方公平公正的游戏系统商，所有线上娱乐城的真人百家乐游戏都是跟这些游戏商进行系统串接，为了不影响自家品牌的信誉，开云体育百家乐是不能会有作弊、诈骗的情形发生，假如一旦发生作弊、诈骗的情况，那么就不会有玩家继续选择开云体育百家乐来投注，而且线上真人百家乐品牌众多，玩家也不是一定要选择开云体育百家乐游玩。

● 真正要小心的是「自开彩游戏」

开云体育上述提到的真人百家乐系统，几乎每一间线上娱乐城都会有，玩家真正要小心的是线上娱乐城的「自开彩游戏」，自开彩指的是某一间娱乐城独家研发出来的线上博弈游戏，在别的线上娱乐城是玩��到的，而且自开彩游戏是可以直接在娱乐城网站后台设定游戏机率，娱乐城想让玩家赢就赢，想让玩家输就输。

开云体育百家乐试玩多利用

倘若玩家还是担心开云体育百家乐作弊的可能，那就可以选择开云体育百家乐试玩服务来了解游戏进行的过程，开云体育开云真人百家乐试玩会提供玩家两千点的免费试玩金，而玩家24小时都可以随时上线体验开云体育试玩服务。玩家可以练习自己学习到的百家乐技巧、百家乐破解方法或是百家乐赢钱方式等等，除了让自己可以熟练运用这些技巧之外，也能够增加投注开云体育百家乐的牌局经验，等到玩家正式投注的时候，就可以有效减少资金的损失，牌局的胜率也会大幅提升。

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[manifesto-fact]

Sequel- Log-blog of Some Reality fr. manifesto-fact.blogspot.com

凡走过必留下痕迹。历史的先声往往被忽略，历史的后声会层出不穷且会检视出满目疮痍的厚黑于留下之痕迹。

2024-1-28-P.S. More paragraphs added at the end.

2024-1-3 有人听到我说的法学院绝非市面上普通法学院，那是有关天地人神密切相交的法度，真理，真道。 受益于台湾宋七力教授发明的所谓“分身”假说之冒牌者需要被提醒- 没有掂量台湾周董事长承仁先生的人间法度- 连女婿也不认识（前述拿女婿做球给你看）-非佛教主义者，吃了这个便宜饭，后果更严重。 如果是拥有真光真道的真先知真教授，比方说以赛亚在以赛亚书38章中有真神的能力(时空法度)，就不会为耶稣做反见证；无情无义的现实告诉大家，伪类已经导致了他人走不好路，也制造了耶稣所说的offense-Woe to the world because of the causes of sin. For the stumbling blocks must come, but woe to the man by whom the offense comes! （Matt.18:7）；deliberately letting truth be failed（e.g.指鹿为马），要接受divine remedies/corrections （Isaiah 59：13-15 & 18），Holy Bible rule of truth can't be forfeited. Yesterday texting to Harbinger's Daily msg. board: I'm a donor of Harbinger's daily and a recipient of email Sunday Edition, but last Sunday it was missing or encountered malicious hacker- those insidious kleptocrats out of ulterior motivation are afraid of my reading top story "Divine judgment-One of The Bible's Most ‘Offensive’Teachings?", really fall into "Being a thief, feeling untenable". What happened to me is totally offenses(regarding deer as horse, installing stumbling blocks etc., which Jesus predicted), divine justice/judgment is not only appropriate but also much-needed.

manifesto-fact.blogspot encountering issue, shysters are so unscrupulous that they deter my posting and enjoy themselves being the cushion of the strict press censorship of Chinese Communist party.

没有法度，人世间没有人世间，你懂的, God must speed Isa.51:6. 有关耶稣基督在大白宝座scenario之一，2023-NOV-9-10 log-blog 提到时空压缩成麻花，数理逻辑上temporal-spacial dimension 变成一坨Non-Euclidean topology even iso-topology.

2024-1-8 Revised this morning Rev. Lewis Johnson did hermeneutics on propitiation(from SLJ institute)-God's plan for the ages-the finished work of Christ, I try to summarize in my understanding: which is the perfect solution through Jesus, Son of God/Son of Man's sacrifice on the cross to provide atonement as a paragon and free gift to transform the humanity sins into a state of being forgiven and to re-create humanity, which satisfies the Holy Father. AS for his mentioning "when God looks down from heaven upon men, he does not see human distinctions such as we see", I think God is immanent and omniscient ,cf. Luke 12:7 God knows how many hairs you have on your head. 新约教徒万世一系于order of Melchizedek：Genesis 14:18-20 and Hebrews Ch.7，且是旧约的延续（Melchizedek 是祭司及君王）， 耶稣集先知，祭司，君王于一身。摩西法规君王与祭司不能相容-防止绝对权力绝对腐败（历代志下26章，撒母儿记上10：8&13：8-11，Pastor Dean Dwyer在HB Daily强调），看来，只有地球上无父无母的Melchizedek作为son of God,非从属人类私欲，才有资格. 吴祚来 @wuzuolai 民主政治，争权是为了分利。 主要是个人利益，国家利益分配问题，但左派喜欢赋予国家宏大的使命，譬如拯救世界，要影响气候变化。 左边的政治实用原则是用福利拉票 又用空大的政治使知识人大学生们追捧 与中共一样，高的比你高，低的破底线。 境界很高 手段卑劣 玩宣传玩权术炉火纯青。 某种意义上是 理想主义进步主义革命主义 与 实利主义保守主义价值主义 博弈交锋 11:58 AM · Jan 7, 2024 改变思想的还有利益。 共产党人打天下时的思想与坐天下时的思想是不同的，为什么，因为权力带来利益，他们很快从革命变成反革命。 这就是，共产党苏联与中共，等，从国际主义很快就退回到国族主义，最后变成党派，变成黑社会一样的小团伙。 是权与利益改变了他们思想。… Lucia🍊🍊fight for Trump顶流川粉 @ChooLucia 美国著名物理学家李.斯莫林说:“当思想改变你的思想，那就是哲学，当上帝改变你的思想，那就是信仰，当事实改变你的思想，那就是科学，当一个人既没有思想又不信宗教还罔顾事实的时候，远离他！不要浪费你的宝贵时间！8:59 PM · Jan 6, 2024

前阵子海外非中共中文网路上在播一个很古早的台湾新闻- 高级物理学家叶企孙在1950年代蒋中正治下的台湾被沦落至街头，不知是从台湾淘宝还是周恩来的新闻官早就定向攫取在对内外文宣中-有关万恶的资本主义阴暗面，关键点是其生存权决不是失去于指鹿为马与无法度，而是财产事务没有被妥善打理，有人别有用心推出，那是illuminati godfather 马戏团左手右手为了cope with the debunking of their conspiracy- 当今民贼盗国贼自编自导自演自我伟光正地通过指鹿为马奸诈贪婪豪夺民脂民膏，演戏给你看，装猪装逼来吃人。 最近几天居然有新版的叶企孙（江苏江阴人员）在纽约被报道沦落街头，今天看到follow-up报道，原来此人是自作孽的赌棍输光身家，绝非美国社会与政府亏待他.

2024-1-15 Posted, 2024-1-14 updated 路德先生与郭文贵先生所提的“九层妖塔”应该就是那九层蛤蟆叠罗汉成一坨怪兽于台海风水要津之地，形成巨大能量场，在“这黑水沟，你懂的”地方不时卷起阵阵阴风阴火，可翻江倒海，企图一手遮天，予取予求。 在台湾的中国人教授李敖与宋七力已经教会了对岸Chinese Communist Party toad-master authority how to be “Shysteracy as Humanity/Manliness”（李宗吾语）& "Ugly Chinaman and Crisis"(柏杨Google book-English)- 通过“横着走路（李敖语）”的“分身（宋七力发明）”来“吃人够够（陈致中语）”。 鄙人在log-blog中一再强调我的身份证- 成为一仆一主的大英帝国女王陛下子民， 此汉非彼汉，汉学家的汉，不要让汉学家“汉贼不两立”。 最近网路上又出现对文革负面记忆的回��，引发我对文革重灾区（Mao's stronghold）有关人与事的进一步述评，被拥有1948年第一届南京国府中央研究院强大阵容的前几名大学DQ的人（前述陈敏章，杭州赶走郁知非教授的两黄），1949年后，是毛方针野蛮登堂入室的既得利益者，毛政策的使徒行传，行毛国柞之礼数-公牛闯进瓷器店 = 我的见证-亲眼目睹毛分子打砸光我祖母珍藏的景德镇有皇家纹路的瓷器。 In the case of OBSI, accompanying the end-time phenomenon，mainly godless/lawless(圣经贴撒罗尼亚后书 2 Thess. Ch.2)； what Jesus regarded （Pharisee） is reinforced； 台湾李敖影响力无国界，不仅只教会毛国祚的贪官国贼民贼“横着走路”（李敖变成毛国祚一部分，难怪对号入座Ezekiel Ch.24 scum）。such situation means the kingdom, power and glory belongs to CCP-Chairman Mao's scoundrel movement which was greatly promoted in China- no different from the organized crime. Please convey my msg. to them: Long live your great leader Chairman Mao not enough or Your great leader Chairman Mao long live not enough.

