Rocking Solo Quotes

I'm the one that's got to die when it's time for me to die, so let me live my life the way I want to.

I announced to everyone that I was embarking on a solo tour. Not a music tour, but a tour of drugs and prostitutes.

Graham: Rod told me I needed to cut out half of my solos. Said they were interesting for people that loved technical guitar work but boring for everyone else. I said, "Why would I play to people who don't care about good guitar?" He said, "If you want to be huge, you gotta be for everybody.

As a free solo climber, when trying extremely difficult or dangerous movements on rock for the first time, I try it first with the safety of a rope.

(This is from a tribute poem to Ronnie James Dio: Former lead vocalist of the band Rainbow, Black Sabbath. This is written with all the titles of the hit songs of DIO. The titles are all in upper case) You can “CATCH THE RAINBOW” – “A RAINBOW IN THE DARK” Through “ROCK & ROLL CHILDREN” “HOLY DIVER” will lurk “BEFORE THE FALL” of “ELECTRA” “ALL THE FOOLS SAILED AWAY” “JESUS,MARY AND THE HOLY GHOST”- “LORD OF THE LAST DAY” “MASTER OF THE MOON” you are When my “ONE FOOT IN THE GRAVE” With our “BLACK”, “COLD FEET”, “MYSTERY” of “PAIN” you crave You’re “CAUGHT IN THE MIDDLE”, “BETWEEN TWO HEARTS” When “HUNGRY FOR HEAVEN” “HUNTER OF THE HEART” hurts “FALLEN ANGELS” “FEED MY HEART” “FEVER DREAMS” “FEED MY HEAD” “I AM” “ANOTHER LIE” “AFTER ALL (THE DEAD)” Not “GUILTY” if you “HIDE IN THE RAINBOW’’ With your perfect “GUITAR SOLO” “DON’T TELL THE KIDS” to “DREAM EVIL” Don’t “GIVE HER THE GUN” to follow “DON’T TALK TO STRANGERS” Those “EVIL EYES” can see “LORD OF THE NIGHT” “MISTREATED”; “MY EYES” hate to fancy “SHAME ON THE NIGHT” “TURN UP THE NIGHT” Now it’s “TIME TO BURN” “TWISTED” “VOODOO” does “WALK ON WATER” And today its our turn “BLOOD FROM A STONE” “BORN ON THE SUN” I’m “BETTER IN THE DARK” “BREATHLESS” The “PRISONER OF PARADISE” you are! Forever you are deathless “SACRED HEART” “SHIVERS” Laying “NAKED IN THE RAIN” “THIS IS YOUR LIFE”- “ WILD ONE”! Your “GOLDEN RULES” we gain “IN DREAMS” “I SPEED AT NIGHT” I’m “LOSING MY INSANITY” “ANOTHER LIE”: “COMPUTER GOD” Your “HEAVEN AND HELL”- my vanity! By “KILLING THE DRAGON” “I COULD HAVE BEEN A DREAMER” I’m “THE LAST IN LINE” To “SCREAM” Like an “INVISIBLE” screamer Now that you are gone “THE END OF THE WORLD” is here “STRAIGHT THROUGH THE HEART” “PUSH” “JUST ANOTHER DAY” in fear “CHILDREN OF THE SEA” “ DYING IN AMERICA” Is it “DEATH BY LOVE”? “FACES IN THE WINDOW” looking for A “GYPSY” from above Dear “STARGAZER” from “STRANGE HIGHWAYS” Our love “HERE’S TO YOU” “WE ROCK” “ONE MORE FOR THE ROAD” The “OTHER WORLD” anew “ONE NIGHT IN THE CITY” with “NEON KNIGHTS” “THE EYES” “STAY OUT OF MY MIND” The “STARSTRUCK” “SUNSET SUPERMAN” Is what we long to find “THE MAN WHO WOULD BE KING” Is the “INSTITUTIONAL MAN” “SHOOT SHOOT” to “TURN TO STONE” “WHEN A WOMAN CRIES” to plan To “STAND UP AND SHOUT” before “ THE KING OF ROCK AND ROLL” Though “GOD HATES HEAVY METAL” “EAT YOUR HEART OUT” to reach the goal. From the poem- Holy Dio: the Diver (A tribute to Ronnie James Dio)

When you walk along a wooded path In the nature my heart held so dear, Remember the joy that it gave me And know that I’ll always be near. When a robin announces his presence Singing solo as day becomes new The doe lifts her head to listen As her fawn drinks the freshness of dew. When an otter glides through the river, His swim is a masterful one. He engages his mate in a playful chase Then they climb on the rocks to sun. When the rustling leaves touch the autumn sky, Boasting colors of russet and gold Geese wing on their southern-most journey To escape from the beckoning cold. When the North wind blows through the towering pines It delivers a mid winter’s chill While snowflakes drift softly on fresh frozen lakes And the call of the wild becomes still. In each of these things, remember me. And know that I’ll always be near. The woodlands, God’s wondrous Creation, In His nature my heart held so dear.

Collins was in the space capsule all alone. While his partners were down there collecting rocks, Collins was manning the wheel. Twenty-six times he circled the moon—solo. Imagine? He was completely out of radio contact. Couldn’t talk to his partners. Couldn’t talk to NASA. He was cut off from every living soul in the universe. If he panicked, if he fucked up, if he pushed the wrong button, he’d strand Armstrong and Aldrin. Or if they did something wrong, if their lunar car broke down, if they couldn’t restart the thing, if they couldn’t blast off and reconnect with Collins forty-five miles above the moon, he’d have to head back to earth all by himself. Leave his partners to die. Slowly running out of air. While watching earth in the distance. It was such a real possibility, Collins returning to earth by himself, that Nixon wrote up a speech to the nation. Collins—now that’s one stone-cold wheelman. That’s the guy you want sitting at the wheel of a gassed-up Ford while you’re inside a bank.

