Rush Band Quotes

It's 5:22pm you're in the grocery checkout line. Your three-year-old is writhing on the floor, screaming, because you have refused to buy her a Teletubby pinwheel. Your six-year-old is whining, repeatedly, in a voice that could saw through cement, "But mommy, puleeze, puleeze" because you have not bought him the latest "Lunchables," which features, as the four food groups, Cheetos, a Snickers, Cheez Whiz, and Twizzlers. Your teenager, who has not spoken a single word in the past foor days, except, "You've ruined my life," followed by "Everyone else has one," is out in the car, sulking, with the new rap-metal band Piss on the Parentals blasting through the headphones of a Discman. To distract yourself, and to avoid the glares of other shoppers who have already deemed you the worst mother in America, you leaf through People magazine. Inside, Uma thurman gushes "Motherhood is Sexy." Moving on to Good Housekeeping, Vanna White says of her child, "When I hear his cry at six-thirty in the morning, I have a smile on my face, and I'm not an early riser." Another unexpected source of earth-mother wisdom, the newly maternal Pamela Lee, also confides to People, "I just love getting up with him in the middle of the night to feed him or soothe him." Brought back to reality by stereophonic whining, you indeed feel as sexy as Rush Limbaugh in a thong.

You've got to learn to let go and let your children fall, and fail. If you try to protect them from hurt, and always rush to their side with Band-Aids, they won't learn about life, and what is true, what works, what helps, and what are real consequences of certain kinds of behavior. When they do get hurt, which they will, they won't know how to take care of their grown selves. They won't even know where the aspirin is kept.

The truest love that ever heart Felt at its kindled core, Did through each vein, in quickened start, The tide of being pour. Her coming was my hope each day, Her parting was my pain; The chance that did her steps delay Was ice in every vein. I dreamed it would be nameless bliss, As I loved, loved to be; And to this object did I press As blind as eagerly. But wide as pathless was the space That lay our lives between, And dangerous as the foamy race Of ocean-surges green. And haunted as a robber-path Through wilderness or wood; For Might and Right, and Woe and Wrath, Between our spirits stood. I dangers dared; I hindrance scorned; I omens did defy: Whatever menaced, harassed, warned, I passed impetuous by. On sped my rainbow, fast as light; I flew as in a dream; For glorious rose upon my sight That child of Shower and Gleam. Still bright on clouds of suffering dim Shines that soft, solemn joy; Nor care I now, how dense and grim Disasters gather nigh. I care not in this moment sweet, Though all I have rushed o'er Should come on pinion, strong and fleet, Proclaiming vengeance sore: Though haughty Hate should strike me down, Right, bar approach to me, And grinding Might, with furious frown, Swear endless enmity. My love has placed her little hand With noble faith in mine, And vowed that wedlock's sacred band Our nature shall entwine. My love has sworn, with sealing kiss, With me to live--to die; I have at last my nameless bliss. As I love--loved am I!

THE HOST is riding from Knocknarea And over the grave of Clooth-na-bare; Caolte tossing his burning hair And Niamh calling Away, come away: Empty your heart of its mortal dream. The winds awaken, the leaves whirl round, Our cheeks are pale, our hair is unbound, Our breasts are heaving, our eyes are a-gleam, Our arms are waving, our lips are apart; And if any gaze on our rushing band, We come between him and the deed of his hand, We come between him and the hope of his heart. The host is rushing ’twixt night and day, And where is there hope or deed as fair? Caolte tossing his burning hair, And Niamh calling Away, come away

Experiencing vulnerability isn’t a choice—the only choice we have is how we’re going to respond when we are confronted with uncertainty, risk, and emotional exposure. As a huge fan of the band Rush, this seems like the perfect place to throw in a quote from their song “Freewill”: “If you choose not to decide, you still have made a choice.

And I thought of a cresting wave of water, lit by a moon, rushing past and vanishing upstream, pursued by a band of yelping students whose torchbeams criss-crossed in the dark. There is accumulation. There is responsibility. And beyond these, there is unrest. There is great unrest.

And I don't know who you're calling little." I knew one way to solve this argument. I carefully tore the whole article out of the front page, then rolled up the newspaper and slid the rubber band back on. "Doofus," I whispered. Poor Doofus, behind us in the mud room, stood up in a rush of jingling dog tags and slobber. I slipped the paper into his mouth and whispered, "Take this to Dad." Doofus wagged his tail and trotted into the kitchen. We heard Dad say, "Did you bring me the paper? Good dog. Wait a minute. Bad dog!

That maybe I’m the answer,’ I blurted. ‘To healing your heart. I could … you know, be your boyfriend. As Lester. If you wanted. You and me. You know, like … yeah.’ I was absolutely certain that up on Mount Olympus, the other Olympians all had their phones out and were filming me to post on Euterpe-Tube. Reyna stared at me long enough for the marching band in my circulatory system to play a complete stanza of ‘You’re a Grand Old Flag’. Her eyes were dark and dangerous. Her expression was unreadable, like the outer surface of an explosive device. She was going to murder me. No. She would order her dogs to murder me. By the time Meg rushed to my aid, it would be too late. Or worse – Meg would help Reyna bury my remains, and no one would be the wiser. When they returned to camp, the Romans would ask, What happened to Apollo? Who? Reyna would say. Oh, that guy? Dunno, we lost him. Oh, well! the Romans would reply, and that would be that. Reyna’s mouth tightened into a grimace. She bent over, gripping her knees. Her body began to shake. Oh, gods, what had I done? Perhaps I should comfort her, hold her in my arms. Perhaps I should run for my life. Why was I so bad at romance? Reyna made a squeaking sound, then a sort of sustained whimper. I really had hurt her! Then she straightened, tears streaming down her face, and burst into laughter. The sound reminded me of water rushing over a riverbed that had been dry for ages. Once she started, she couldn’t seem to stop. She doubled over, stood upright again, leaned against a tree and looked at her dogs as if to share the joke. ‘Oh … my … gods,’ she wheezed. She managed to restrain her mirth long enough to blink at me through the tears, as if to make sure I was really there and she’d heard me correctly. ‘You. Me? HA-HA-HA-HA-HA-HA-HA.