2024-1-17

有些事务不能搭错界。我不知当年那位有些基督教信仰的Wong大夫是否知悉圣经中对于vision/dream是提示式，与预言的生成有关，请参阅Joel 2:28/Acts 2:17, 于是在我的大命小命问题上就不会出现令人遗憾的被中共轻易利用的摧毁人生的孽缘（精神分析上医患搭错界），

另一个例子是吴弘达先生的第一任太太陈XX女士（曾为中华民国在UN口译员，像以前的华航小姐背着国旗）与一度所雇佣的助手搭错界- 毛泽东亲家的养子/继子 Li, Qian-wei居然可以在美国莫逢杰先生处政治庇护（说是萌生反毛意念，是林立果的分身？），但是在我面前又表现出毛周的mentality- 对于大洛杉矶侨界有人张显中华民国国旗极度反感（连对中华民国国旗国歌国徽没有好感的绿色侨界人员也在举-外交礼仪使���，e.g. 李故总统登辉先生过境L.A.逗留Ritz-Carlton期间），好像是CCP外交官在国际官方场合看到一样. 还有可以令人探究的是，他一个劲儿在我面前说莫逢杰先生与伍凡先生是死对头- 我与伍凡先生从未谋面过。 中国的“乡讪”是有名的，去问鲁迅先生。

2024-1-19 有关这条大命小命，继续Been thinking about随笔。1990‘s 前半叶，我祖父母拥有的中华民国光洋时期债券已寄到台北，时任Lee Teng-hui Administration财政部长的是新党王建瑄先生;令人遗憾的是连“庚子赔款换学费”都没有，无法继续我的MBA生涯规划（cf.foregoing & 同时期朱云来），让这条大命小命无辜地被marooned；对于南京中央国府遗留（沦陷）大陆人员享受美蒋特务叶常棣待遇熟视无睹，还侈谈什么新党信念- 中华民国简称中国（宪法一章一节），主权涵盖整个秋海棠地图。 Illuminati-KGB-godfather-circus gamer always gaming- e.g. 毛国柞马戏团左手右手经常玩游戏给你看，反右急先锋邓小平当年杀气腾腾，等到文革后，扮猪吃老虎（华国锋下台），霸王硬上弓（胡耀邦赵紫阳事件），子系中山狼，得志便猖狂，得了便宜再卖乖，见不到他人好，两面三刀典型，让“烈火见真金”彰显在三个没有被平反的右派-authentic/genuine右派（其余都redress，remedies，reparations）。毛国柞的商君书愚民/驭民术叹为观止，让达摩克里斯之剑永远悬在有思想的知识分子头上，迫害-利用-再迫害。 1989-64镇压后像李敖进入大陆的要靠镇压64的最大既得利益者江世俊之子的肩膀发洋财（cf.foregoing），赚得杯钵满盆，我必须向他们学习致敬，多拍马屁才有生存可能，所以要坚决拥护双手赞成江世俊父子在南京唱“支那之夜”，网上在重温海参威前世今生，1995年到期，江总裁让给了普京，有人大加鞭挞，在我看来，哪里哪里，那是沙俄帝国罗曼诺夫王朝固有领土，应该礼让整个东三省。

2024-1-22

接19日Log-blog, 无独有偶，像那位江总裁一样是苏俄帝国的爱国者，中共开国政治局常委元老高岗先生曾提議將東三省併入蘇聯 ：https://www.epochtimes.com/b5/24/1/21/n14163583.htm， 显然是伟大的CCP光辉历程一部分； 鄙人只是发言致敬他们的嗜好。

2024-1-23

一则网闻引人注目： 手举五星旗 小粉红对英国钢琴家耍混 竟以为是在中国 https://www.soundofhope.org/post/786889

Let's do further analysis in neutral stand: Scenario one， 不排除是有些小粉红们意犹未尽前二年的白纸运动，继续在海外街头行为艺术- political pastiche/parody/burlesque/behavior arts to satirize Beijing regime in the name of PRC law. Scenario two，与左翼小资产阶级费边社马戏团（装蒜+编码）如出一辙，施展truculence伎俩，testing the bottom-line of western civilization. Scenario three, 大清帝国官轿出行，衙役打头阵高举“肃静回避”牌，让一切小民百姓退避三舍，在CBD弹钢琴的就像街头拉二胡卖艺的，岂容损害官威；on the other hand.只是露出尾巴-欲盖弥彰CCP大清帝国达官贵人显要进入商城的不方便（要被非我类照镜子）。果如此，则可以探究这个现代大清帝国的CCP力量是如何被壮大的：The last glimpse of the sunset in the horizon was captured in 1989 before the TAM-SQ massacre that the BBC London was broadcasting documentary “From Plato to NATO” to demonstrate the value of western civilization(the Greco-Roman culture, the rule of law based upon Christianity), unfortunately, since H.W. paid tribute to Deng Xiao-ping TAM-SQ massacre(Brent Scowcroft and Lawrence Eagleburger as his envoy)，the entire value of the west has been increasingly prone to be overwritten by such "Dragon at the Door" phenomenon(cf. Ottawa MLI project trying to fend off it),the landscape of civilization and political spectrum tend to be homogenized by Beijing's influence/arrangement. The red dragon has thrusted the West into abysmal dimension. Please refer to Mr. Matthew Pottinger's testimony： American know-how and capital are seeds and fertilizer from which China’s formidable military might has sprouted.-Pottinger https://docs.house.gov/meetings/FA/FA00/20240117/116738/HHRG-118-FA00-Wstate-PottingerM-20240117.pdf ，and you can understand why.

2024-1-26

【百年真相】鐵證：中共最早倡導「台獨」 https://www.epochtimes.com/b5/24/1/17/n14160607.htm ， which means CCP is the origin of the dynamics and incentives in regards to pro-independence movement in Taiwan, 这当然是一贯伟大光荣正确的中国共产党这个百年老店的光辉历程之一，全宇宙理当坚决拥护双手赞成一贯标榜掌握宇宙真理的CCP这个光辉点数。

2024-1-27

洛杉矶小台北不简单，前述1993年从小台北寄航空信到大台北发生麻烦. 前几年连英国《卫报》都报道了某位在民运圈有头有脸的人物被FBI逮个正着-dubbed No.1 co-conspirator(其轨迹上海-香港-夏威夷-基隆-洛杉矶，周日也常去教会), 为了几万元钱，出卖自我，出卖他人（要改朝换代毛国柞的仁人志士)， 敬请参阅传教士写的 《The Enemy Within: An Eyewitness Account Of The Communist Conquest Of China》byRaymond J. de Jaegher & Irene Corbally Kuhn . 还有一件事不得不提， 大约近一个decade前，上海新民晚报前后不到半年揭弊了两家公司“中晋公司” 与“钧遥公司”，他们事后怎么不还钱？ 前述（1/15/2023）的九层妖塔=九阴妖塔=九只蛤蟆红魔发出邪魔功力九阴白骨爪，黑吃黑，这个厚黑程度不知超过李宗吾与柏杨描述多少倍，只是不要搭错界圆山俱乐部南京中央国府相关交互点，你懂得。

多年前陶XX本来要还债的20万美元据说也在民运圈生发了混世魔王- 要知道一个人的大命损失痛苦指数及物价上涨指数加权起来，债务累计是几何级数/指数函数计量的；至于在台北被刑事起诉开庭的“团练”20万美元碰���是镜像？ Better off not to be seen through by foreign sinologist that the possibility that yellow peril. dragon peril and Xenu peril are easily generated is taken for granted.