Shane passava tutte le notti immerso in visioni di se stesso e Kayden insieme. Poi la mattina si svegliava per affrontare la realtà, quella in cui Kayden non solo non voleva avere nulla a che fare con lui, ma vedeva Shane come la classica e vecchia rock star che aveva sprecato il proprio talento e che non era per nulla degna delle capacità che possedeva. Era stato un duro colpo per il suo ego, come non gli era mai capitato di provare. E la cosa peggiore era che, se l’avesse detto chiunque altro, molto probabilmente non gliene sarebbe fregato un cazzo. Ma sentirselo dire da Kayden, un musicista che lui ammirava, qualcuno il cui rispetto desiderava a tutti i costi, era stato un calcio dritto nelle palle

Do we ever stop dreaming? I know I haven't. I must have been at least twenty-five when the Spice Girls happened, and I distinctly remember imagining my way into the group. I was going to be the sixth Spice, 'Massive Spice', who, against all the odds, would become the most popular and lusted-after Spice. The Spice who sang the vast majority of solo numbers in the up-tempo tracks. The Spice who really went the distance. And I still haven't quite given up on the Wimbledon Ladies' Singles Championship. I mean, it can't be too late, can it? I've got a lovely clean T-shirt, and I've figured out exactly how I'd respond to winning the final point (lie on floor wailing, get up, do triumphant lap of the ring slapping crowd members' box). It can't be just me who does this. I'm convinced that most adults, when travelling alone in a car, have a favourite driving CD of choice and sing along to it quite seriously, giving it as much attitude and effort as they can, due to believing – in that instant – that they're the latest rock or pop god playing to a packed Wembley stadium. And there must be at least one man, one poor beleaguered City worker, who likes to pop into a phone box then come out pretending he's Superman. Is there someone who does this? Anyone? If so, I'd like to meet you and we shall marry in the spring (unless you're really, really weird and the Superman thing is all you do, in which case BACK OFF).

Se il vecchio Alex pedalava con l'energia disperata d'un Girardengo appena appena più basso e rock, non era solo per andare a un appuntamento, ma per allontanarsi da bordo ring, converrete. In ogni caso, stava pur sempre per incontrare Adelaide e così quel matto pedalava dinamico come nessuno, e mentre pedalava cantava White Man In Hammersmith Palais con voce bassa e stonata.

Ode to the Beloved’s Hips" Bells are they—shaped on the eighth day—silvered percussion in the morning—are the morning. Swing switch sway. Hold the day away a little longer, a little slower, a little easy. Call to me— I wanna rock, I-I wanna rock, I-I wanna rock right now—so to them I come—struck-dumb chime-blind, tolling with a throat full of Hosanna. How many hours bowed against this Infinity of Blessed Trinity? Communion of Pelvis, Sacrum, Femur. My mouth—terrible angel, ever-lasting novena, ecstatic devourer. O, the places I have laid them, knelt and scooped the amber—fast honey—from their openness— Ah Muzen Cab’s hidden Temple of Tulúm—licked smooth the sticky of her hip—heat-thrummed ossa coxae. Lambent slave to ilium and ischium—I never tire to shake this wild hive, split with thumb the sweet- dripped comb—hot hexagonal hole—dark diamond— to its nectar-dervished queen. Meanad tongue— come-drunk hum-tranced honey-puller—for her hips, I am—strummed-song and succubus. They are the sign: hip. And the cosign: a great book— the body’s Bible opened up to its Good News Gospel. Alleluias, Ave Marías, madre mías, ay yay yays, Ay Dios míos, and hip-hip-hooray. Cult of Coccyx. Culto de cadera. Oracle of Orgasm. Rorschach’s riddle: What do I see? Hips: Innominate bone. Wish bone. Orpheus bone. Transubstantiation bone—hips of bread, wine-whet thighs. Say the word and healed I shall be: Bone butterfly. Bone wings. Bone Ferris wheel. Bone basin bone throne bone lamp. Apparition in the bone grotto—6th mystery— slick rosary bead—Déme la gracia of a decade in this garden of carmine flower. Exile me to the enormous orchard of Alcinous—spiced fruit, laden-tree—Imparadise me. Because, God, I am guilty. I am sin-frenzied and full of teeth for pear upon apple upon fig. More than all that are your hips. They are a city. They are Kingdom— Troy, the hollowed horse, an army of desire— thirty soldiers in the belly, two in the mouth. Beloved, your hips are the war. At night your legs, love, are boulevards leading me beggared and hungry to your candy house, your baroque mansion. Even when I am late and the tables have been cleared, in the kitchen of your hips, let me eat cake. O, constellation of pelvic glide—every curve, a luster, a star. More infinite still, your hips are kosmic, are universe—galactic carousel of burning comets and Big Big Bangs. Millennium Falcon, let me be your Solo. O, hot planet, let me circumambulate. O, spiral galaxy, I am coming for your dark matter. Along las calles de tus muslos I wander— follow the parade of pulse like a drum line— descend into your Plaza del Toros— hands throbbing Miura bulls, dark Isleros. Your arched hips—ay, mi torera. Down the long corridor, your wet walls lead me like a traje de luces—all glitter, glowed. I am the animal born to rush your rich red muletas—each breath, each sigh, each groan, a hooked horn of want. My mouth at your inner thigh—here I must enter you—mi pobre Manolete—press and part you like a wound— make the crowd pounding in the grandstand of your iliac crest rise up in you and cheer.

Aurora was romantic and brooding and heartbreaking and volatile all at once. In the age of arena rock, Daisy Jones & The Six managed to create something that felt intimate even though it could still play to a stadium. They had the impenetrable drums and the searing solos—they had songs that felt relentless in the best way possible. But the album also felt up close and personal. Billy and Daisy felt like they were right next to you, singing just to each other. “And it was deeply layered. That was the biggest thing Aurora had going for it. It sounds like a good-time album when you first listen to it. It’s an album you can play at a party. It’s an album you get high to. It’s an album you can play as you’re speeding down the highway. “But then you listen to the lyrics and you realize this is an album you can cry to. And it’s an album you can get laid to. “For every moment of your life, in 1978, Aurora could play in the background. “And from the moment it was released, it was a juggernaut.

«Il mio problema?» «Sì! Il tuo problema. Perché sei mister Bravo Ragazzo con tutti gli altri e con me un maledetto stronzo?» «Non solo con te.»« Anche con Nicky. Cazzo. Mi puoi svelare cosa ha fatto uno di noi due a Sua Altezza Reale del rock ‘n’ roll per comportarti così?» «Con lui, è semplice: non mi piace. Con te, c’è molto di più.» «Cosa? Io non ti piaccio, e allora sono insulti su insulti? Ottimo.» «Tu sei un treno impazzito, okay? Un cliché. Sei l’incarnazione di ogni battuta mai detta sulle vecchie rock star sbandate, e non ti rendi nemmeno conto di quanto tu sia penoso. Sì, sono attratto da te. No, non voglio fare nulla. Odio che il mio corpo reagisca al tuo, perché non voglio avere niente a che fare con quel gran casino che è Shane Ventura. Niente.» Shane si mise comodo, poggiandosi ai cuscini del sedile, sotto shock. Dio, è orribile. Avrebbe voluto poter tornare indietro, non fare domande, scendere da quella cazzo di limousine, e non dover mai più vedere l’uomo che aveva davanti

Miss Mackintosh waved her arms wildly. "Oh, please stop, and let me guess," she cried. "I shall go crazy with joy if I'm right. It was an old Peerage, and so she found that Lady Deal was Helena Herman--" "Whom she had seen ten years ago at a music hall as a male impersonator," cried Diva. "And didn't want to know her," interrupted Miss Mackintosh. "Yes, that's it, but that is not all. I hope you won't mind, but it's too rich. She saw you this morning coming out of your house in your bath-chair, and was quite sure that you were that Lady Deal." The three ladies rocked with laughter. Sometimes one recovered, and sometimes two, but they were re-infected by the third, and so they went on, solo and chorus, and duet and chorus, till exhaustion set in. "But there's still a mystery," said Diva at length, wiping her eyes. "Why did the Peerage say that Lady Deal was Helena Herman?" "Oh, that's the last Lady Deal," said Miss Mackintosh. "Helena Herman's Lord Deal died without children and Florence's Lord Deal, my Lady Deal, succeeded. Cousins." "If that isn't a lesson for Elizabeth Mapp," said Diva. "Better go to the expense of a new Peerage than make such a muddle. But what a long call we've made. We must go.