THE HOSTING OF THE SIDHE The host is riding from Knocknarea, And over the grave of Clooth-na-bare; Caolte tossing his burning hair, And Niamh calling, "Away, come away; Empty your heart of its mortal dream. The winds awaken, the leaves whirl round, Our cheeks are pale, our hair is unbound, Our breasts are heaving, our eyes are a-gleam, Our arms are waving, our lips are apart, And if any gaze on our rushing band, We come between him and the deed of his hand, We come between him and the hope of his heart." The host is rushing 'twixt night and day; And where is there hope or deed as fair? Caolte tossing his burning hair, And Niamh calling, "Away, come away.

The Gunner's Dream (From The Final Cut) Floating down through the clouds Memories come rushing up to meet me now. In the space between the heavens and in the corner of some foreign field I had a dream. I had a dream. Good-bye Max. Good-bye Ma. After the service when you're walking slowly to the car And the silver in her hair shines in the cold November air You hear the tolling bell And touch the silk in your lapel And as the tear drops rise to meet the comfort of the band You take her frail hand And hold on to the dream. A place to stay Enough to eat Somewhere old heroes shuffle safely down the street Where you can speak out loud About your doubts and fears And what's more no-one ever disappears You never hear their standard issue kicking in your door. You can relax on both sides of the tracks And maniacs don't blow holes in bandsmen by remote control And everyone has recourse to the law And no-one kills the children anymore. And no one kills the children anymore. Night after night Going round and round my brain His dream is driving me insane. In the corner of some foreign field The gunner sleeps tonight. What's done is done. We cannot just write off his final scene. Take heed of his dream.

It is the sound of the crowd that can be heard in the second, crescendoing rush of the orchestra that follows the final verse, rising from a hum to a gasp to a shout... fusing at last to a shriek (its similarity to the sound of the crowds at Beatle concerts is surely no accident). The onrushing sound of the orchestra at the end of "A Day in the Life" has transcended more than the conventions of Sgt. Pepper's Band. It is the nightmare resolution of the Beatles' show within a show. It is the sound in the eras of the high-wire artist as the ground rushes up from below. There is a blinding flash of silence, then the stunning impact of a tremendous E major piano chord that hangs in the air for a small eternity, slowly fading away, a forty-second meditation on finality that leaves each member if the audience listening with a new kind of attention and awareness to the sound of nothing at all.

Rush had been Halliday’s favorite band, from his teens onward. He’d once revealed in an interview that he’d coded every single one of his videogames (including the OASIS) while listening exclusively to Rush albums. He often referred to Rush’s three members—Neil Peart, Alex Lifeson, and Geddy Lee—as “the Holy Trinity” or “the Gods of the North.

The early Seventies were a gold rush for double-vinyl samplers from Sixties heavyweights—the Stones’ 1971 Hot Rocks, the Kinks’ 1972 Kink Kronikles, the Doors’ 1972 Weird Scenes Inside the Gold Mine, the Beach Boys’ 1974 Endless Summer. Best of all: Bob Dylan’s 1971 Greatest Hits Volume II, with virtually no hits, just deep cuts chosen by the artist.

What awe must have come to the hearts of that waiting band as they listened to that “sound as of the rushing of a mighty wind”—what a sense of the irresistible power of God! But there was also the appearance of “tongues parting asunder, like as of fire.” Fire typifies the activity of God’s holiness in relation to sin; fire consumes and fire purifies. When the Spirit came upon Christ, it was not as the fire but “as a dove,” for there was no sin in Him, as the Father then declared, “Thou art my beloved Son; in thee I am well pleased” (Luke 3:22). But here the tongues “like as of fire” sat upon each of them, bringing not only a sense of the infinite holiness of God but of the activity of that holiness in dealing with all that was unholy in themselves.

Had these Leviathans been but a flock of simple sheep, pursued over the pasture by three fierce wolves, they could not possibly have evinced such excessive dismay. But this occasional timidity is characteristic of almost all herding creatures. Though banding together in tens of thousands, the lion-maned buffaloes of the West have fled before a solitary horseman. Witness, too, all human beings, how when herded together in the sheepfold of a theatre's pit, they will, at the slightest alarm of fire, rush helter-skelter for the outlets, crowding, trampling, jamming, and remorselessly dashing each other to death. Best, therefore, withhold any amazement at the strangely gallied whales before us, for there is no folly of the beasts of the earth which is not infinitely outdone by the madness of men.

Everything stops in her and sinks into silence. She drives slowly, foggy pictures painted in her mind. She has to open a window, but how will she withstand the rush of air? She can hardly breathe. She is frozen around a fragment embedded inside her. Only her heart is suddenly full of life, the only part of her that beats in excitement and goes out to Shaul, goes out limping, goes out hunchbacked, with Band-Aids stuck all over it, but goes out.

Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both holden and invisible. A bee settled into a flower, humming and humming.

Can you imagine how boring life would be without the seven little spices? you talk about sloth, but why would men and women get out of bed if there were no lust? Why would people want to be in a band if they couldn't feel the rush that rage bring to the musical table? Why would anyone want to be a bleeding heart without even a hint of greed in their dirty little soul? Why would the world go round if there weren't a few rules to break? A few revolutions to make? Let's put it this way: Why would you want to take a deep breath if you were expected to hold the damn thing?

But this occasional timidity is characteristic of almost all herding creatures. Though banding together in tens of thousands, the lion-maned buffaloes of the West have fled before a solitary horseman. Witness, too, all human beings, how when herded together in the sheepfold of a theatre's pit, they will, at the slightest alarm of fire, rush helter-skelter for the outlets, crowding, trampling, jamming, and remorselessly dashing each other to death. Best, therefore, withhold any amazement at the strangely gallied whales before us, for there is no folly of the beasts of the earth which is not infinitely outdone by the madness of men.