2024-1-28 P.S. 在教会中对上述FBI描述对象是知人知面不知心，毛国祚白莲教三合会CCP如影随形似鬼（偏偏尼克松基辛格就是着迷中共盗国官员有天文数字财产），搞sabotage得心应手，wherever you go. 无独有偶，the DVD "Enemies Within the Church""composed by Cary Gordon 可以帮助解答问题- 完全配套延申上述已故传教士写的《The Enemy Within：An Eyewitness Account Of The Communist Conquest Of China 》， the kingdom , power and glory of western civilization could be handed over to quasi-白莲教white lotus evil cult if current trend deepened; the only way to cope with evil tidings is God speed divine intervention.

[briefpiratereview]

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如今的信息化科技互联网时代，人们都享受着网络带来的便捷，由于网络监管的困难，同时也给我们带来了一些烦恼。俗话说的好森林大了，什么鸟都有，虽然总的来说绝大数人都是安分守法的借助网络带来给我们的方便创业，发展等，然而也有些不发分子企图利用网络来制作包装华丽的黑平台实施诱骗，所以，如何选择正规平台发展，如何防范进入黑假平台都诱饵避免不必要的损失。成了我们面临的第一个关键选择，选择对了，后患无忧，选择错了，必将损失。在这里跟大家分享几点选择正规平台的小小经验：正规的平台有自己你实体现场，你可以找到平台的具体位置。你在网上投注是与现场的现场客人同步下注的，你在网投时就可以看到现场里面的所有情况，现场到底有多少现场客人在玩。其次就是在你确定平台有自己的实体公司之后要向平台要求现场视频验证。

所谓AG真人视讯都是骗人的，大家千万不要相信AG网投，都是骗人的。你们一定想问为什么说是骗人的！接下来我就跟你们详细说说AG的黑幕。你们为什么会输那么多钱的原因就是这个是一个很假的电子平台，这就像一个无底洞填不满的！澳门某网投？人是真的，不过牌是假的吧。

首先真人游戏就是现场有赌徒在���的才叫真人，而不是叫几个穿着暴露的菲律宾女佣就叫真人了。而且澳门赌场里的荷官随便都比他们有气质！还有就是现场是来自世界各地的赌徒络绎不绝的下注！不像这个现场一个人都没有，这场地太廉价了吧！那么他们的牌靴是否有电子作弊系统？扑克牌是普通的纸牌还是特制的可以变化点数的电子牌？扑克牌为什么放进红色框？是否可以感应点数？那么现场在哪里？如何验证真伪？既然是正规的合法的赌场，为什么不打开门做生意，让全世界想赌的人进去玩。

目前还有一种网上网投平台，就是缅甸网投直播现场，这类的网站的视频是无法做手脚的。因为他在当地是有政法部监管的，还有实体现场玩家的全程监督。所以无法作假。可是我们为什么还是会输呢?这就要看个人的心态了，其实赢的也有。赢钱的谁会告诉你他赢钱的？但是输钱的就不一样的，会到处跟朋友说输了多少多少。所以在玩网投时心态很重要，赢钱了要懂得收手。

有法律保护的赌场赌是不会黑客人的钱的，因为只要有人举报或投诉，当地相关部门就会立即调查，如果是真实的就会对其公司查封。所以正规平台是不敢黑客人的钱的。因为他们还要正常营业，没必要因小失大。网上网投在网络平台上正规的都可以现场视频验证。正规实体平台官方网址登录注册进去即可观看火爆现场大厅，你可以在平台上清清楚楚的看见大厅里面的一切，正规平台都是现场洗牌，验牌，过牌，切牌，透明牌靴，现场当面杀赔，先发牌后下注，保证公平，公正，公开全都透明模式下运营那才是实体靠谱平台。

所以选择网投时一定要选择正规实体平台的。最后告诫大家，那些所谓打着高彩.金，高返水等类似广告平台，大家千万不能去贪，这些都是黑假平台的引诱套路，一但陷入进去就别想着全身而退。（一定会被黑）一定要记住，正规的平台是不可能给你多少优惠的。

[gafyj]

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[lfrty]

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翻译：Paul McCartney: One for the Road

原链接：https://www.rollingstone.com/music/music-news/paul-mccartney-one-for-the-road-43295/ He blew it. Not that anybody spotted it. The audience at the Rosemont Horizon, outside Chicago, was too busy swooning in the ersatzcandlelight of a few thousand cigarette lighters and luxuriating in the warmbalm of nostalgia as a real, live Beatle reprised one of the band’s biggesthits onstage. Nobody appeared to notice — or care — that Paul McCartney had completely botched the words to his enduringturn-of-the-Seventies hymn “Let It Be.”

他搞砸了，虽然倒也没人发现。在芝加哥外的好事达体育馆，千千万万观众们都忙于举起打火机，在虚假烛光中陶醉，沉浸在温暖怀旧气息里，因为舞台上，一位真实的披头正在重演披头士乐队最受欢迎的歌曲之一。没有人发现（或者说，没有人在意）McCartney完全把Let It Be的歌词唱错了，这首发行于七世纪年代头上，经久不衰的歌。

 “I condensed that little one very nicely — it took on a newmeaning,” McCartney confesses later with an embarrassed laugh. “All I did was,I forgot the second half of the first verse and put in the second verse. And Ithought, ‘God what am I going to do? I’ll just do the second verse and probablyno one will ever notice that I’ve done it twice.’ But I was so thrown off thatI ended up getting it wrong in the last verse as well.” Not that it was all hisfault anyway, he insists with a disarming smile. “I spend most of my timewatching these little cameos in the audience. It’s like all human life isthere, a big sea of it. And it’s a bit distracting. If I get off on the wrongfoot, it’s because I’m hung up on the audience.”

“这首歌我提炼得不错，给了它些新内涵。”McCartney尬笑着坦白，“我就，把下半首歌的第一��给忘了，唱成了第二段，想着天哪咋办，要不我就直接唱第二段得了，大概也没人会发现我唱了两遍。然而我脑筋整个被搞乱，结果最后一节也弄错了。”他毫无防备地笑着，坚持说这并不都是他自己的错，“大部分时间我都在观察观众席。看着人山人海，人类生活都浓缩在那儿，有点让人分心。心思都在观众身上，把我的步骤都弄乱了。”

 And because, he might have added, that audience always was, still is and forever will be hung up on the Beatles. Currently in the midst of hisfirst major concert tour since his splashy 1976 American jaunt with the lateWings, Paul McCartney is digging deep into his half of the Beatles’ song bagafter spending most of the past twenty years pretending — in concert,anyway — that he had never been Fab in the first place. He is nowrediscovering to his eternal surprise, night after night, the enduring impactand resonance of the act he had effectively denied for all those years.

他可能还会补充说，这也是因为披头士乐队依然永远吸引着观众。McCartney正在进行一场大规模巡演，是自Wings乐队在1976年的那场高调美国巡演以来的第一次巡演。在过去的20年中，他一直在假装自己从来不是披头士乐队的一员（至少在演唱会上是这样表现的）。而为了这次巡演，他则深挖了自己创作的，占据披头士曲库一半的作品。如今每一晚他都能重新体验那份惊喜，那份他曾经故意拒绝面对，但是对观众有着经久不衰的影响和共鸣的惊喜。

 It’s not all hot tears and wet seats, of course, like it was in’64. At the Rosemont Horizon, where McCartney and his five-piece band holdcourt for three sold-out nights, it’s more like bright shrieks of astonishmentand deep sighs of contentment, spiced with moments of poignant intimacy anddroll hilarity:

Two teenage girls in the front row gently sobbing during“Yesterday,” a song written nearly ten years before they were born.

A middle-aged couple slow-dancing in the balcony to “Hey Jude.”

A family of three, including a little girl of kindergarten age,holding up signs that read, “We ♥ Paul,” except the little girl is holding the “We” upside down.

The thirtysomething fella in the tenth row holding a cellularphone over his head, apparently phoning in the gig to a ticketless yuppie palat home.

在好事达体育馆，McCartney和他的五人乐队举办了三场售罄演唱会。现在不是1964年，观众席已经没有粉丝们的滚滚热泪和湿哒哒的椅子。取而代之的是快乐的惊声尖叫和愿望满足的大叹，点缀着各种亲情与搞笑时刻：

前排的两个少女听着 "Yesterday "轻轻啜泣，这首歌是在她们出生前10年写就的。

一对中年夫妇缓缓地伴着“Hey Jude”在看台上跳舞。

一家三口，举着“We ♥ Paul”的牌子，不过那个看着才在上幼儿园的小姑娘把“We”的牌子举倒了。

第十排的三十多岁的小伙子高举着移动电话过头顶，显然在给一个没买着票只能家里蹲的雅痞朋友打电话。

 “I’m touching a lot of different nerves out there,” saysMcCartney, quite rightly. “Young couples and not-so-young couples who wereyoung when ‘Hey Jude’ came out. You see lots of guys doing high fives to eachother, a lot of communication, a lot of warmth.