Have you ever stood near the edge of a high place, like a rooftop, or a cliff-side overlook, and felt a strange compulsion to step off the edge, almost like the abyss was calling to you, beckoning you to take that leap into the void? If there was nothing between you and oblivion but one hand clinging to a rock, can you say with 100 percent certainty that you wouldn't just let go? As I asked myself this question and tried to quantify things that are probably unquantifiable, I wondered if this fear of a kind of suicide, the fear that perhaps we're not actually in control of our actions and thoughts, lies at the heart of why people react so viscerally to free soloing.

Jerry thought of Dean as a brother, but in time, tempers and egos flared in the partnership, leading to their headline-making breakup in 1956, exactly ten years after they had joined forces. People worried what would become of Dean Martin, but Jerry Lewis flourished in his first solo films: The Delicate Delinquent, The Sad Sack, Rock-a-Bye Baby, and Don't Give Up the Ship. His directors include such comedy pros as Taurog and Frank Tashlin. Eventually, Lewis decided that he wanted to write and direct his own films. As a steady and stellar money-maker for Paramount, no one at the studio was prepared to stand in his way. His first effort was his most daring: The Bellboy,

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

La nebbia si riversava giù dalle colline di San Francisco come un liquido, e quasi lo era. In giornate migliori si spandeva sulla baia e conquistava Oakland strada dopo strada, una cosa che guardavi arrivare, un cambiamento che vedevi su di te, una stagione in movimento. Dove incontrava le sequoie, si trasformava nella più locale delle piogge. Dove trovava uno spazio aperto, il suo pallido passaggio etereo sembrava al contempo infinito e la fine di ogni cosa. Era una tristezza temporanea, ancora più bella per il fatto di essere triste, ancora più preziosa per il fatto di essere temporanea. Era la lenta canzone in tonalità minore che veniva scacciata dal rock and roll del sole. Pip si sentiva triste non solo temporaneamente, mentre risaliva la collina per andare al lavoro.

Guitar Town was out, and it was doing okay," [Steve] Earle recalled. "But the label didn't want it to happen. Jimmy [Bowen] certainly didn't. He didn't like the record. He didn't like me. But it was out there and got really good reviews, though mostly from the rock side of things. . . . "'Guitar Town' was doing okay as the second single," Earle said. "Then around the same time, Bruce Springsteen walked into Tower Records in L.A. and bought a couple of things. He got Willy DeVille's first solo record, and he bought Guitar Town. A kid who worked there at Tower reported it, and it ended up in a column in Billboard. I sold fifty thousand records the next week and got booked all over the place. So that was it: I had a career largely because Bruce bought my record and it got into print.

Ma non c'era solo ansia, vero? No, c'era anche desiderio... lo stesso sentimento che aveva avuto quando aveva incontrato il ragazzino con lo skateboard sotto il braccio. Il desiderio di andare veloce, di sentire il vento fischiarti intorno senza sapere se stai correndo verso qualcosa o scappando da qualcos'altro, il desiderio di andare e basta. Di volare. Ansia e desiderio. Tutta la differenza fra l'essere un adulto che calcola i rischi o un bambino che ci monta sopra e va. Tutto il mondo che c'è in mezzo. E tuttavia non una grande differenza, in fondo. Compagni di letto. La sensazione che si prova quando il vagoncino delle montagne russe arriva in cima alla prima ripida salita e comincia veramente la corsa. Ansia e desiderio. Ciò che si vuole e ciò che si ha paura di cercare di avere. Dove si è stati e dove si vuole andare. Qualcosa in una canzone rock a proposito dell'ambizione di avere una ragazza, l'automobile, un posto dove stare.

No es que sea malvada, es que sencillamente no veo el tsunami que está a punto de arrastrar mi vida porque yo misma soy el tsunami. Y Bebé rock está tan enamorado del tsunami que intenta a toda costa contenerlo y su amor es tan magnánimo que lo logra por momentos. Luego vuelvo a coger impulso y quiero arrasar con todo, y él buenamente se interpone de barrera y me contiene y se ahoga conmigo a veces, tanto en mi tormenta como en el alcohol. La única manera de sobrevivir a un tsunami es estando borrachos la mayoría del tiempo. Nos enfrascamos en una relación en la que todo es euforia de noche, drama de madrugada y reconciliación y guayabo de día. Y así atravesamos uno, dos, tres años: Bebé rock conteniéndome, yo emborrachándome, y siéndole infiel porque en el fondo sé que su primer amor es su mamá y que la relación de codependencia con ella es mucho más fuerte que la que tiene conmigo, razón por la cual nunca voy a poder tenerlo solo para mí

Dash shoved his hands on his hips and looked down into the bowl. ‘You gave my fish pink rocks?’ he said as he turned to face her. Joy shrugged. ‘I didn’t really look at the colour I just grabbed the nearest bag.’ ‘It had to be pink?’ ‘There’s some blue as well.’ He looked into the bowl again. ‘Not really.’ Joy couldn’t believe she was having a conversation about pink rocks when the bigger question of what the hell he’d found out about the robberies was still unanswered. ‘You think it’s going to turn Ralph gay?’ she asked sweetly. ‘Given that he’s living his life out solo it’s kind of a moot question, don’t you think?’ ‘You’re right, I think he needs a girlfriend. Or a boyfriend.’ ‘With those rocks? I think he needs Fishtank Barbie in there.’ ‘Is your masculinity threatened because your fish has pink rocks?’ Dash folded his arms. ‘He’s a bloke. He doesn’t do pink.’ Joy glanced at the bowl. ‘It works,’ she said. ‘It...blends.’ ‘He’s orange,’ Dash said. ‘Since when have pink and orange gone together?