They sat eating ham sandwiches and fresh strawberries and waxy oranges and Mr. Tridden told them how it had been twenty years ago, the band playing on that ornate stand at night, the men pumping air into their brass horns, the plump conductor flinging perspiration from his baton, the children and fireflies running in the deep grass, the ladies with long dresses and high pompadours treading the wooden xylophone walks with men in choking collars. There was the walk now, all softened into a fiber mush by the years. The lake was silent and blue and serene, and fish peacefully threaded the bright reeds, and the motorman murmured on and on, and the children felt it was some other year, with Mr. Tridden looking wonderfully young, his eyes lighted like small bulbs, blue and electric. It was a drifting, easy day, nobody rushing, and the forest all about, the sun held in one position, as Mr. Tridden's voice rose and fell, and a darning needle sewed along the air, stitching, restitching designs both golden and invisible. A bee settled into a flower, humming and humming. The trolley stood like an enchanted calliope, simmering where the sun fell on it. The trolley was on their hands, a brass smell, as they ate ripe cherries. The bright odor of the trolley blew from their clothes on the summer wind.

Harvard psychologist Daniel Gilbert talks about this phenomenon in his 2006 book, Stumbling on Happiness. “The greatest achievement of the human brain is its ability to imagine objects and episodes that do not exist in the realm of the real,” he writes. “The frontal lobe—the last part of the human brain to evolve, the slowest to mature, and the first to deteriorate in old age—is a time machine that allows each of us to vacate the present and experience the future before it happens.” This time travel into the future—otherwise known as anticipation—accounts for a big chunk of the happiness gleaned from any event. As you look forward to something good that is about to happen, you experience some of the same joy you would in the moment. The major difference is that the joy can last much longer. Consider that ritual of opening presents on Christmas morning. The reality of it seldom takes more than an hour, but the anticipation of seeing the presents under the tree can stretch out the joy for weeks. One study by several Dutch researchers, published in the journal Applied Research in Quality of Life in 2010, found that vacationers were happier than people who didn’t take holiday trips. That finding is hardly surprising. What is surprising is the timing of the happiness boost. It didn’t come after the vacations, with tourists bathing in their post-trip glow. It didn’t even come through that strongly during the trips, as the joy of travel mingled with the stress of travel: jet lag, stomach woes, and train conductors giving garbled instructions over the loudspeaker. The happiness boost came before the trips, stretching out for as much as two months beforehand as the holiday goers imagined their excursions. A vision of little umbrella-sporting drinks can create the happiness rush of a mini vacation even in the midst of a rainy commute. On some level, people instinctively know this. In one study that Gilbert writes about, people were told they’d won a free dinner at a fancy French restaurant. When asked when they’d like to schedule the dinner, most people didn’t want to head over right then. They wanted to wait, on average, over a week—to savor the anticipation of their fine fare and to optimize their pleasure. The experiencing self seldom encounters pure bliss, but the anticipating self never has to go to the bathroom in the middle of a favorite band’s concert and is never cold from too much air conditioning in that theater showing the sequel to a favorite flick. Planning a few anchor events for a weekend guarantees you pleasure because—even if all goes wrong in the moment—you still will have derived some pleasure from the anticipation. I love spontaneity and embrace it when it happens, but I cannot bank my pleasure solely on it. If you wait until Saturday morning to make your plans for the weekend, you will spend a chunk of your Saturday working on such plans, rather than anticipating your fun. Hitting the weekend without a plan means you may not get to do what you want. You’ll use up energy in negotiations with other family members. You’ll start late and the museum will close when you’ve only been there an hour. Your favorite restaurant will be booked up—and even if, miraculously, you score a table, think of how much more you would have enjoyed the last few days knowing that you’d be eating those seared scallops on Saturday night!

Walking to the door, I stare into Johnny Depp’s eyes and my gut sinks. “I’m sorry. You’ve been a good imaginary boyfriend, but I’m a grown-up now. There’s no room in my life for a boyfriend. Not even an imaginary one.” But he just stares at me. “Don’t look at me like that.” But he does. He’s torturing me. I sigh tiredly and rub at my forehead. “Don’t make this any harder than it has to be. Please, Johnny. It’s over.” I’m getting a headache. I take my time pulling him down with the utmost care, rolling him up and putting a rubber band around him. I hold him in my hands and walk him over to the recycling bin. I lift the lid and put him in. I slowly close the lid and turn around.

Confiding Julie, the first to get breasts, was cynical by Thanksgiving. Since no one else looked like the class slut, she was given the position, and she soon capitulated. She bleached her hair with Sun In, and started to mess around with boys who played in garage rock bands. Marianne, because she had long legs and a stem neck, rushed from school to her pliés at the barre, her hair in a bun, her head held high, to arch and sweep and bow toward the mirror until night fell. Cara delivered her audition piece flat, but since she had a wheat-colored rope of braid that brushed her waist, she would be Titania in the school play. Emily, bluntnosed and loud, could outact Cara in her sleep; when she saw the cast list she turned silently to her best friend, who handed her a box of milk chocolate creams. Tall, strong, bony Evvy watched Elise try out her maddening dimple. She cornered her outside class to ask her if she thought she was cute. Elise said yes, and Evvy threw a pipette of acid, stolen from the biology lab, in her face. Dodie hated her tight black hair that wouldn’t grow. She crept up behind blond Karen in home ec class and hacked out a fistful with pinking shears. Even Karen understood that it wasn’t personal.

Lester.” Reyna sighed. “What in Tartarus are you saying? I’m not in the mood for riddles.” “That maybe I’m the answer,” I blurted. “To healing your heart. I could…you know, be your boyfriend. As Lester. If you wanted. You and me. You know, like…yeah.” I was absolutely certain that up on Mount Olympus, the other Olympians all had their phones out and were filming me to post on Euterpe-Tube. Reyna stared at me long enough for the marching band in my circulatory system to play a complete stanza of “You’re a Grand Old Flag.” Her eyes were dark and dangerous. Her expression was unreadable, like the outer surface of an explosive device. She was going to murder me. No. She would order her dogs to murder me. By the time Meg rushed to my aid, it would be too late. Or worse—Meg would help Reyna bury my remains, and no one would be the wiser. When they returned to camp, the Romans would ask What happened to Apollo? Who? Reyna would say. Oh, that guy? Dunno, we lost him. Oh, well! the Romans would reply, and that would be that. Reyna’s mouth tightened into a grimace. She bent over, gripping her knees. Her body began to shake. Oh, gods, what had I done? Perhaps I should comfort her, hold her in my arms. Perhaps I should run for my life. Why was I so bad at romance? Reyna made a squeaking sound, then a sort of sustained whimper. I really had hurt her! Then she straightened, tears streaming down her face, and burst into laughter. The sound reminded me of water rushing over a creek bed that had been dry for ages. Once she started, she couldn’t seem to stop. She doubled over, stood upright again, leaned against a tree, and looked at her dogs as if to share the joke. “Oh…my…gods,” she wheezed. She managed to restrain her mirth long enough to blink at me through the tears, as if to make sure I was really there and she’d heard me correctly. “You. Me? HA-HA-HA-HA-HA-HA-HA.