“不同的人对我的表演都有感触。”McCartney说。他没说错。“不管是对年轻的情侣，还是对“Hey Jude”刚出时很年轻但现在已经不年轻的情侣。你可以看着好多人互相击掌，看到各种交流各种温暖。“

 “It’s not so much déjà vu for me. I’ve come back asanother person. I have different sensibilities now. I have kids, all that.Let’s face it, the first tours the Beatles did, the main essential thing wasscoring chicks. I’m a different person now, because that’s not allowed” Hegrins.

“但其实我对这场景并不熟悉，因为我回归时已经成长为另外一个人了，带着更多感情更多见解，有了孩子什么的。老实和你说，披头士第一次巡演最重要的目标就是找妹子而已。现在我不一样了，可不允许我这么干。”他笑笑。

 “And what I find now is, I get really touched by the audience,” hesays. “I keep telling Dick Lester [the director of A Hard Day’s Night and Help!, whois making a film of the tour] to capture all the little things we see from thestage. Nobody in the audience really sees it. But we do, because we’re lookingat them. And that’s the real show.”

“我发现自己倒是被观众感动着。我一直和Dick Lester说要捕捉到从台上向��看的各种细节。（Dick Lester是A Hard Day’s Night and Help!的导演，也在为此次巡演进行拍摄。）我们能看到观众在席内看不见的细节，因为我们才是面对观众的人。观众的反映才是真正的演出。”

 That’s also the crux of Paul McCartney’s continuing dilemma as anex-Beatle. McCartney, 47, has been a solo artist for nineteen years, nearlydouble his tenure as a Beatle. In 1988 he made a welcome return to his Fiftiesrock & roll roots with the Russian-only “covers” album Snova v SSSR, a.k.a. Back in theU.S.S.R. Last spring he released his most critically acclaimed(although commercially disappointing) album in years, Flowers in theDirt. In addition, his recent songwriting partnership withElvis Costello has yielded two Top Forty hits, his own version of “My BraveFace” and Costello’s recording of “Veronica.” He capped 1989 by debuting afine, new touring band featuring top-drawer studio and road guys who couldoutplay Wings blindfolded — guitarist Robbie McIntosh (the Pretenders),singer-guitarist Hamish Stuart (Average White Band), keyboardist Paul “Wix”Wickens (Paul Young, the The) and drummer Chris Whitten (the Waterboys, JulianCope), plus McCartney’s wife, Wings vet Linda, on keys and harmonies.

这也是McCartney作为一位前披头士一直进退两难的症结所在。47岁的他已经单飞19年，几乎是他披头士生涯的两倍。1988年，他推出了一张只在俄罗斯发行的翻唱专辑Snova v SSSR（又名Back in the U.S.S.R.），令人欣喜地追溯回（影响到他的）五十年代的摇滚乐根源。去年春天，他发行了多年来最受好评的专辑Flower in the Dirt，虽然商业成绩不理想。此外，他最近与Elvis Costello的合作了两首歌曲，McCartney版本的My Brave Face 和Costello的 Veronica，都打到了排行榜前四十名。1989年，他首次组建了一支优秀的新巡演乐队，都是优秀的录音室和巡演音乐人，蒙着眼睛弹也能超过Wings乐队--吉他手Robbie McIntosh (Pretenders)，主唱吉他手Hamish Stuart (Average White Band)，键盘手Paul “Wix” Wickens (PaulYoung, the The)和鼓手Chris Whitten (Waterboys, Julian Cope)，再加上他的妻子，Wings乐队常驻成员Linda，负责键盘和和声。

 Yet it has hardly escaped McCartney’s attention that many of thepeople packing arenas and, later this spring, stadiums on his 1989-90 worldtour are not coming to see him play obscure album tracks from Flowers in theDirt. They are coming to see the Beatles-by-proxy. They arecoming to have their emotional buttons pushed by the songs that defined andtransformed their youth — “The Long and Winding Road,” “Can’t Buy MeLove,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things WeSaid Today,” “Back in the U.S.S.R.,” “I Saw Her Standing There,” the climactic“Golden Slumbers/Carry That Weight/The End” medley from Abbey Road. Theyare coming to see many of these songs performed live for the first time (thebulk of the Beatles oldies in McCartney’s show postdate their 1966 retirementfrom the stage) and, quite possibly, the last.

然而，McCartney当然不会假装无视，其实铺满场馆的人们并不是来听他演出Flowers in the Dirt中稍显晦涩的曲目。他们是来食用披头士代餐的。他们希望听到那些定义并改变了他们青春的歌曲，去触动自己的情感开关— “The Long and Winding Road,” “Can’t Buy Me Love,” “Sgt.Pepper’s Lonely Hearts Club Band,” “Good Day Sunshine,” “Things We Said Today,”“Back in the U.S.S.R.,” “I Saw Her Standing There,” Abbey Road中高潮迭起的 “Golden Slumbers/Carry That Weight/The End” 组曲。他们的目的，是来欣赏史上头次（也有可能是最后一次）现场演出的披头士老歌，大量1966年披头士离开舞台以后创作的曲目。

 At the Rosemont Horizon and later that week at the Skydome inToronto and at the Forum in Montreal, you could feel the audience buzz take apalpable dip every time McCartney went into an unfamiliar number from Flowers in theDirt, like the reggaefied shuffle “Rough Ride” or “We GotMarried,” a Flowers highlight recalling the hard-rock melodrama ofmid-Seventies Wings. The pressure drop was particularly noticeable at thebeginning of the two-and-a-half-hour show, as the crowd cheered the soundtrackof Beatles, Wings and solo McCartney hits that accompanied Richard Lester’sopening rockumentary-film montage with its kinetic blasts of Beatlemania,flower power, Vietnam, et cetera. After which McCartney and his band hit thestage and stepped right into … his new single, the appealing butcomparatively low-key “Figure of Eight.”

在他巡演的各个场地都能感觉到，每次McCartney表演一首Flowers in the Dirt中的新曲目，观众的热情会陡然下降，比如雷鬼风的“Rough Ride”或者 “We Got Married”，令人眼前一亮回想起七十年代中期Wings的硬摇旋律的“Flower”。这在开场尤其明显。观众们欢呼着披头士，Wings, McCartney的solo作品，伴着导演制作的记录着摇滚年代开场，屏幕上��现了披头士狂热，花之力，越战等等。之后，McCartney和乐队上台直接演出新单曲，是吸引人但相对低调的 "Figure of Eight"。

 “We did thaton purpose — we had to do that,” McCartney argues over aveggie burger (the McCartneys are devout vegetarians) during a preshowdinner break backstage in Toronto. “Originally, we were going to open with ‘ISaw Her Standing There.’ But I really got upset by the idea. I was going homeone night and I thought, ‘That’s really betraying our new material, sending itright down the line.’ Like saying, ‘Hey, I haven’t been around for thirteenyears and I haven’t done anything worthwhile. Here’s the Beatles stuff.’

“我是故意的。“McCartney吃着素汉堡解释道（McCartney一家都是坚定的素食主义者）。”本来我们想拿I Saw Her Standing There开场，但我真的不支持这个想法。一天晚上回家的时候我想着，‘这简直在背叛我们的新作品，整个把格调拉低了’。这个安排就好像在说，‘嘿，我神隐了13年，啥有价值的事都没干。喏，给你们听听披头士的歌得了。‘“

 “It’s the obvious thing. Boom, bang, Beatles, Beatles. Then yousay, ‘Now we’d like to do some new material.’ Boo! Hiss! I’ve seen the Stonestry and do it, and it doesn’t go down that great. That’s a fact of life. Evenwith the Beatles, new material didn’t always go down that well. It was theolder tunes. ‘Baby’s in Black’ never went down nearly as well as ‘I Feel Fine’or ‘She Loves You.’ That’s just the nature of the beast.

“真的很明显。如果上来就砰砰唱披头士的歌，然后说‘现在我们想演一些新作品。’嘘声就来了。我见过滚石他们这么做，效果不太好。这就是人生嘛，就算是披头士，新作品落地激起的浪花也不会大，老歌才更能带动人们。唱‘Baby’s in Black‘的效果就没有唱‘I Feel Fine’ 或 ‘She Loves You’好。这行就是这样。”

 “It is hard to follow my own act,” he admits. “But the only answerto that would be to give up after the Beatles. I only had two alternatives.Give up, or carry on. And having elected to carry on, I couldn’t stop.”