Mi vida la gobierna mi ego, la sostiene el amor de Bebé Rock y la realidad solo la soporto porque cuando todo se aclara en la mañana, espero a que llegue la noche para apurar unas cuantas copas que se convierten en mi única salida para volver otra vez a mi fantasía de que todo está bajo control

since the accident. I don’t know what her problem was. After all, I was a “hero.” At least the newspaper said so. “Hey, Alex,” she said, twirling her ponytail with her pencil. “Oh, hi,” I stammered, looking down at my burger. “You guys sounded really great in the talent show. I didn’t know you could sing like that.” “Uhh, thanks. It must be all the practice I get with my karaoke machine.” Oh God, did I just tell her I sing karaoke? Definitely not playing it cool, I thought to myself. TJ butted in, “Yeah, Small Fry was ok, but I really carried the show with my awesome guitar solo.” He smiled proudly. “Shut up, TJ,” I said, tossing a fry at him, which hit him between the eyes. “Hey, watch it, Baker. Just because you’re a ‘hero’ doesn’t mean I won’t pummel you.” “Yeah, right,” I said, smiling. Emily laughed. “Maybe we could come over during Christmas break and check out your karaoke machine. Right, Danielle?” Danielle rolled her eyes and sighed. “Yeah, whatever.” I gulped. “Uhhh…yeah…that sounds great.” “Ok, give me your hand,” she said. “My hand,” I asked, surprised. “Yep,” she said, grabbing my wrist and opening my palm. “Here’s my number,” she said, writing the numbers 585-2281 in gold glitter pen on my palm.” I will never wash my hand again, I thought to myself. “Text me over break, ok?” she said, smiling brightly. “Yeah, sure,” I nodded, as she walked away giggling with Danielle. “Merry Christmas to me!” I whispered to TJ and Simon. “Yeah, there’s just one problem, Dufus,” TJ said. “Oh yeah, what’s that, TJ? That she didn’t give you her number?” I asked. “No, Dork. How are you going to text her if you don’t have a cell phone?” He smiled. “Oh, right,” I said, slumping down in my seat. “That could be a problem.” “You could just call her on your home phone,” Simon suggested, wiping his nose with a napkin. “Yeah, sure,” TJ chuckled. “Hi Emily, this is Alex Baker calling from the year 1984.” He held his pencil to his ear like a phone.  “Would you like to come over to play Atari? Then maybe we can solve my Rubik’s Cube while we break dance ….and listen to New Kids on the Block.” He was cracking himself up and turning bright red. “Maybe I’ll type you a love letter on my typewriter. It’s so much cooler than texting.” “Shut up, TJ,” I said, smiling. “I’m starting to remember why I didn’t like you much at the beginning of the year.” “Lighten up, Baker. I’m just bustin’ your chops. Christmas is coming. Maybe Santa will feel sorry for your dorky butt and bring you a cell phone.” Chapter 2 ePhone Denied When I got home from school that day, it was the perfect time to launch my cell phone campaign. Mom was in full Christmas mode. The house smelled like gingerbread. She had put up the tree and there were boxes of ornaments and decorations on the floor. I stepped over a wreath and walked into the kitchen. She was baking sugar cookies and dancing around the kitchen to Jingle Bell Rock with my little brother Dylan. My mom twirled Dylan around and smiled. She was wearing the Grinch apron that we had given her last Christmas. Dylan was wearing a Santa hat, a fake beard, and of course- his Batman cape. Batman Claus. “Hey Honey. How was school?” she asked, giving Dylan one more spin. “It was pretty good. We won second place in the talent show.” I held up the candy cane shaped award that Ms. Riley had given us. “Great job! You and TJ deserved it. You practiced hard and it payed off.” “Yeah, I guess so,” I said, grabbing a snicker-doodle off the counter. “And now it’s Christmas break! I bet your excited.” She took a tray of cookies out of the oven and placed

The one drawback to modern adventuring, however, is that people can mistake it for something it’s not. The fact that someone can free-solo a sheer rock face or balloon halfway around the world is immensely impressive, but it’s not strictly necessary. And because it’s not necessary, it’s not heroic. Society would continue to function quite well if no one ever climbed another mountain, but it would come grinding to a halt if roughnecks stopped working on oil rigs. Oddly, though, it’s the mountaineers who are heaped with glory, not the roughnecks, who have a hard time even getting a date in an oil town. A roughneck who gets crushed tripping pipe or a fire fighter who dies in a burning building has, in some ways, died a heroic death. But Dan Osman did not; he died because he voluntarily gambled with his life and lost. That makes him brave—unspeakably brave—but nothing more. Was his life worth the last jump? Undoubtedly not. Was his life worth living without those jumps? Apparently not. The task of every person alive is to pick a course between those two extremes.

God will take every cry you’ve uttered and arrange those sounds into a glorious song. He will add it to His symphony of compassion. You will have a starring solo in which those notes birthed from tears will help ease the ache of another. Those around you will see you standing on a solid rock and hear the glorious echoes of good things bellowing from your belly. The enemy will shake and quake and shrink back afraid. He’s terrified of that girl. He’s terrified of you. You are anchored to the hope of God that so few ever truly find. You, dear longsuffering soul, are a Job of your time. One who will be misjudged and misunderstood. The enemy will try to trip you and rip you to shreds with the hurtful hisses that all this longsuffering is for nothing. Don’t you dare listen.

He would frequently do solo dives at midnight, relishing the tranquillity of his own private world. While decompressing, he rested lazily on a tree log that had fallen into the water. He was often illuminated only by the Moon, whose light beams rippled through his exhalation bubbles, which rose like rapidly expanding flying saucers, exploding when they hit the surface. The rippling light cast eerie shadows on the rock entrance below Berman, making fish, crabs, and crayfish seem to dance in a strobe light, appearing, disappearing, and reappearing in an instant.

No, no es nada tan complicado. Solo tengo que matarlo. —Eliot se encogió de hombros, indiferente—. Él asesinó a mi suegro. Así que el universo quedará en paz. ¿Ves cómo todo encaja?... ¡Pero si es muy sencillo, colega!

The incline and height of the rocks increased sharply, making his climb more difficult. He needed his other hand totally free, as he knew his pursuers would as well. He holstered his pistol. He'd gotten more than three- quarters of the way to the top when even two free hands were barely enough to continue upward. The steps be- gan sloping on top, so that there was less and less to stand on. His legs pushed, toes searching for holds, arms pulling, fingers clutching, each new ascent more difficult than the last as the steps began to disappear altogether, until he found himself clinging to a nearly vertical slab of granite. Still he pushed upward, his chest and stomach in constant contact with the rock beneath, his hold growing more tenuous each moment. He looked up. Rock walls soared above him on both sides. He prayed there was somewhere to keep going, because he couldn't see it now. Up and up he climbed, every so often finding a small outcropping to grasp, but having to stretch more for each one, his legs almost dangling free as his boots sought purchase in the rock niches. Several times small rocks he tested for support broke free and clattered down the mountain. They fell, hit, split apart, and hit again, until they made a distant thud at the bottom. He shut his eyes, thinking he might sound like that, only softer. If it got any steeper, he knew, he couldn't hold on any longer.