I stepped back suddenly, snapping the band of energy that had seemed to be drawing me closer to her as I unbuckled my belt and unbuttoned my fly. “What are you doing?” she gasped, staring at me as I dropped my jeans, knocking my boxers off with them and letting her get a good eyeful of the full length of my cock. Her gaze stayed glued on it and blood began to rush that way at the feeling of her attention, like that part of me still hadn't agreed to my decision to have nothing more to do with her beyond making sure she left this place. I gritted my teeth as my dick continued to get all kinds of ideas about the things it could do with her if I just made her bow for me now and I tried not to let my gaze linger on her mouth while I considered how much I'd like to fuck it. “When you stop eye-fucking me I’ll show you what you’re so desperate to know,” I mocked, forcing her attention back up to my face and earning myself a scowl. “People don’t tend to whip their junk out in the middle of a conversation,” she snapped like she was pissed at me for it. “So if you didn’t want me catching an eyeful of little Darius then you shouldn’t have brought him into our discussion.” I released a breath of laughter before I could help myself, my mind and dick wandering down all kinds of out of bounds roads as I gave myself two seconds to consider whether or not I could convince her to bow for me after all. I leaned closer to her as she scowled back, but her breaths were speeding up and her pupils were wide with what I could have sworn was desire of her own. I wanted that. I wanted it more than I could say and it was so fucking tempting to just step forward, catch her by the back of the neck and kiss her roughly until she gave in and bowed to me the way I ached for her to. I could see it in her eyes. The temptation despite the hatred and I wanted to hate fuck her so much that I almost took that final step. But as my own pulse thundered like a war drum in my ears, I knew it wouldn't be so simple. One taste of her and I'd be addicted. And I couldn't afford that no matter how tempting a sin she might have been. “If you come to my room uninvited again then it had better be because you’re ready to bow to us or to beg me to bend you over that headboard and make you scream my name,” I said with all the confidence I felt in knowing that she was getting as wet for me as I was getting hard for her. She pressed herself back against my door, her thighs clenching together like she was trying to fight her reaction, but I felt it humming in the air between us no matter how deeply she scowled. (Darius POV)

Could you at least give me some time to get accustomed to the idea and get to know you before we are wed?” He sighed and nodded with obvious reluctance. “Within reason.” “One year?” she asked in the sweetest voice she could manage. His silver gaze glinted as he frowned. “One month.” “Six months?” she ventured, struggling to maintain her saccharine, imploring tone. “One month,” he repeated. His arms crossed over his broad chest as his frown deepened. “Four months?” Angelica begged, hating the desperation in her voice. But she needed time to devise a plan on how to get out of this predicament. “One month.” His tone was firm, implacable, autocratic. And there was something unnerving about the way he looked at her, as if he knew she sought escape. She sighed, exhausted with his refusal to yield. “You will negotiate with my father, but not with me. Some suitor you are!” Biting back her temper, she gentled her voice. “Six weeks, please?” Burnrath nodded. “Very well, six weeks it is.” He smiled suddenly and a small dimple appeared in his cheek. “I suppose I should take the time to court you properly. Now, let’s seal the bargain with a kiss.” He grasped her shoulders, but Angelica stepped back. The idea of his lips on hers made her knees turn to water and her stomach leap around in the most alarming manner. “A-a handshake should suffice, I think.” His rich laughter overwhelmed her senses. “Come now, you are to be my bride. No kiss, no bargain, my beauty,” he challenged. “Do not tell me you are afraid.” Angelica lifted her chin. Hell if he would call her a coward! “Very well.” She stood on tiptoe and pecked him on the cheek, shocked at the thrill rushing up her spine at that small contact. He smelled of exotic spices. “D-do we have a bargain then?” she asked, hating how her voice shook. The vampire’s eyes seemed to glow dangerously. With a low growl, he pulled her into his arms. She gasped at the feel of the warm steel bands holding her to his large, hard body. “That is not what I had in mind.” Keeping his arm around her, he stroked her back as he tipped her chin up with his other hand to meet his smoldering silver gaze. With one finger, he lightly traced her cheek before tangling his fingers in her hair. The vampire’s breath was warm on her face as he whispered, “This is a kiss.” His

I nearly didn’t recognize Milo. I saw a tall, strong-limbed young man with long, gleaming curls and a neatly trimmed beard. His bright blue and green tunic was banded with rich red and gold, a far cry from the cast-off garments he’d been forced to dress in before. He was hard at work, spreading out all manner of glittering wares at Father’s feet, when he looked up at me, and all at once I knew him again. I couldn’t help uttering a cry of delight. If he hadn’t been holding an especially fine vase in his hands just then, I think I would have rushed into his arms. “Well, well,” Father remarked fondly. “I think our daughter has seen something she likes.