McCartney has been consistently productive as an ex-Beatle. He hasnot, however, been consistently successful. His Eighties chart duds include Pipes of Peace,Give My Regards to Broad Street (the soundtrack to hisdisastrous feature film of the same name), Press to Play and thesolo/Wings “greatest hits” package, All the Best. Notably, McCartneyincludes only one song from the first three albums in his current show: “SaySay Say,” his Number One duet with Michael Jackson, from Pipes of Peace, isfeatured in Richard Lester’s opening film.

他承认，“追上先前的成就很难，唯一的答案是在披头士之后就放弃。只有两个选择：放弃，或者继续。既然选择了继续，我就停不下来。"

McCartney作为前披头士一直都很高产，但也没有持续成功。他80年代排行榜上的哑弹包括Pipes of Peace、Give My Regards to Broad Street（超灾难的同名电影原声带）、Press to Play和Wings的精选集All the Best。值得注意的是他本次演出只收录了前三张专辑中的一首歌：Say Say Say，是他与迈克尔-杰克逊合作曲，打上了榜单第一，也在演唱会片头影片出现了。

 Flowers in the Dirt has done reasonably well saleswise — 600,000 copies inthe United States, 1 million in continental Europe by year’s end — but hasnot been the chartbuster either McCartney or his manager, Richard Ogden,certainly hoped for.

Flowers in the Dirt的销量相当不错--在美国发行了60万张，到年底在欧洲发行了100万张--但还没有达到McCartney与他的经纪人Richard Ogden希望的畅销程度。

 “It was as if it didn’t exist,” Ogden says ruefully. “I sat with aradio program director from Chicago, very nice, very up about the show. And hesaid, ‘What’s the next single?’ And I said, ‘We’re just starting with “Figureof Eight” ‘ And he said, ‘What about “This One”? That’s really good.’ And Isaid, ‘That came out in August, mate.’ That really drives me crazy.”

“打单结果就好像消失了一样，”Ogden怅然若失地说，"我和一个芝加哥的电台节目总监坐着，他人很好，对这个节目很上心。他说，'下一张单曲是什么？’我说：" Figure of Eight " 他说"那This One呢？这首很好听。”我说, ‘这首8月份就发行了啊，老哥。’真的好抓狂。"

 McCartney’s response, says Ogden, is a bit stoic. “Paul’s beendoing this for a long time, and he’s going, ‘I don’t want to think about thisanymore. You guys sort it out.'” In fact, McCartney’s response to his ongoingEighties commercial and, until recently, critical slump has been to get out andplay, something he had done infrequently (Live Aid, the 1986 Prince’s Trustconcert) since Wings broke up following his arrest in Japan in 1980 forpossession of marijuana. In 1987, with Ogden’s active encouragement andorganization, McCartney initiated a series of Friday-night jam sessions at asuburban-London studio with an eye toward eventually finding enough new,inspiring players to start a formal band. He also liked the idea, he says, ofhaving a rockers’ equivalent of cafe society.

McCartney的反应倒是挺淡定，他在这一行太久了。他说，“我不想考虑这个了，你们搞定吧”。实际上对于自己八十年代作品商业上的低迷，和最近才上升的风评，他的对应方式一直是出去演出（Live Aid，1986年Prince的Trust演唱会），虽然自1980年在日本因持有大麻被捕后Wings解散以来，他很少这样做了。1987年，在Ogden的积极鼓励和组织下，McCartney在伦敦郊区的一间录音室发起了一系列周五晚上的即兴演奏会，目的是找到足够多新人、有灵感的乐手来组建一支正式的乐队。拥有一个像咖啡公社一样的rocker团体，这个想法他很喜欢。

 “The Beatles nearly did that once,” says McCartney. “We were goingto open an Apple tea room, where we could all go and be intellectual, talk artor Stockhausen. So I thought, ‘We’ll do a similar thing with the jam. Maybe theword will get out that there’s a jam every Friday night, see who shows up.’ Butin fact, because it’s done by your office, and they just ring specific people,it didn’t work out like that. Whoever they rang, showed. Whoever they didn’t ring,didn’t show.”

McCartney 说，“披头士差点就这么干了，本来我们想用Apple的一个茶室，大家都进去开拓思路，聊聊艺术或者Stockhausen。我想着我们的即兴排练也学样，每周五的活动的话传开了，看看谁会参加。但其实因为是办公室组织的，而他们只会给一些特定的人打电话，效果不好。接到电话的人会参加，没接到的就不参加。”

 When asked why he stayed off the road for so long, McCartney saysvery casually: “I just couldn’t be bothered. Until Live Aid came along, Ididn’t think of doing anything live. I don’t know why. Maybe because nobodyasked me. Nobody asked me personally, anyway. I’d hear little things here andthere; I heard that Elton John was quoted as saying, ‘What he needs is to getback on the road.’ But it never seemed that vital for me; I was alreadyenjoying myself.”

问他为什么这么久没有巡演，McCartney反应很随意，“我就不是很care嘛，在Live Aid之前都没想过现场演出，我也不知道为什么。大概因为没人问过我吧，至少没人当面问过我。小道消息确实听说了点，我听人说Elton John说过“McCartney他现在需要的是回去巡演”。但这对我来说也不太关键，我已经很享受自己的生活了。”

 McCartney was never really much of a road hog. Wings’ first andonly American tour came ten years after the Beatles said sayonara to the roadat Candlestick Park. And it’s easy to tell how much time has elapsed by watchingMcCartney’s current show. The production is heavy on Seventies arena kitsch:lasers galore, levitating keyboards. McCartney’s between-song patter alsoprobably seems quaint (“We’re going to go back through the mists of time, to atime known as the Sixties”) to veteran Eighties concertgoers used to thenarrative command of Springsteen or Bono’s spiritual cheerleading.

McCartney从来都不痴迷巡演，披头士在Candlestick Park演出和观众彻底说byebye十年后Wings才在美国巡演。这是第一次也是最后一次。而看McCartney现在的演出，马上就能知道时间过去了多久。这场演出充满了七十年代舞台上的奇特风格：激光灯效，键盘悬浮着，对于八十年代资深演唱会观众，他们已经习惯了Springsteen 的narrative command【？】或者Bono的精神鼓励的，McCartney演出间歇的唠嗑风格古早，“我们将穿过时间的迷雾，回到一个被称为六十年代的时代”。

 One distinctly Eighties aspect of McCartney’s tour is hiscontroversial tour-sponsorship deal with Visa for the 1990 American shows. TheVisa arrangement — reportedly worth $8.5 million, which McCartney saysbasically covers the cost of transport for the tour — represents a new,potentially troublesome twist in pop-music sponsorship: rock & rollsponsored (some will say co-opted) not simply by a merchandiser butby a credit-card company, with close ties to banks and their complex networksof possibly questionable investments. McCartney says he vetted Visa asthoroughly as possible before saying, “I do.” “It may be true that they are agigantic money corporation,” he says, “but I can’t see what’s wrong with that,unless you can prove to me South African links.”

本次巡演的一个明显80年代特征是他与Visa公司就1990年美国演出达成的赞助协议，这个协议其实有点争议。据报道，Visa公司赞助达850万美元，McCartney说，这笔钱基本上包括了巡演的交通费。它代表了流行音乐赞助中一个新的、潜在的麻烦：摇滚乐的赞助（合作）不是简单地由一个商人赞助，而是一家信用卡公司，与银行及其可能会出问题的复杂投资网络关系密切。McCartney在说 "我同意 "之前，他尽可能彻底地审查了Visa。"他们可能确实是一家巨大的财团，"他说，"但我不觉得有什么问题，除非你��向我证明他们和南非之间有关系。"

 McCartney also insists he is not betraying any kind of political,social or emotional trust represented by the Beatles or the songs of theirsthat he’s performing on tour. “Whether you like it or not,” he says, “no matterwhat people thought was going on in the Sixties, every single band that didanything got paid for it. You look back at the early Beatles concert programs,there were Coke ads. We always got paid for everything we did, and when we madea deal, we always wanted the best.

McCartney坚持认为他并没有背叛任何一种披头士乐队代表的政治、社会或情感寄托，也没有与他在巡演中歌相左的行动。“实话实说不怕你惊讶，"他说，"不管你觉得六十年代是什么风气，每个乐队做的任何举动都是有报酬的。你回头看看披头士早期的演唱会，有可乐做的广告。我们做任何事情都会得���报酬，做交易总是希望得到最好的。“

 “Somebody said to me, ‘But the Beatles were anti-materialistic.’That’s a huge myth. John and I literally used to sit down and say, ‘Now let’swrite a swimming pool.’ We said it out of innocence. Out of normal, fuckingworking-class glee that we were able to write a ‘swimming pool.’ For the firsttime in our lives, we could actually do something and earn money.