Solo Paul" ripeté Paul. "Lollipaul" disse il principe cadavere dal fondo della cabina. "Grazie per il contributo" fece Paul "Rock-and-Paul" riprovò il principe cadavere "No" disse Paul.

We’re talking a complete lack of fundamentals. No risk management. But at least those fools were smart enough to form groups. Because just when you think you’ve run into the biggest idiot, another one comes along to show that you’re nowhere near rock bottom yet. Yes, some were even tackling the whole Dungeon solo. That’s beyond reckless and well into the realm of hopeless.

En Black Rock me las he visto con tipos más duros, delincuentes reales que han matado con sus propias manos. Y ni uno solo tiene los músculos definidos. Eso es cosa de maricones.

Movies, music, TV, images and even food have become perfected to such an extent that it’s hard to even remember the way things used to be. We look at computers more than we look at the outside world. It may be true in some sense that movies and TV are more entertaining now, although I don’t personally think so. Magazines think they need to Photoshop their images to keep selling copies. There is no defense for artificial food whatsoever, and the problem with artificial music is that the public doesn’t realize that what they’re listening to is not real. It’s not human. The use of live instruments in recordings and in live “concerts” is so rare now that young people (especially in the United States) don’t have hardly any idea whatsoever about how to dance to live music of any sort. They don’t hear human salsa bands, string quartets, jazz bands, funk bands, rock bands or solo instrumentalists anymore. We have enough DJs. We need more high-level live music. There

Take me. Deep inside. And I will love you. With everything I am. Emotion stung at Ryan’s eyes. His chest felt tight and the lump in his throat was difficult to swallow around. No one had ever sung for him – and certainly not a solo performance like this, while naked in bed. If he doubted his feelings for Dagger before this serenade, none remained. Dagger was intricately woven around every cell fiber of his being, all the way to deepest recesses of his soul.

Punker, what's compassion for a world this far gone? The streets don't give a fuck. It's a bummer, your care slides down its target like beads of rain on rock. There's no aquifer for any shit like this. Where does compassion go and can it be returned? You're Donn in this world, with the staff and the purple band. The artificer. Walking the bandoned suites of hell and your eyeballs thinking, what can be saved? Not their gear but its aspects. You started kung fu way later than the rest, and before that you saw compassion in a history spiel. Now it keeps washing up on your shore. Giving a shit might be made of parts, it might be made solo. It might be an invasive species or not. Punks evolved from dinos too. Not even cross time and distance. But the spikes on their heads are the same.

Dall'archivio magnetico del signor Alex D. Alla fine, l'equilibrio interiore non é da cercare. Forse ce l'abbiamo già, e più ci muoviamo o agitiamo o altro, e più ce ne alltonatniamo. Il fatto é che a parlare di equlibrio interiore mi sento un povero stronzo. Mi sembra uno di quei termini che si usano nelle sedute di psicoanalisi liberatoria collettiva o nei rifugi per donne violentate. Okay. Tutto mi dice di essere forte, determinato negli scopi, capace di andare avanti nella Vita, ma se uno sente che é arrivato il momento di cambiare un pò rotta o anche solo il bisogno di fermarsi a ragionare sul serio per proprio conto? Voglio dire: e i cazzi di sette e mezzo in latino, per esempio, che da semplici strumenti sono diventati una specie di fine ultimo?... Insomma, a quanto ne so dovrei studiare per strappare un titolo di studio che a sua volta mi permetta di strappare un buon lavoro che a sua volta mi permetta di strappare abbastanza soldi per strappare una qualche cavolo di serenità tutta guerregiata e ferita e massacrata dagli sforzi inauditi per raggiungerla. Cioè, uno dei fini ultimi é questa cavolo di serenità martoriata. Il ragionamento é così. Non ci vuole un genio. E allora, perché dovrei sacrificare i momenti di serenità che mi vengono incontro spontaneamente lungo la strada? Perché dovrei buttarli in un pozzo, se fanno parte anche loro del fine a cui tendere? Se un pomeriggio posso andare a suonare o uscire con una ragazza che mi piace, perché cavolo devo starmene in casa a trascrivere le versioni dal traduttore o far finta di leggereil sunto di filosofia? La realtà é che mi trovo a sacrificare il me diciassettenne felice di oggi pomeriggio a un eventuale me stesso calvo e sovrappeso, cinquantenne soddisfatto, che apre la porta del garage col comando a distanza e dentro c'ha una bella macchina, una moglie che probabilmente gli fa le corna col commercialista e due figli gemelli con i capelli a caschetto identici in tutto ai bambini nazisti della kinders. Tutti dentro il garage, magari, no. Diciamo più o meno intorno. Cioè, circondato. Dovunque la domanda è: un orrore di queste proporzioni vale più del sole e del gelato di oggi pomeriggio? Più di qualunque ragazza? Più di Valentina che arriva sorridendo all'appuntamento con dieci minuti di ritardo e una maglietta blu con dentro quel ben di Dio sorprendente?

«Alex, non ti capita mai di pensare come la nostra storia sia assolutamente folle e fuori da tutti i canoni, e di come la gente non la capisca e di come nessuno la potrà mai capire?» «Se è per questo, ci penso praticamente tutti i giorni. Anzi, spesso mi domando quanto ne capisco io» «Un sacco di gente mi chiede perché non stiamo insieme e… non so, è strano, a pensarci bene. Effettivamente, visti dal di fuori dobbiamo dare l'idea di due che stanno insieme.» «Io non sto con te perché… perché va bene così, perché giugno è fantastico, e sapere che c'è l'America che arriva, e allora dirsi tutto perché tra una settimana è troppo tardi, è magnifico. Qualcosa mi manca, e lo sai. Io vorrei baciarti e tutto il resto, ma non tanto per il gesto in sé… Davvero. E’ difficile… E’ come mettere le basi per addomesticarti un po’ di più. Farai più fatica a dimenticarti di me, così. Resteremo più attaccati ogni cosa in più che faremo. Io ho paura, per l'anno prossimo. Bacerò cento ragazze, andrò a letto con gente di cui non m'importa, ma non sarà come uscire con te e non dirsi niente per tutto il pomeriggio. Io so già che l'anno prossimo farò le cose più facili, più banali. E con te è tutto così trasparente e da ragazzini… Se penso che non ti ho mai baciata, Aidi…» «Lo sai, bisogna sempre fare solo Quello Che Ci Si Sente.» «Certo, dicevo così. Dicevo Quello Che Mi Sento.» «E cosa ti senti, ancora?» «Sento che questo giugno, questo scoprirsi ogni giorno di più, e ogni pezzo di me che scopro trovarne uno nuovo di te, e ogni pezzo di me che ti regalo trovarne in cambio uno che tu mi lasci nel calzino di lana di fianco al camino mentre dormo, è bello. A me non era mai successo. E vedere crescere Aidi e Alex, ogni giorno, ogni mattina di sole, che per il resto della gente non vuol dire niente di particolare, è sovvertire tutti i pronostici, è ridere di fronte all'Uomo con le Previsioni Sicure, quello che era certo che la Danimarca avrebbe preso una vagonata di gol e sarebbe stata eliminata nelle qualificazioni e invece si è qualificata e agli Europei giocherà con squadre molto più forti, e l'Uomo con le Previsioni Sicure non si raccapezza. La Gente capisce solo quando le cose sono già successe, mai mentre accadono. E per noi due è lo stesso. La Gente che non capisce come sia possibile, visto che l'Uomo dei Sondaggi aveva negato categoricamente che due come noi potessero avere una pazza storia del genere.» «Fantastico. E la Danimarca come gioca?» «Bene. Si vede che si divertono.» «Alex», aveva detto lei, stringendogli le mani con una strana intensità che l'aveva turbato. «Io voglio che la Danimarca vinca.»