November The month of the drowned dog. After long rain the land Was sodden as the bed of an ancient lake, Treed with iron and bridles. In the sunk lane The ditch - a seep silent all summer - Made brown foam with a big voice: that, and my boots On the lane's scrubbed stones, in the gulleyed leaves, Against the hill's hanging silence; Mist silvering the droplets on bare thorns Slower than the change of daylight. In a let of the ditch a tramp was bundled asleep; Face tucked down into beard, drawn in Under his hair like a hedgehog's. I took him for dead, But his stillness separated from the death Of the rotting grass on the ground. A wind chilled, And a fresh comfort tightened through him, Each hand stuffed deeper into the other sleeve. His ankles, bound with sacking and hairy band, Rubbed each other, resettling. The wind hardened; A puff shook a glittering from the thorns, And against the rains' dragging grey columns Smudged the farms. In a moment The fields were jumping and smoking; the thorns Quivered, riddled with the glassy verticals. I stayed on under the welding cold Watching the tramp's face glisten and the drops on his coat Flash and darken. I thought what strong trust Slept in him - as the trickling furrows slept, And the thorn-roots in their grip on darkness; And the buried stones, taking the weight of winter; The hill where the hare crouched with clenched teeth. Rain plastered the land till it was shining Like hammered lead, and I ran, and in the rushing wood Shuttered by a black oak leaned. The keeper's gibbet had owls and hawks By the neck, weasels, a gang of cats, crows: Some stiff, weightless, twirled like dry bark bits In the drilling rain. Some still had their shape, Had their pride with it; hung, chins on chests Patient to outwait these worst days that beat Their crowns bare and dripped from their feat.

November The month of the drowned dog. After long rain the land Was sodden as the bed of an ancient lake, Treed with iron and bridles. In the sunk lane The ditch - a seep silent all summer - Made brown foam with a big voice: that, and my boots On the lane's scrubbed stones, in the gulleyed leaves, Against the hill's hanging silence; Mist silvering the droplets on bare thorns Slower than the change of daylight. In a let of the ditch a tramp was bundled asleep; Face tucked down into beard, drawn in Under his hair like a hedgehog's. I took him for dead, But his stillness separated from the death Of the rotting grass on the ground. A wind chilled, And a fresh comfort tightened through him, Each hand stuffed deeper into the other sleeve. His ankles, bound with sacking and hairy band, Rubbed each other, resettling. The wind hardened; A puff shook a glittering from the thorns, And against the rains' dragging grey columns Smudged the farms. In a moment The fields were jumping and smoking; the thorns Quivered, riddled with the glassy verticals. I stayed on under the welding cold Watching the tramp's face glisten and the drops on his coat Flash and darken. I thought what strong trust Slept in him - as the trickling furrows slept, And the thorn-roots in their grip on darkness; And the buried stones, taking the weight of winter; The hill where the hare crouched with clenched teeth. Rain plastered the land till it was shining Like hammered lead, and I ran, and in the rushing wood Shuttered by a black oak leaned. The keeper's gibbet had owls and hawks By the neck, weasels, a gang of cats, crows: Some stiff, weightless, twirled like dry bark bits In the drilling rain. Some still had their shape, Had their pride with it; hung, chins on chests Patient to outwait these worst days that beat Their crowns bare and dripped from their feet.

So our dream was to combine the feeling and the emotional rock potential of The Who and even Zeppelin and bring the complexity of a band like Genesis and Yes. “And we wanted to do that in a three-piece format. We wanted to be the world’s most complicated three-piece band.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

washroom was the same. Not possessed of a strong stomach, he’d opted not to find out. Cockroaches had been conducting a track-and-field meet along the footrail of the bar, the pungent odor of urine had been held to a draw by the generous application of sweet-smelling disinfectant, the old status quo had prevailed, and Lockington had spotted Rufe Devereaux sitting in a rear booth, talking to a blonde woman. There’d been something vaguely familiar about her but Lockington hadn’t been able to put his finger on it. Devereaux had observed Lockington’s entrance, waving to him, motioning him to take a seat at the bar, then holding up a be-with-you-in-a-moment finger. Club Howdy attendance had been sparse—a few scruffy-looking characters had been clustered in a dark corner of the place, there’d been a pair of elderly men at the end of the bar, but the tables had been deserted, and Lockington had discounted the threat of being crushed in a rush. A four-piece string band had been mauling “Clayton’s Ridge” when Lockington had seated himself. “Clayton’s Ridge” came under the heading of bluegrass, and Lockington had never been convinced that bluegrass came under the heading of music. Bluegrass had always reminded Lockington of a midnight cat fight in a trash heap, but he’d ordered a Martell’s and waited.

While reading some old articles to jog my memory for this book, I came across an article in the Chicago Sun-Times by Rick Kogan, a reporter who traveled with Styx for a few concert dates in 1979. I remember him. When we played the Long Beach Civic Center’s 12,000-seat sports arena in California, he rode in the car with JY and me as we approached the stadium. His recounting of the scene made me smile. It’s also a great snapshot of what life was like for us back in the day. The article from 1980 was called, “The Band That Styx It To ‘Em.” Here’s what he wrote: “At once, a sleek, gray Cadillac limousine glides toward the back stage area. Small groups of girls rush from under trees and other hiding places like a pack of lions attacking an antelope. They bang on the windows, try to halt the driver’s progress by standing in front of the car. They are a desperate bunch. Rain soaks their makeup and ruins their clothes. Some are crying. “Tommy, Tommmmmmmmmy! I love you!” one girl yells as she bangs against the limousine’s window. Inside the gray limousine, James Young, the tall, blond guitarist for Styx who likes to be called J.Y. looks out the window. “It sure is raining,” he says. Next to him, bass player Chuck Panozzo, finishing the last part of a cover story on Styx in a recent issue of Record World magazine, nods his head in agreement. Then he chuckles, and says, “They think you’re Tommy.” “I’m not Tommy Shaw,” J.Y. screams. “I’m Rod Stewart.” “Tommy, Tommmmmmmmmy! I love you! I love you!” the girl persists, now trying desperately to jump on the hood of the slippery auto. “Oh brother,” sighs J.Y. And the limousine rolls through the now fully raised backstage door and he hurries to get out and head for the dressing room. This scene is repeated twice, as two more limousines make their way into the stadium, five and ten minutes later. The second car carries young guitarist Tommy Shaw, drummer John Panozzo and his wife Debbie. The groupies muster their greatest energy for this car. As the youngest member of Styx and because of his good looks and flowing blond hair, Tommy Shaw is extremely popular with young girls. Some of his fans are now demonstrating their affection by covering his car with their bodies. John and Debbie Panozzo pay no attention to the frenzy. Tommy Shaw merely smiles, and shortly all of them are inside the sports arena dressing room. By the time the last and final car appears, spectacularly black in the California rain, the groupies’ enthusiasm has waned. Most of them have started tiptoeing through the puddles back to their hiding places to regroup for the band’s departure in a couple of hours.” Tommy