“有人和我说，‘可是披头士是反物质主义的呀。’这只是个传说罢了。John和我以前真的会坐下来写歌，说“咱们写个游泳池出来”，这些都是无意识说出来的。这种普通的，tmd工人阶级的志趣使我们通过写歌赚到了一个“游泳池”。这是我们人生第一次，确确实实可以种瓜得瓜挣大钱。

 “You get any act around the table with their record company, theytell their manager, ‘Go in and kill.’ They don’t say, ‘Oh, let the punters inat half price.’ We’ve actually done a lot of that — the free program, thatwasn’t necessary.

“你和唱片公司打交道，他们都会和经纪人说，‘去吧，大干一场’。他们不会说，‘欧我们票价打对折吧’。事实上我们也做过免费的项目，不过也没必要罢了。

 “And I think it’s just going to be tough if people don’t like it,”he says coolly. “Stick the finger up and say, ‘Sorry, boys, it’s tough. You maynot like me because of it. Tough darts. I know I’m not doing it for whateverperception you put on it. It doesn’t alter me.’ I’ve taken money off of EMI.The Beatles took money off of United Artists.

“而且我认为如果人们不喜欢，他们就得忍着。”他酷酷说，“我会举个中指说，‘Sorry咯，这事就这样了，你可能不喜欢，但你也只能忍着。我做这个并不是为了你对我的看法，你怎么想都不会改变我’。我拿的是EMI的钱，披头士拿的是联美公司的钱。”

 “I wish we’d taken a little more actually,” he says, suddenlylaughing, taking some of the chill out of the air. “The accountants on A Hard Day’s Night gotthree percent. We got a fee.”

他突然笑着说，“我倒是希望当时多薅点，A Hard Day’s Night的会计都拿了百分之三，我们只拿了一笔固定的钱。” 气氛突然放松了起来。

 “I‘m actually getting tired of Paul interviews,” Linda McCartneyremarks with a shrug while her husband is being trailed by a television-newscrew backstage in Chicago. “People always ask him about the same things. WhatJohn said about this, or what such and such Beatles song meant? Why don’t theyask him about other things, about the important things going on in theworld?”

当他电视新闻人在跟着McCartney在芝加哥场后台采访时，Linda McCartney耸耸肩说，“Paul的采访我都已经疲了。人们总是问他同样的问题：John说了什么，或者这个那个披头士歌曲是什么意思？他们为什么不问其他的，问问世上真正发生的重要事件？"

 For many of the press hounds, radio DJs and TV interviewers following this tour, not to mention the fans who are paying for the privilege, the Beatles are still one of the most important things in the world. In a world still reeling from their original sound and remarkable creative vision, the Beatles’ significance as a cultural touchstone and spiritual anchor cannot be overestimated. In the Sixties the group was the embodiment of youthful ambition and utopian desire amid the graphic realities of war in Southeast Asia and at home in the urban ghettos. Now, with the world plagued by crack, wracked with racial hatred and poised on the edge of ecological apocalypse, talking about the Beatles is like a form of therapy.

对于关注这场巡演的许多狗仔，电台DJ，和电视记者，更不用说付钱来看的观众，披头士乐队依然是世上最重要的事情之一。他们的原创声响和非凡的创作理念仍在影响着这个世界，作为文化试金石和精神支柱的意义是不可低估的。在六十年代，这支乐队在斗争纷飞的东南亚和城市贫民窟，体现了青年们的志向和对乌托邦的向往。而现在，在这蔓延着毒品，种族仇恨和生态灾难的世界，谈论披头士乐队更像一种疗愈手段。

 That seems to be just as true for McCartney as it is for any fan. During rehearsals for the tour, the band would take an occasional tea break, at which point, Paul Wickens recalls, “anecdotes would come out about the old days, little stories about him and John.”

对McCartney来说似乎也是如此。在巡演排练期间，乐队偶尔会进行茶歇，Paul Wickens回忆道，“他会说一些旧日轶事，关于他和John的小故事"。

 But the usual aura of Beatlemania that accompanies McCartney wherever he goes has increased tenfold, at least, with the inclusion of so many Beatles songs in his set. The recent settlement of the band members’ lawsuits with their record company, Capitol-EMI, and among themselves has also brought the tiresome issue of a Beatles reunion back to the fore. McCartney himself fanned that flame at the start of the American tour in November when he suggested during a Los Angeles press conference that with their legal differences settled, maybe he and George Harrison might write songs together for the first time. (He didn’t say anything about writing with Ringo Starr.) Harrison quickly put the kibosh on a possible reunion, issuing a terse press statement: “As far as I’m concerned, there won’t be a Beatles reunion as long as John Lennon remains dead.”

但无论McCartney走到哪里，平时就伴随着他的披头士狂热至少成十倍地增长，毕竟他的演出中加入了这么多披头士的歌曲。最近，乐队成员结束了与Capitol-EMI唱片公司的诉讼，这也重新聚焦了披头士重聚这个老大难问题。McCartney在11月的洛杉矶巡演的新闻发布会上表示，随着他们解决法律分歧，也许他和George会第一次一起写歌。(他没有说任何关于与Ringo一起写作的事情。)George很快就打消了这个念头，发表了一份简短的新声明：“就我所知，只要John没活回来，披头士是无法重聚的。"

 Indeed, John Lennon is an extremely conspicuous presence on McCartney’s tour, by his very absence. His name, his music and his celebrated differences with McCartney during and after the Beatles’ lifetime repeatedly come up in both interviews and idle conversation. Lennon figures prominently in the autobiographical passages that constitute the bulk of the 100-page concert program McCartney is distributing gratis at his shows. But in discussing Lennon in the context of his own contributions to the Beatles’ legacy, without Lennon to answer back, McCartney runs the risk of looking like he’s grabbing all the glory.

事实上，John的缺席反倒在本次巡演中成为了一个极其显眼的存在。采访和闲谈中人们都反复提及他的名字、音乐以及他与McCartney在披头士解散前后的著名纠纷。巡演中免费【免费!!!!!!!!】发放的【多达!!!!!!!!】100页场刊大段的自传段落中，John的身影占重要地位。但在讨论Lennon对披头士作品的贡献时，此时没有Lennon回击，McCartney看着像抢走了所有风头。

 For example, a portion of the program’s interview section is devoted to McCartney’s adventures in the nascent London underground of the mid-Sixties: hanging out with art scenesters like gallery owner Robert Fraser, attending avant-garde music concerts, helping to set up the pioneering Indica Bookshop and Gallery, funding the seminal underground newspaper IT (International Times). “I’m not trying to say it was all me,” McCartney points out in the program, “but I do think John’s avant-garde period later, was really to give himself a go at what he’d seen me having a go at.”

例如，场刊访谈有一部分是关于McCartney在伦敦六十年代中期新生地下艺术中的穿梭：与画廊老板Robert Fraser等艺术界人士混在一起，参加前卫音乐会，帮着打造先锋书店画廊Indica，资助开创性的地下报纸IT（International Times）。"我并不想说这都是我的功劳，" McCartney在场刊中指出，"但我确实认为John后期对先锋艺术的探索，是为了给自己一个新生活的机会，因为他看到了我经历的新生活。"

 “Because I talk about this so much, people go around saying, ‘Oh, he’s trying to reclaim the Beatles for himself, to take it away from John,'” says McCartney while relaxing on the chartered jet ferrying him, his family and the band between Toronto and Montreal. “I’m not doing anything of the kind! I’m not trying to claim the history and achievements of the Beatles for myself. I’m just trying to reclaim my part of it.

"因为我经常谈这件事，所以人们到处说，'哦，他想把披头士据为己有，从John那里夺走它'，" McCartney乘着包机轻松谈到（这包机在多伦多和蒙特利尔之间接送他自己、家人和乐队成员）。"完全没有的事! 我不想把披头士的历史和成就据为己有。我只是想找回属于自己的那部分。”

 “It’s not sour grapes. It’s true. I was there in the mid-Sixties when all these things started to happen in London. The Indica Gallery, art people like Robert Fraser. I was living in London, and I was the only bachelor of the four. The others were married and living in the suburbs. I was just there when it all started to happen.