...Ecco, la cosa che gli stava più sulla punta, al vecchio Alex, era che i suoi racconti erano veri. D'accordo, alle volte gli era capitato di dover colorire qualche particolare, ma di sicuro il nostro vecchio non era di quei contaballe più o meno giovanili che si vedevano in giro in quegli anni. Solo che non c'era niente che distinguesse il bugiardo che giurava di essere sincero dal sincero puro, ecco cos'è che ti fregava, e allora tanto valeva raccontare a cuor leggero le cose vere e con grande verosimiglianza le balle, no?

Splendido. Datemi solo delle revolverate un po' all'impazzata, qui. Grazie. Tipo My Way di Vicious. Fate fuoco quando volete.

Overall, the whole album was immensely satisfying to make. As Atom Heart Mother had been a bit of a sidetrack, and Ummagumma a live album combined with solo pieces, Meddle was the first album we had worked on together as a band in the studio since A Saucerful Of Secrets three years earlier. It is relaxed, and quite loose, and ‘Echoes’ has, I think, lasted well. Certainly, compared to its predecessor, Atom Heart Mother, Meddle seems refreshingly straightforward. David certainly has a great deal of affection for this album, which for him contains a clear indication of a way forward.

Clare Torry, who did the track in the end, was pursuing a career as a solo singer – Alan had worked with her in the past and recommended her. We were looking for a more European sound than the soul singers we used for some of the other backing tracks, and directed primarily by David and Rick, she delivered some terrific performances. She was embarrassed by having let herself go so much during one of the takes and came into the control booth to apologise, only to find that everyone was delighted.

The upshot was that the album consisted entirely of Roger’s writing. David’s input was minimised – apart from his guitar solos, which even Roger was not foolhardy enough to try and influence – and most significantly Roger decided to take on the bulk of the vocal duties himself, leaving David to sing one song, ‘Not Now John’. In the past, the inflection of David’s vocals had inevitably made some subtle changes to the melodic structure of Roger’s songs. So this change, and the loss of Rick’s trademark keyboard sound, meant the disappearance of key elements from what had become an established ‘Pink Floyd sound’.

What Roger really needed was for the band to be formally dissolved to clear the way for his own solo career, and he probably assumed that this would happen if he withdrew his services, given that Rick was no longer technically a member, I had done little beyond motor racing and becoming a garage proprietor, and even David had become more of a producer and guest guitarist with other musicians than a band member. What no one anticipated was David’s response to what I think he felt was the lack of credit and exposure for his contributions and ideas. The division of spoils – and more particularly credit – is often unfair, but he had perhaps suffered the most injustice. Even I, not prone to confrontation, felt aggrieved that after twenty years I thought I was being told to quietly lie down, roll over and retire.

Climbing, it turns out, is a nearly perfect vehicle for flow, which may be one of the reasons it has become so popular. For the climber, the goal may be to successfully climb a difficult rock pitch without falling. It is a meaningful, challenging goal that requires skill and focused attention because you will fall off if you fail to hang on. It provides immediate feedback. For the free-solo climber, who chooses to climb the pitch without a rope or protection, the goal is even more meaningful and challenging and requires even more intense focus. The feedback is also starkly clear and immediate—you don’t just fall if you fail to hang on; you probably die.

Un hombre que vive solo tiene que saber hacer de todo.

La excelente adaptación de los textos realizada por Nacho Artime no solo captó la verdadera esencia del letrista Tim Rice, sino que consiguió sintonizar con la visión católica del texto evangélico. Fueron muchos los colegios religiosos donde se representó 'Jesucristo Superstar', añadiendo incluso episodios como el de la resurrección, y donde también se escuchaba el disco en español durante la clase de religión, con total normalidad y sin que nadie se escandalizara. También los coros parroquiales de pueblos y ciudades insertaban con frecuencia piezas como 'Hosanna'.

Normally, an album with Crazy Horse would have meant a tour with them, but much to the surprise of Jeff Blackburn and his band members (former Moby Grape bassist Bob Mosley and drummer Johnny Craviotto), Young began rehearsing with them instead. In early July, the newly renamed Ducks, after a duck’s landing they saw in town, played its first shows—in local bars in Santa Cruz. In what the Santa Cruz Sentinel called “the worst-kept secret in town,” the Ducks would drive to a club and ask the opening act for their slot (“They were fine—they knew they couldn’t draw what we could,” says Mosley). Charging only a few dollars for admission, they would tear through sets of songs by Young and by Blackburn. Young debuted new material like “Sail Away” and “Comes a Time” in more electrified versions than were later heard on record. “It was unfathomable,” recalls Mosley. “Some of the guitar solos took me into outer space. It was incredible shit.” Starting in mid-July and ending around Labor Day, the Ducks would play more than twenty

Stand tall as a rock - as a pillar of strength - indestructible, incorruptible, insurmountable - and at the very sight of you half the world will turn civilized.

Billy is all for the subtle use of profanity, but too much just seems excessive, like saxophone solos in rock songs.

