Mick Fanning Quotes

Men who love the Stones are fixated on cock. I’m sorry, but that’s the only word. And a firehose is a symbolic fantasy cock. It’s pathetic. Male Stones fans are frozen at eighteen months old, just discovering the thrill of yanking on the rubber band of their own phallus. Female Stones fans are even worse. Mick Jagger has a weird gross mouth that makes him look like a cod, and this turns them on. They’re sexually aroused by fish-men. They’re deviants.” “So what are Beatles fans fixated on? The glory of pussy?” “Exactly. Strawberry Fields is not just a place in Liverpool, Mr. Rookwood.

Feeling obscurely reassured, she turned over and fell asleep. Chapter 6 The next morning Maura was awakened by the tapping of rain against the glass sliding doors. It came as a surprise, but Maura realized it shouldn’t have: it must rain all the time in Ireland, to keep all those fields so green. Still, she was glad she’d had a day of sunshine first. If it had stayed cold and grey, like the day she’d arrived, she might have turned tail and run. She lay listening to the sounds: the rain, of course, but also the clinking of pans and plates in the kitchen above, and the young voices as the Keohane children pounded down the hall and out the door. She thought she heard the rumble of a male voice as well—Ellen’s husband? She didn’t want to move, but she knew Ellen would probably be waiting breakfast on her, and surely her landlady had other things to do today. She checked the clock: 8:00. That meant she’d had no more than six hours of sleep, after a long day yesterday. The night before, Jimmy and Mick had offered her a job at the pub. And by the light of day she still thought she wanted it. She could stay longer. It wouldn’t be much of a vacation, working all the time, but she’d never had any vacations anyway, so nothing new there. She wouldn’t be seeing much of Ireland, but she’d never been a fan of touristy things back home in Boston, and she didn’t plan to join groups of gawping tourists here. And she’d get to know some real people. But there were a lot of things that were murky, starting with how long Jimmy

by refusing to repeat it, much to the despair of their record companies. Both wrote gorgeous sci-fi ballads blatantly inspired by 2001—“Space Oddity” and “After the Gold Rush.” Both did classic songs about imperialism that name-checked Marlon Brando—“China Girl” and “Pocahontas.” Both were prodigiously prolific even when they were trying to eat Peru through their nostrils. They were mutual fans, though they floundered when they tried to copy each other (Trans and Tin Machine). Both sang their fears of losing their youth when they were still basically kids; both aged mysteriously well. Neither ever did anything remotely sane. But there’s a key difference: Bowie liked working with smart people, whereas Young always liked working with . . . well, let’s go ahead and call them “not quite as smart as Neil Young” people. Young made his most famous music with two backing groups—the awesomely inept Crazy Horse and the expensively addled CSN—whose collective IQ barely leaves room temperature. He knows they’re not going to challenge him with ideas of their own, so he knows how to use them—brilliantly in the first case, lucratively in the second. But Bowie never made any of his memorable music that way—he always preferred collaborating with (and stealing from) artists who knew tricks he didn’t know, well educated in musical worlds where he was just a visitor. Just look at the guitarists he worked with: Carlos Alomar from James Brown’s band vs. Robert Fripp from King Crimson. Stevie Ray Vaughan from Texas vs. Mick Ronson from Hull. Adrian Belew from Kentucky vs. Earl Slick from Brooklyn. Nile Rodgers. Peter Frampton. Ricky Gardiner, who played all that fantastic fuzz guitar on Low (and who made the mistake of demanding a raise, which is why he dropped out of the story so fast). Together, Young and Bowie laid claim to a jilted generation left high and dry by the dashed hippie dreams. “The