“真不是酸葡萄心理，六十年代中期伦敦百花齐放的时代，我就在那旋涡中心，在Indica画廊，与Robert Fraser这类艺术人士在一起。我就住在伦敦，也是乐队里唯一一个单身的。另外三个都结婚了住在郊区，我只是正巧那时在那地而已。”

 “The difference is that once John got interested in it, he did it like everything else — to extremes. He did it with great energy and enthusiasm. He dove into it headfirst with Yoko. So it looked like he had been the one doing all the avant-garde stuff.

“It’s the ultimate conundrum,” he admits rather helplessly. “If I don’t say anything, I go on being the so-called wimp of the group. If I do open my mouth, it looks like I’m sullying John.

"不同的是，约翰一对它产生兴趣，他就开始走极端，就像他做别的事情那样。他以极大的精力和热情去投入，和洋子一起，一头扎进去。所以看起来他才一直在做各种先锋前卫的活动。”

"这是终极难题。"他颇为无奈地承认。"如果我什么都不说，我就一直是所谓的群体中的懦夫。但如果我真的开了口，看着就像是我在diss约翰。”

 “And this has only become an issue because he’s dead. Because of the mythologizing that inevitably comes with someone as special as that. And he never wanted that for himself. I remember driving in a car, listening to an interview with John on the radio on the day he died in which he said, ‘I don’t want to be a martyr.’ He didn’t want that responsibility, to be larger than life, to be some kind of god.”

No one brings it up, but this discussion, ironically enough, is taking place on the evening of the ninth anniversary of John Lennon’s murder.

"而正是因为他去世了，这才成了一个问题。因为他地位如此特殊，不可避免会被捧上神坛，可他从来都不想这样。我开车时，听过约翰去世那天的电台采访，他说，'我不想成为烈士'。他不想要那种责任，大于生命，要成为某种神什么的。"

虽然无人提及，但讽刺的是，这场访谈是在John Lennon遇害九周年的晚上进行的。

 “The fact is, we were a team,” McCartney states firmly as the plane begins its descent, “despite everything that went on between us and around us. And I was the only songwriter he ever chose to work with. Nuff said.”

"但其实我们是一个团队，"他在飞机开始下降时坚定表示，"尽管我们之间以及周围环境发生了各种事情，但我依然是唯一一个他自己选择合作写歌的人，就是这样。"

 A day in the touring life, McCartney style, is a nonstop series of interviews, photo opportunities, press conferences, sound checks and meals grabbed quickly by a band on the run. And, of course, the nights are busy, too.

McCartney的巡演生活每天充斥着持续的采访、拍照、新闻发布会、试音，在奔波中随意扒几口饭。当然，晚上也很忙。

 This evening’s performance at Toronto’s Skydome includes McCartney’s nightly plug for Friends of the Earth, the international ecological lobbying group that he is promoting throughout the tour. As the final notes of the closing Abbey Road medley reverberate around the cavernous Skydome, McCartney and the band jump into a fleet of golf carts, which zoom through the hallways to a waiting tour bus. With all aboard, the bus pulls out of the Skydome Starsky and Hutch-style before most of the fans have even left their seats. Back at the hotel at 1:00 a.m., McCartney hosts a small bash for the tour entourage in his suite. The food is vegetarian Chinese. The main attraction is a video of the evening’s Sugar Ray Leonard-Roberto Duran fight. At 2:30 a.m., as the party breaks up, McCartney, wearing a bathrobe, dances alone in the living room to the new Quincy Jones album.

今晚在多伦多Skydome的演出，包括McCartney每晚为Friends of the Earth做的宣传，一个国际生态游说组织。当空旷的Skydome回荡着Abbey Road组曲最后一个音符，McCartney和就乐队跳上高尔夫球车，穿过走廊驶向一辆等着的巡演大巴。大多数歌迷都还没来得及离开座位呢，大家就都上了车，飞速驶出了Skydome，像在演警界双雄似的。凌晨1点回到酒店，他会在套间里为随行人员举办一场小型派对，吃的中式素食，电视里放着当晚Sugar Ray Leonard-Roberto Duran的比赛录像。凌晨2点半派对散场，他会穿着浴袍，听着Quincy Jones的新专独自，在客厅里独自跳舞。

 Sedate in tone, organized with stunning military efficiency, the 1989-90 Paul McCartney World Tour is strictly business — the business of putting on a good show, promoting the latest record, getting maximum publicity and attempting to satisfy the constant public hunger for all things Beatle.

“This is more like a Beatles tour, strangely enough,” says McCartney. “In doing this tour, I’ve taken hints. If someone comes up and says, ‘How should we do this?’ my mind goes back to the best tours I’ve been on. And those were the first Beatles tours of America. They were highly organized, very efficient.

基调沉稳，组织高效，1989-90年Paul McCartney世界巡回演唱会是一场严格的商业活动—是为了举办一场优秀演出，推广最新唱片，获得最大宣传，并试图满足公众对披头士相关的持续渴望。

"挺奇怪的，这倒更像是一场披头士巡演，"McCartney说。"巡演中，我有一些自我暗示。如果有人过说，'我们应该怎么做？'脑海里就回想起我参加过的最好的巡演：披头士的第一次美国巡演，组织得很好，很有效率。

 Where there was once the hysteria of four wild boys with the world at their feet, however, now there is the calm of a middle-aged man who spends nearly all of his offstage hours meeting with assorted advisers, attending to his family (he and Linda are accompanied on this series of shows by two of their four children, Stella and James) and in turn being attended to by personal staff and security, the most prominent of the latter being three muscular, well-dressed men who look as if they had graduated with honors from Secret Service finishing school. Hell raising, needless to say, is at a premium on this tour.

曾经的，是四个狂野男孩带动的歇斯底里，站在世界之巅，现在的，是一个冷静的中年男子，几乎把所有台下时间都用在会见各种顾问、照顾家人（四个孩子中Stella和James这次陪他和Linda巡演），并反过来又受助理们和安保的照顾，其中最突出的是三个肌肉发达、衣着光鲜的男人，看着像特工学校毕业的优等生。Hell raising【？】在此次巡演中很重要。

 “I’m not used to that,” Robbie McIntosh says of the tour’s emphasis on organization. “When I was with the Pretenders, we would do a sound check and then we would go to a pub or something. Now with this, I get a feeling I can’t do that. It’s a lot more regimented, basically because the security is a lot heavier, because of who Paul is. And I guess because of what happened to John, although nobody directly mentions that.”

"我不习惯这样。" Robbie McIntosh提到这次巡演很强调组织性。"当我和Pretenders乐队在一起时，做完音响检查，我们就回去酒吧或者别的地方。现在我感觉自己不能这样做了。一方面因为Paul的身份，安保工作更加严密。另一方面我猜也是因为John的原因。虽然并没有人直截了当提出来。"

 McIntosh observes that the band “is sort of sacred” to McCartney, wholly separate from business. “He never talks business. Never, ever. He’s never mentioned money or anything like that to me. If he’s got something to say, then he’ll say it to the manager, and you will get it from him.

McIntosh发现乐队对McCartney几乎有些“神圣”，是完全与商业活动分开的。“他从来不说商业上的事情，从来都没有。他对我从来不提钱啊什么的。如果他想说，他会和经纪人沟通，经纪人再来和你沟通。”

 “And he’s got a very young approach as far as the band,” says McIntosh “You’d think this is his first band the way he goes on. You see him at sound checks, going around in circles and doing those silly little jumps. It’s a real novelty to him to have a band again — and he treats it like that.”

"搞乐队这方面，他的各种行为都显得相当年轻，" McIntosh说，"他的做法会让你以为这是他待的第一个乐队。试音时你会看到他绕圈圈，傻傻在蹦跶。对他来说，再度拥有乐队是一件很新奇的事情--他也是这样应对的。"

 The sound checks are shows in themselves. McCartney doesn’t run through any of the songs in the regular production; instead, he leads the band through a batch of oldies (Carl Perkins’s “Matchbox,” an old Beatles cover, and tracks from the Russian album, like “Just Because” and “Don’t Get Around Much Anymore”), the Wings B side “C Moon,” the jaunty British music-hall number “Me Father Upon the Stage” and a Latin-hustle medley of Beatles songs.

试音本身就是一场演出。通常人们会过一遍歌单，但McCartney不这样。他会带着乐队演一些老歌(Carl Perkins的“Matchbox,” 翻唱披头士的歌，俄罗斯独家专辑里的歌, 类似 “Just Because” and “Don’t Get Around Much Anymore”这种。)Wings的B面单曲“C Moon”，英式音乐厅的欢快曲目 "Me Father Upon the Stage "和披头士曲目的拉丁风串烧。

 “He’s a real clown,” Wix says quite admiringly. “He loves to show off, and he loves to be there doing it, making people laugh.”