Joan Joyce is the real deal, a fierce competitor and one of the greatest athletes and coaches in sports history. Tony Renzoni’s moving tribute to Joan shows us why she is a champion in sports and in life. —Billie Jean King, sports icon and equality pioneer The story is all true. Joan Joyce was a tremendous pitcher, as talented as anyone who ever played. [responding to a newspaper account of his early 1960s match-ups against Joan Joyce] —Ted Williams, Hall of Famer and Boston Red Sox great, December 30, 1999 Joan Joyce is truly the greatest female athlete in sports history. And a great coach as well. Tony Renzoni’s well-researched book is a touching tribute to this phenomenal athlete. I highly recommend this book! —Bobby Valentine, former MLB player and manager Quotes for Historic Connecticut Music Venues: From the Coliseum to the Shaboo: I would like to thank Tony Renzoni for giving me the opportunity to write the foreword to his wonderful book. I highly recommend Connecticut Music Venues: From the Coliseum to Shaboo to music lovers everywhere! —Felix Cavaliere, Legendary Hall of Famer (Young Rascals/Rascals, Solo) As the promoter of the concerts in many of the music venues in this book, I hope you enjoy living the special memories this book will give you. —Jim Koplik, Live Nation president, Connecticut and Upstate New York Tony Renzoni has captured the soul and spirit of decades of the Connecticut live music scene, from the wild and wooly perspective of the music venues that housed it. A great read! —Christine Ohlman, the “Beehive Queen,” recording artist/songwriter Tony Renzoni has written a very thoughtful and well-researched tribute to the artists of Connecticut, and we are proud to have Gene included among them. —Lynne Pitney, wife of Gene Pitney Our Alice Cooper band recorded the Billion Dollars Babies album in a mansion in Greenwich. Over the years, there have been many great musicians from Connecticut, and the local scene is rich with good music. Tony Renzoni’s book captures all of that and more. Sit back and enjoy the ride. —Dennis Dunaway, hall of famer and co-founder of the Alice Cooper band. Rock ’n’ Roll music fans from coast to coast will connect to events in this book. Strongly recommended! —Judith Fisher Freed, estate of Alan Freed

The Pressure Cooker by Stewart Stafford We arrive at the sweltering park, And disturb a larcenous squirrel, Trash can raider with easy spoils, He scampers away down the back. Solo lady in the gazebo watches, An outdoor Mrs. Bates silhouette, As a tuft of angel hair rolls along, I give the thirsty baby hydration. Transfixed by a burst helium balloon, Rocking itself to the unheard beats, Arid breeze, now ceiling conductor, Our squirrel pal returns to spy on us. © Stewart Stafford, 2022. All rights reserved.

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Todo era una neblina negra, un borrón, como un colocón de coca, solo que peor, porque ahora no tenía a nadie a quien culpar excepto a sí mismo.

To the east the land was darkening. Night does not fall. It rises from the earth as the sun sinks low, sets, and embraces the land with its shadow. How could I describe this place? Words could only be read and the scene imagined. Even a photo could only be seen. It would not include the sound of the water on the stones, the scent of the spruce trees, the coolness of sea wrack under my hand, or the weary satisfaction of just sitting there after paddling six hours that day, and six weeks before that. The size of these islets and their details of sand, shell and rock beach, grass, driftwood, and flowers, the small woods back of the shore – these are proportioned to kayaks and close-ups, not big cruise ships or ferries. Those get a far outline of the shore, but their only close-ups are of the docks and the towns. This country is made for the pace of a kayak.

I went out to the area of drift logs on the shore, looking for dimensional lumber or plywood to repair the cabin’s wood box. Ninety-eight percent of driftwood is logs. They have their own beauty; shades of blond and gray, curved and hollowed and sleeked like a human body – or perhaps we’re like them – aged and smoothed by years of tumbling in the seas and on the rocks.

Piera, la protagonista di Vuoi vedere che è proprio amore?, è una giovane donna che lavora. Professoressa di inglese alle medie, vorrebbe diventare fotografa...Chissà se ce la farà? Ecco un breve estratto. Lui, Jean, si presenta non invitato a casa sua e lei, dopo molti se e ma, lo porta nella sua camera oscura. Non pensate male! O forse pensatelo. "La seguì in una stanza illuminata solo da un paio di lampadine rosse. Un altoparlante collegato a un iPod stava diffondendo la voce di Paul McCartney. Hey Jude. Che fosse un segno del destino? Non che lui credesse a certe baggianate, ma quella era una delle sue canzoni preferite, di sempre. «Ti piacciono i Beatles?» le chiese fingendo un’indifferenza che non provava. «Oh sì. In genere adoro il rock classico. Ma i Beatles…» «Sono i Beatles. Punto.» «Punto, sono d’accordo. E Revolution è un grande album!» «Sei una donna piena di sorprese» disse, pensando al genere di musica scadente che piaceva a Jasmine. «Io? Piena di sorprese?» domandò ridendo, nello sguardo un luccichio improvviso. Nonostante la luce rossa, fu quasi certo che Bambi fosse arrossita, e a lui piaceva da morire quando lei arrossiva. I suoi occhi sembravano diventare più grandi e lei cominciava a mordicchiarsi il labbro inferiore. Come stava facendo in quel momento. «Benvenuto nella mia tana di fotografa dilettante» aggiunse lei dopo un istante. Jean si guardò intorno. C’era tutto l’occorrente per sviluppo e stampa. Alcune foto in bianco e nero erano pinzate con mollette da bucato a una corda che correva da una parte all’altra della stanza. Come biancheria ad asciugare. «Sono meravigliato» esclamò guardandosi intorno. «Una camera oscura in piena regola! Non posso credere che con la comodità del digitale tu ti dia tanta pena a far tutto da sola…» «Al contrario, adoro farlo. È il mio hobby segreto. E poi, solo così ottengo esattamente ciò che voglio. O quasi. Non nego che spesso qua dentro combino dei veri pasticci, ma chi non ne combina?»

Her eyes were closed to the sunlight flickering past the window, her ears plugged with tiny white buds, slender fingers tapping a steady moderato beat at odds with the easy sway in her shoulders. I couldn't hear the music, but as I watched, her body coiled around a deep breath, and the rhythm accelerated through the flat of her hand, and then her hips rocked to four powerful chords, and her head dropped loose on her shoulders, and she squeezed her knees together and drew in her feet, her calf muscles tautening and her ankle bones turning and then tendons in the back of her hand thumping time and the cords of her neck pulling the skin tight over her collarbones as her body snaked through what I heard in my head as Hugh Burns's guitar solo in "Baker Street" clear as day. And though confined to her seat, she danced unselfconsciously and without restraint, and every small movement in every small part of her—the life in her—was the most beautiful thing I thought I'd ever seen. I wanted to cup her gently in my hands and carry her home and keep her forever but, mindful of the probability that she might have other ideas, instead I closed my eyes and turned up the music in my head and, in spirit if not quite in body, danced with her instead.

For many of the people in my immediate vicinity, it was clear that the Beatles (to say nothing of McCartney’s solo career) ceased to be a going concern once the Summer of Love commenced. Anything in the set list that was even mildly psychedelic—“The Fool on the Hill,” “Being for the Benefit of Mr. Kite”—went over like Timothy Leary at the 1968 Republican National Convention. Apparently, there are still people for whom Sgt. Pepper is a radical—perhaps too radical—musical experiment. This wasn’t a classic-rock-radio crowd, it was an oldies-radio crowd. I, too, was hoping to hear my favorite Beatles hits. But I also secretly wished that McCartney would play “Temporary Secretary,” one of the battiest tracks from one of his battiest solo albums, 1980’s McCartney II. I believe that “Temporary Secretary” is a legitimately great song, even if it is totally bonkers. “Temporary Secretary” sounds like a businessman discussing his staffing practices while also imitating a car alarm. It’s genius! But the main reason I wanted to hear “Temporary Secretary” is because I knew that it would confound all of the boomers in the house who stopped following Paul McCartney’s career after he wrote “Michelle.