You,” Elena says, pointing directly at me. “Come with me. Alex, I want you and your brothers to sing.” Alex shakes his head. “Elena, I don’t think--” Elena holds up a hand in front of Alex, silencing even him. “I didn’t ask you to think. I asked you to join your brothers in singin’ to me and my new husband.” Elena opens the door and yanks me through the house, stopping only when we reach the backyard. She lets me go only to grab the microphone from the lead singer. “Paco!” she announces loudly. “Yeah, I’m talkin’ to you,” Elena says, pointing to Paco talking to a bunch of girls. “Next time you want to take a dump, do it in someone else’s house.” Paco’s entourage of girls backs up and giggles, leaving him alone. Jorge rushes to the stage and attempts to pick up his wife. The poor man struggles while everyone laughs and claps. When Elena is finally off the stage and Alex talks to the band leader, the guests cheer for Alex and his brothers to sing. Paco sits next to me. “Uh, sorry about the bathroom thing. I tried to warn you,” he says sheepishly. “It’s okay. I think Elena embarrassed you enough.” I lean over to Paco and ask, “Seriously, what do you think of Alex and me together?” “Seriously, you’re pro’bly the best thing that’s ever happened to the guy.

They relink the chains to Syasku’s bands, and the sound of clanging metal sounds the space. Once he’s secured, the soldiers remove his cage and step away. “You’re dismissed,” Pierce orders. They file out of the room, never once looking my way. “Commander Pierce.” I step toward the man who is often at my father’s side. A man I’ve known since I was a child, someone who once intimidated me into silence whenever he was near. He doesn’t frighten me anymore. “Not now, Vivian.” He dismisses me and he strides up to Syasku. As he does, Syasku’s face wrenches, his lips pull back, and his body starts shaking uncontrollably. Realizing Pierce is hurting him, I rush forward. “Fucker,” Pierce curses, ramping up the electricity. “Stop!” I grab his arm. “You’re hurting him!” He throws me off him, and I stumble away. Pivoting, I seize his arm again. “Stop!” Pierce doesn’t throw me off this time. Instead, his scowl deepens as he looks at me. Syasku’s convulsions come to an abrupt end, and his body slumps into his restraints. The reek of burnt flesh and static floods my nose, making me want to gag.

Jory,” he said, his voice a hoarse rasp. “Jory, mo cridhe, I cannae forgive myself for that night. I never will. But I was blood-mad, a new vampire. I didnae have any control. I—” He pressed his forehead against her thigh. “I would never hurt you again. I would die before I hurt you again.” She allowed herself to look between her legs and behind her. Beneath the thick bands of his arms at her knees, she saw his muscled chest, his stomach, the dusting of blond hair that led down into his shorts, which were obscene. “I wouldnae bite you unless you asked me. And I wouldnae bite you unless you asked me sober, and not in the heat of the moment. I wouldnae bite you unless we talked about it,” he said in a rush. “I swear to you. I would never do anything you didnae want, or ask for.” He pushed his forehead against the back of her thighs, his head bowed. “I wouldnae bite you, mo cridhe. You have to believe me. You must believe me,” he begged.

Children don’t learn this from a book. Kids learn about loving and rescuing at home. When your child sees that Mom, Dad, and his siblings don’t need him to parent them, he learns that he can love others without taking responsibility for them. He can enter freely into relationships knowing that he can obey the Law of Empathy but can also say no to those things that aren’t good for him or are someone else’s burden. Let him skin his knee and get up and get the Band-Aids without your rushing over to coddle him. Let him observe you having a bad day, but know that you’ll take care of yourself. As you help your child learn the difference between loving and rescuing, he will also be learning how to pick kids who don’t need someone to take on their problems: kids of good character, kids to whom your child can say no without fear of losing the connection.

...regardless of our willingness to do vulnerability, it does us. When we pretend that we can avoid vulnerability we engage in behaviors that are often inconsistent with who we want to be. Experiencing vulnerability isn't a choice--the only choice we have is how we're going to respond when we are confronted with uncertainty, risk, and emotional exposure. As a huge fan of the band Rush, this seems like the perfect place to throw in a quote from their song 'Freewill': 'If you choose not to decide, you have still made a choice.

I believe in friendship,’ Band said to Reinhardt, then made his way to Huston and delivered the present. Huston unwrapped his present. ‘This is just swell, amigo – just wonderful,’ he said to Band. He closed the book and took a cigarette box out of his pocket. It was empty. ‘Get me some cigarettes, will ya, kid?’ he said. Band rushed off for cigarettes.