And sure enough, onstage you can see by the light of his beaming, vintage Beatle Paul smile and the way he throws himself into the sixteen Beatles songs featured in the show that no one is enjoying this forward-into-the-past expedition more than McCartney himself.

“It’s twenty years, man,” McCartney says a bit wearily in response to the questions that have dogged him the whole length of the tour — why Beatles songs, and why so many?

"他真的是个小丑式人物。"Wix相当佩服地说。"他喜欢炫技，喜欢在台上搞笑让观众快乐。"

在舞台上，你可以从他那笑容满面、复古的披头士Paul的笑容，以及他投入演出中的十六首披头士歌曲中的方式看出来，没有人比他本人更享受这种向着曾经去探索的征途。

麦卡特尼有些疲惫地回答了困扰他整个巡演的问题--为什么是披头士的歌，为什么这么多？

 “You can’t keep angry forever, twenty years after an event that hurt,” he says, referring to the band’s acrimonious breakup. “Time is a great healer.”

谈起披头士乐队的激烈解散，他说道，"已经二十年了，老兄，二十年前的事我再心痛，也不可能永远生着气。时间很能疗伤。"

 McCartney explains that in preparation for the tour he actually sat down with pen and paper and drew up a list of his favorite Paul McCartney songs, Beatles and otherwise. He came up with so many of them that at one point there was talk, briefly anyway, of doing two completely different shows in each city. “I’d said to myself, ‘You’re a composer,'” he says. “‘There’s no shame in doing these songs.'”

他解释说，“准备巡演时自己真的拿着纸和笔，坐下来，写了一份他心中的Paul McCartney最佳曲目，其中包括披头士乐队和其他时期写的。单子太长了，甚至一度提到要在每个城市做两场完全不同的演出。"我对自己说，'你是作曲人'，"他说，"'演这些歌并不丢人'。"

 The songs of late partner John Lennon were a different matter. “In fact, I considered doing a major tribute to John,” says McCartney. “But it suddenly felt too precious, too showbiz. I was going to have a whacking great picture of John and just say, ‘He was my friend.’ Which was true. I’m totally proud to have worked with him.

演出已故搭档John Lennon的作品则含义不同。“我其实考虑过加一个John的致敬环节，但这回忆对我来说太珍贵，这环节也太作秀了。我本想挥着一张John的照片说，‘他是我的朋友’，这是真的，能与他合作我真的很骄傲。”

 “But then people started saying, ‘Why don’t you do “Imagine”?’ And I thought, ‘Fucking hell, Diana Ross does “Imagine.” They all do “Imagine.”‘ That’s when I backed off the whole thing. You go on tour, you sing your songs, arrange ’em nice, do it, and if you do it well enough, that’s what people will remember.”

“但人们又要说了，‘为啥不唱Imagine?’我就觉得，‘草了，Diana Ross也唱过Imagine，所有人都唱Imagine’。于是我退却了。我就想着去巡演，唱着自己的歌好好编排，如果做得够好，大家是会记住的。”

 Paul McCartney was rather late out of the starting gate for the 1989 Dinosaurs on the Road Sweepstakes, eating the dust already kicked up during the summer and early fall by the Who, the Rolling Stones and even Ringo Starr. But he’s not bugged either about his membership in the club — “I’m another dinosaur,” he says frankly — or by the implicit pressure to prove his viability as a contemporary artist to an audience obsessed by his past, if necessary at the expense of his peers.

【这段的典故没咋看懂，也没查到，有无老师解答？】

 “It’s never stopped,” says McCartney, sitting on a bench in the Montreal Canadiens’ locker room while a sold-out house awaits him inside the Forum next door. “I will never stop competing with every other artist in this business. Pet Sounds kicked me to make Pepper. It was direct competition with the Beach Boys. So what? That’s what everyone’s doing. Although when Brian Wilson heard Pepper, he went the other way.

“竞争从来没有停止过，”他说，在更衣室里坐在板凳上，隔壁漫长的人都在期待着他演出。“我永远不会放弃和这行艺术家们竞争的。Pet Sounds促使我推动Sgt. Pepper项目，这是和the Beach Boys直接竞争，但又怎样呢？大家都这么做。虽然Brian Wilson听完Sgt. Pepper，他就调转枪头啦。”

 “But, yeah, it’s competition. If you put ten children in a room, after an hour or so, they’ll sort themselves out. The smart one. The big, tough one. The cowardly one. The funny one who’s the friend of the smart one and the big, tough one. They will establish a pecking order.”

And where does McCartney place himself in rock’s pecking order?

“I’d put me at the top. Just because I’m a competitor, man. You don’t have Ed Moses going around saying, ‘Sure, I’m the third-best hurdler in the world.’ You don’t find Mike Tyson saying, ‘Sure, there’s lots of guys who could beat me.’ You’ve got to slog, man. I’ve slogged my way up from the suburbs of Liverpool, and I am not about to put all that down.”

“但竞争就是这样。你让10个孩子在一个屋子里，过一两个小时，他们就分出区别了。聪明孩子，壮硕孩子，强悍孩子，怂孩子，以及和聪明孩子壮硕孩子强悍孩子关系都很好的搞笑孩子。他们自己就会分等级。”那McCartney认为自己在哪一级呢？

“我觉得自己是最高一级，因为我确实很有竞争力。你看不到Ed Moses到处说：‘我是世上第三好的跨栏选手哈。’也不会发现Mike Tyson说，"很多人都能打倒我啊。”人必须要努力啊，伙计。从利物浦的郊区一路打拼上来，我不会放弃这一切的。"

 Nor is he about to let all that go forgotten. With the key Beatles lawsuits settled, he’s keen to go ahead with the long-discussed authorized Beatles film biography, The Long and Winding Road, although the project hit an early snag in terms of finding a director. McCartney mistakenly attempted to solicit interest from top screen talent by sending form letters outlining the project to the likes of Steven Spielberg, Ridley Scott and Michael Apted. “George [Harrison], who’s in the film business, went, ‘Major no-no, man, we shouldn’t have done that.’ And he should have stopped me. It was a mistake.”

他也不打算让这一切消失于记忆深处。随着披头士乐队关键官司解决了，他开始积极推进讨论已久的乐队授权电影传记The Long and Winding Road，虽然在找导演时就早早遇到了阻碍。他错了，他试图征求顶级大导的兴趣，他向Steven Spielberg, Ridley Scott 和Michael Apted等人发送了邀约。"涉足电影行业的乔治说，'可千万别，咱不能这么干。’他确实该阻止我，这决定是错误的。"

 Yet having willingly reawakened the Beatlemania beast with his current show, Paul McCartney enters the Nineties with a new variation on his old Seventies dilemma: How do you follow an act like the Beatles — again? He talks of making a new album with his touring band, and he’s halfway through a major orchestral and choral piece, written with British conductor Carl Davis, to be debuted during the 150th-anniversary celebrations of the Royal Liverpool Philharmonic next year. More important, though, he’s come to realize that you don’t follow an act like the Beatles. You learn to live with it, and learn from it.

Paul McCartney通过他目前的巡演，有意唤醒了人们对披头士的狂热。进入九十年代后，他对这七十年代的老难题态度又有了变化：如何重现披头士的行事作风？他说自己会和巡演乐队一起制作一张新专辑，和英国指挥家Carl Davis共同创作的大型管弦乐和合唱作品也已经完成了一半，将在明年皇家利物浦爱乐乐团150周年庆祝活动中首次亮相。但更重要的是，他已经意识到，自己不能重现披头士的作风了，而是要学会与之共存，并从中学习。

 “I’ve already done the thing where you go out and shun the Beatles,” says McCartney. “That was Wings. Now I’ve done this whole thing. I recognize that I’m a composer and that those Beatles songs are a part of my material.

“出门演出，假装自己不是个披头，这事我已经干过了，就是Wings。我现在想要的，是意识到自己是一位作曲人，而披头士的歌曲是我作品的一部分。”

 “The only alternative is that I turn my back on it forever, never do ‘Hey Jude’ again — and I think it’s a damn good song,” he says before heading out onstage, where he’ll play it again for a grateful crowd. “It would really be a pity if I don’t do it. Because someone else will.” 

“另一个选项是，我得永远无视披头生涯，永远不能唱Hey Jude。可这真tm是首好歌。”他上台演出前说着，“如果我永远不唱那就太可惜了，因为会被别人唱掉的。”

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