McCartney II has similarly attained cult status among indie fans and artists who regard it as forward-thinking avant-electronica. But those people didn’t hear McCartney II in the context in which it was released. The album came out four months after McCartney spent nine days in a Japanese jail for possession of 219 grams of weed while on tour with Wings. The band fell apart after the tour was canceled, prompting McCartney to release his solo recordings as McCartney II. It’s not difficult to understand why McCartney was perceived at the time to be sort of dumb and perpetually stoned, and how this perception influenced the opinion that McCartney II was mere folly, rather than visionary genius. I think the truth about McCartney II is somewhere in the middle. I love the album because the songs are good and weird and utterly unlike anything else in McCartney’s catalog. But I also love it because the dumb/stoned aspects of the record are inextricable from the visionary-genius aspects. McCartney II is good because it’s good, and good because it’s bad.

On early solo albums like Blizzard of Ozz and 1981’s Diary of a Madman, Ozzy dabbled in cartoon devil worship over the neoclassical guitar wizardry of Randy Rhoads. It was like Van Halen for guys who hated seeing girls at Van Halen concerts. Ozzy even dyed his hair that David Lee Roth shade of blond, but he otherwise kept himself ugly for street-cred purposes.

Hi, all!” She smiled at her teammates. “Everyone having a nice day?” Scarlett Borden, the Divas’ unofficial dance-team captain, stared at her. “You okay, Liberty?” she asked, genuinely concerned. “You didn’t fall and bump your head or something, did you?” “No, silly! Why?” Liberty answered, beaming from ear to ear. “Because you put the diva in Dance Divas,” Rochelle Hayes said. Rock knew Liberty would never just bounce into a rehearsal all smiles without a reason. And that reason usually involved her getting a solo, a trophy, or bragging about some fabulous party her mom—the “big-time Hollywood choreographer”—was taking her to. “You’re never in this good of a mood—and frankly, it’s freaking me out.

«Sei stato fantastico.» «È merito tuo,» commentò il ragazzo. «Tu mi hai convinto di essere fantastico a tal punto da riuscire a fare rock senza sentirmi un impostore.» «Oh.» Stava forse dicendo che Corey lo stava cambiando? Era il momento giusto per ammettere la stessa cosa? Non ne era sicuro e odiava la sensazione, come se stesse perdendo il controllo di qualcosa di importante. Perciò, piantò le mani proprio sul fondoschiena di Angel e lo tirò su fino a raggiungere la sua bocca. Poi si baciarono. Fu un contatto bellissimo, raggiunse tutte le parti di Corey contratte per la confusione e i dubbi. Piano piano, il giovane si rilassò. Approfondirono il bacio e Angel si sollevò appena sui gomiti, premendo la propria erezione ancor più intensamente contro quella di Corey. L’avevano già fatto tante volte, si erano eccitati e masturbati a vicenda, ma il giovane aveva bisogno sentire la pelle dell’altro. «Via i vestiti,» ordinò. Angel rotolò giù e si liberò dei jeans aderenti a forza di strattoni. Corey fu ancora più veloce, si sfilò i larghi pantaloni fino a ritrovarsi in mutande quanto il suo ragazzo e Angel tornò a stendersi sopra di lui, schiacciandolo contro la trapunta. «Siamo soli, qui,» mormorò Angel tra i baci. «Voglio succhiartelo.» A Corey piaceva l’idea, ma invece di lasciare che Angel si abbassasse e glielo prendesse in bocca completamene, cambiò posizione. Di colpo, il giovane si ritrovò faccia a faccia con il membro di Angel, mentre il ragazzo leccava il suo. Non l’aveva mai fatto prima di allora, non si era mai neanche avvicinato a qualcosa di tanto erotico. Un potenziale orgasmo si risvegliò dentro di lui, un’improvvisa ondata di passione al solo pensiero di cosa stava accadendo. Diavolo, c’erano tantissime cose che non aveva mai fatto, ma questa? Questa era intensa.

John didn’t score his first Number One hit until 1974, the fourth Beatle to reach this milestone (Ringo beat him twice), but he got over with “Whatever Gets You Thru the Night,” with a big assist from Elton John. It’s not a famous song anymore, for the understandable reason that the final line is “Don’t need a gun to blow your mind.” After December 1980, “Whatever Gets You Thru the Night” dropped off the radio and hasn’t been heard since. But the most shocking thing isn’t the gun line—it’s the lush pop feel. The song it really resembles is the Wings hit “Listen to What the Man Said,” with the same yacht-rock studio sheen. Both serve love-is-the-answer platitudes, though attractively warmhearted ones: “Whatever gets you to the light, ’sall right” vs. “I don’t know but I think love is fine.” Both hit Number One, for just one week. John’s sax solo is Bobby Keys, Paul’s is Tom Scott, though they could have traded places without anyone noticing. Yet I loved both songs as a boy, and still do—Elton, always the kindliest-sounding of rock megastars, sings on John’s hit, and sounds like the guiding spirit of Paul’s, as if he’s a yenta nudging them together.

Bowie arrived late for the sixties party, so he missed the idealistic hippie days and had to settle for being the quintessential seventies rock star along with Neil Young. It’s funny how much those two have in common, despite their opposite fashion sense. Both arrived as solo artists just as the sixties were imploding, a little too late to be Bob Dylan, and they never got over it. Both built their massive seventies mystique around abrupt stylistic shifts. Both fluked into a Number 1 hit (“Fame” and “Heart of Gold”), but both responded to this success

If ever I was going to quit Genesis in favor of my solo career, in theory this would be the time, with the tailwind of No Jacket Required still blowing hard. But at the same time, I’ve missed the guys. Tony and Mike have become more lovable as time goes on, which is the reverse of the traditional rock-band narrative. Tony, formerly rather diffident and difficult to talk to, has become a great friend, funny and witty. He’s a different person, especially with a glass of wine in him. Mike, too, has loosened up.

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Los animales, como los humanos, cometen en la vida los errores que finalmente los conducen a la muerte, sea física, espiritual o emocional. Las personas y los animales que en la vida hacen siempre el mismo camino eventualmente harán un surco. Pronto los surcos se hacen tan profundos que las personas no pueden ver hacia los costados. No ven el peligro ni la belleza, solo el camino que tienen adelante, porque temen perder su seguridad y temen entrar en terreno desconocido.

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