This is the wandring wood, this Errours den, This is no place for liuing men. But full of fire and greedy hardiment, The youthfull knight could not for ought be staide, But forth vnto the darksome hole he went, And looked in: his glistring armor made A litle glooming light, much like a shade, By which he saw the vgly monster plaine, Halfe like a serpent horribly displaide, But th’other halfe did womans shape retaine, Most lothsom, filthie, foule, and full of vile disdaine. And as she lay vpon the durtie ground, Her huge long taile her den all ouerspred, Yet was in knots and many boughtes vpwound, Pointed with mortall sting. Of her there bred A thousand yong ones, which she dayly fed, Sucking vpon her poisonous dugs, each one Of sundry shapes, yet all ill fauored: Soone as that vncouth light vpon them shone, Into her mouth they crept, and suddain all were gone. Their dam vpstart, out of her den effraide, And rushed forth, hurling her hideous taile About her cursed head, whose folds displaid Were stretcht now forth at length without entraile. For light she hated as the deadly bale, Ay wont in desert darknesse to remaine, Where plaine none might her see, nor she see any plaine. Which when the valiant Elfe perceiu’ed, he lept As Lyon fierce vpon the flying pray, And with his trenchand blade her boldly kept From turning backe, and forced her to stay: Therewith enrag’d she loudly gan to bray, And turning fierce, her speckled taile aduaunst, Threatning her angry sting, him to dismay: Who nought aghast, his mightie hand enhaunst: The stroke down from her head vnto her shoulder glaunst. Much daunted with that dint, her sence was dazd, Yet kindling rage, her selfe she gathered round, And all attonce her beastly body raizd With doubled forces high aboue the ground: Tho wrapping vp her wrethed sterne arownd, Lept fierce vpon his shield, and her huge traine All suddenly about his body wound, That hand or foot to stirre he stroue in vaine: God helpe the man so wrapt in Errours endlesse traine. His Lady sad to see his sore constraint, Cride out, Now now Sir knight, shew what ye bee, Add faith vnto force, and be not faint: Strangle her, else she sure will strangle thee. That when he heard, in great perplexitie, His gall did grate for griefe and high disdaine, And knitting all his force got one hand free, Wherewith he grypt her gorge with so great paine, That soone to loose her wicked bands did her constraine. Therewith she spewd out of her filthy maw A floud of poyson horrible and blacke, Full of great lumpes of flesh and gobbets raw, Which stunck so vildly, that it forst him slacke His grasping hold, and from her turne him backe: Her vomit full of bookes and papers was, With loathly frogs and toades, which eyes did lacke, And creeping sought way in the weedy gras: Her filthy parbreake all the place defiled has. (...) That welnigh choked with the deadly stinke, His forces faile, ne can no longer fight. Whose corage when the feend perceiu’d to shrinke, She poured forth out of her hellish sinke Her fruitfull cursed spawne of serpents small, Deformed monsters, fowle, and blacke as inke, Which swarming all about his legs did crall, And him encombred sore, but could not hurt at all. (...) Thus ill bestedd, and fearefull more of shame, Then of the certaine perill he stood in, Halfe furious vnto his foe he came, Resolv’d in minde all suddenly to win, Or soone to lose, before he once would lin; And strooke at her with more then manly force, That from her body full of filthie sin He raft her hatefull head without remorse; A streame of cole black bloud forth gushed from her corse.

Glad To Be Unhappy" Look at yourself, if you had a sense of humor You would laugh to beat the band Look at yourself, do you still believe the rumor That romance is simply grand? Since you took it right on the chin You have lost that bright toothpaste grin My mental state is all a-jumble I sit around and sadly mumble Fools rush in, so here I am Very glad to be unhappy I can't win, but here I am More than glad to be unhappy Unrequited love's a bore And I've got it pretty bad But for someone you adore It's a pleasure to be sad Like a straying baby lamb With no mammy and no pappy I'm so unhappy But oh, so glad! Writer(s): Richard Rodgers, Lorenz Hart (1955) As performed by Chris Botti & John Mayall, Chris Botti In Boston (2008) Originally performed by Frank Sinatra, In The Wee Small Hours (1955)

The problem was Luke had decidedly different ideas about what her role should be. He kept trying to convince her to sing louder, to leave the safety of her keyboard and join him at his mic, kept looking at her like he knew exactly how much she wanted to do just that. How much she wanted them to be them . And she did. Obviously. More than anything. Well, almost anything. And that was the issue. Because one of the only things she wanted more than to join her band again for real, and feel that adrenaline rush that only came with letting go on stage, and connecting and being Julie and Luke ...was to make sure they were ok when she left. And she would have to leave eventually. She just had to.

I’m sort of nervous you’ll find out Even though I want you to I’m sort of nervous you’ll be angry Even though I know that’s not you We’ve been through this all before And you never made me feel unsure But still A hush had fallen over the crowd as soon as she began to sing and Julie marveled at how different this atmosphere was from the raucous one the boys had described to her from their visit to the club. She wondered if Caleb would be satisfied with her slow and emotional song choice but if he was dissatisfied with her he didn’t show it on his face. He merely glanced around at the rapt expressions of the lifers and smirked. Julie allowed her eyes to slide over to her friends who were both watching her with knowing looks. She knew that the sadness in her lyrics was reflected in their eyes, that they felt sorry for her and that they ached for Luke too. She forced her gaze away from them, needing to focus on getting through the song and finding it almost impossible in the face of their pity. I’m sort of hopeful you’ll find out Even though that’s not fair I’m sort of hopeful you'll guess Even though I’m so scared I don’t know what the right choice is And part of me wants you to insist But still Despite all of the circumstances that made singing this particular song in this particular venue absolutely loaded down with baggage she found herself slipping into the zone she always occupied when performing. She could feel the heady rush of doing what she was meant to do in front of people hanging on her every word. She wished Luke was there to sing with her but she had also never been so glad that he wasn’t. She gripped the mic stand and raised her voice to new heights as she began the chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye She could hear emotion breaking through into her voice but she didn’t care. The ghost band once again seemed to sense what she had heard in her head and the music built and built before suddenly dropping to next to nothing. A few chords on the piano were all that accompanied the final verse as she gave it her all. I’m sort of happy we happened Even though I know the memories Will hurt I’m sort of happy we met here Even if it took a curse I know that I’ve made mistakes And some of them are hard to shake But still Julie allowed herself to truly see the audience for the first time. They were still watching her with awed expressions but something about the lighting in the club seemed different. There was a soft golden glow settling over the whole room. Julie blinked and the glow was gone. She barely had time to wonder if she had imagined it before the band came back in full force for the final chorus. How do I tell you this isn’t where I belong? How do I tell you this was a tragedy all along? That we never had a chance At a happy ending at all Just a few brief stolen moments Between your heart and mine How do I tell you? How do I tell you? Goodbye The band fell away again and Julie’s voice echoed through the ballroom alone on the final lines. How do I tell you? Goodbye

I rush home and put the record on ['Horses’ by Patti Smith]. It hurts through stream of consciousness, careers into poetry and dissolves into sex. [...] She’s a private person who dares to let go in front of everyone, puts herself out there and risks falling flat on her face. Up until now girls have been controlled and restrained. Patti Smith is abandoned. [...] Listening to Horses unlocks an idea for me - girls’ sexuality can be on their own terms, for their own pleasure or creative work, not just for exploitation or to get a man. [...] Hearing Patti Smith be sexual, building to an organic crescendo, whilst leading a band, is so exciting. It’s emancipating. If I can take a quarter or even eighth of what she has and not give a shit about making a fool of myself, maybe I can still do something with my life.

May we take you back to Jenner’s, sir? It will be tight quarters in the carriage, but I think we can manage.” “No, thank you.” Rohan walked slowly around the carriage with her. “It isn’t far. I’ll go on foot.” “I can’t leave you stranded in a London rookery.” Rohan stopped with her at the back of the carriage, where they were partially sheltered from view. “I’ll be fine. The city holds no fears for me. Hold still.” Rohan turned her face up again, one hand cradling her jaw while the other descended to her cheek. His thumb brushed gently beneath her left eye, and with surprise she felt a smudge of wetness there. “The wind makes my eyes water,” she heard herself say unsteadily. “There’s no wind tonight.” His hand remained at her jaw, the smooth band of the thumb ring pressing lightly against her skin. Her heart had begun to thump until she could hardly hear through the blood rush in her ears. The clamor of the tavern was muted, the darkness thickening around them. His fingers slid over her throat with stunning delicacy, finding secreted nerves and stroking gently. His eyes were above hers, and she saw that the golden-hazel irises were rimmed with black. “Miss Hathaway … you’re quite certain fate had no hand in our meeting tonight?” She couldn’t seem to breathe properly. “Qu-quite certain.” His head bent low. “And in all likelihood we’ll never meet again?” “Never.” He was too large, too close. Nervously Amelia tried to marshal her thoughts, but they scattered like spilled matchsticks … and then he set fire to them as his breath touched her cheek. “I hope you’re right. God help me if I should ever have to face the consequences.” “Of what?” Her voice was faint. “This.” His hand slid to the back of her neck and his mouth covered hers.

When Picasso painted his first cubist picture, he was twenty-six: all over the world several other painters of his generation joined up and followed him. If a sixty-year-old had rushed to imitate him by doing cubism at the time, he would have seemed (and rightly so) grotesque. For a young person's freedom and an old person's freedom are separate continents. "Young, you are strong in company; old, in solitude," wrote Goethe (the old Goethe) in an epigram. Indeed, when young people set about attacking acknowledged ideas, established forms, they like to do it in bands; when Derain and Matisse, at the start of the past century, spent long weeks together on the beaches of Collioure, they were painting pictures that looked alike, were marked by the same Fauve aesthetic; yet neither thought of himself as the epigone of the other—and indeed, neither was. In cheerful solidarity the surrealists saluted the 1924 death of Anatole France with a memorably foolish obituary pamphlet: "Cadaver, we do not like your brethren!" wrote poet Paul Eluard, age twenty-nine. "With Anatole France, a bit of human servility departs the world. Let there be rejoicing the day we bury guile, traditionalism, patriotism, opportunism, skepticism, realism and heartlessness!" wrote André Breton, age twenty-eight. "May he who has just croaked… take his turn going up in smoke! Little is left of any man: it is still revolting to imagine about this one that he ever even existed!" wrote Louis Aragon, age twenty-seven. I think again of Cioran's words about the young and their need for "blood, shouting, turbulence"; but I hasten to add that those young poets pissing on the corpse of a great novelist were nonetheless real poets, admirable poets; their genius and their foolishness sprang from the same source. They were violently (lyrically) aggressive toward the past and with the same (lyrical) violence were devoted to the future, of which they considered themselves the legal executors and which they knew would bless their joyous collective urine. Then comes the moment when Picasso is old. He is alone, abandoned by his crowd, and abandoned as well by the history of painting, which in the meantime had gone in a different direction. With no regrets, with a hedonistic delight (his painting had never brimmed with such good humor), he settles into the house of his art, knowing that the New is to be found not only up ahead on the great highway, but also to the left, the right, above, below, behind, in every possible direction from the inimitable world that is his alone (for no one will imitate him: the young imitate the young; the old do not imitate the old).

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

They made their greatest music in a five-year rush, starting in 1968: Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main Street. I can’t really argue that the Stones were better when they were ripping the Beatles; I’m not going to look you in the eye and claim that “Dandelion” beats “Gimme Shelter” or “Sympathy for the Devil” or “Rocks Off.” But it’s tempting. For a couple of years there, in 1966 and 1967, Mick was the bitchiest rock and roll singer who ever arched an eyebrow. And just as Aftermath was the Stones racing to catch up with Rubber Soul, Revolver was the Beatles racing to catch up with Aftermath.

Sometimes she wondered if it wouldn't have been better to let herself experience it [the grief] in the beginning - like a Band-Aid torn off quickly. A burst of intense pain that stung and went away. That had to be better than this slow peel of heartache she experienced now. Her rush to forget had left her with a residual sadness she couldn't quite shake.

The short pieces of his black hair are spiked out every which way. The poor lighting from the singular bulb on the ceiling over the shower exaggerates the dark circles under his eyes. He looks rough. And why I find it incredibly hot is beyond me. “Late night?” I ask. I’m staring. I shouldn’t stare. Biting back a smirk at his disheveledness, I pull the band out of my hair, pretending that I need to redo my ponytail. Really, I just need a distraction. “I’m going back to work today,” I say, when he doesn’t reply. He snatches my hand to keep me from putting my hair back up. “It is lovely down,” he says softly. I’m frozen, watching him in the mirror as he smooths a section of my hair, grazing my bare neck with his fingers. Everything Chiara’s said about him rushes to the front of my mind. “Don’t,” I tell him, immediately wishing I hadn’t. His hands are at my waist in an instant and he rotates me, pinning me between him and the counter. “Why?” Because your cousin already wants to kill me for kissing you. Because I like it too much. Because you make me feel wanted. I clear my throat. “Because you haven’t brushed your teeth yet.” I twist my upper body around and grab his toothbrush--the neon green one. I squeeze out a bead of toothpaste from my tube, get the brush wet, and hold it close to his mouth. With the tiniest hint of a smile, Bruno opens his mouth maybe half an inch and shifts his body even closer to mine. His eyes dart down to my lips and back to my eyes, down and up, down and up, leaning closer. I should dodge him but I don’t--can’t. All I can do is stare at his mouth, knowing full well I don’t really care if he’s brushed his teeth yet or not. Our noses nearly touch. He tilts his head to his right, I tilt mine to my right. We’re lined up and ready for impact. His warm breath tickles my chin as he whispers, “Grazie.” He turns his head, wraps his mouth around the toothbrush, taking it from me, and walks out of the bathroom.