Keith Richards is finally here! The merit of drag in the library, or rather trapped between the pages of a book, is that with the POPE'S CEILING His HAPPY creates a glowing portrait of the wild and crazy Stones guitarist.
the early years with his friend Jagger to the latest concerts, the book follows (and follows) the pirate in all its boarding, in all its shipwrecks, in apotheosis as well as in the tragedies, Stan from time to time, the star, the musician, the genius of man.
Yes, Keith Richards ... hard slap an animal so elusive behind bars in a book: the wild anime, reduced in captivity, they are left to die. But the Pope is anything but a furrier, and if you expect a biography straw and contrite, an essay that is stubbornly deep thinking on riffs and arrangements in the ridiculous attempt to tame the music of a madman, then HAPPY is not for you, nor Richards.
No, none of this. By a kind of natural affinity, the Pope knows how affronatre Keith and without being torn to pieces without killing him. Because "a man is his style, and style and affects POPE digs the page to go further and Return used one by one all the wonderful wrinkles of the old monster of rock.
And so the sedimentation of that unmistakable face becomes a map for dissecting the character and man. Like a modern Lombroso, POPE knows that to "guess" Richards is the physiognomy of privileged access. The music and the life of Richards are there in her face by old child. But if your wrinkles are the stabs of the excesses of the perpetually dissatisfied musical research, drugs and the rejection of social convention, those same lines are the traces left by the perpetual smile knowingly.
A disturbing smile and boyish, almost divine. The same, uncanny smile with which the King of the Pirates went through the last century, he, seemingly indestructible, paradoxically consistent prisoner and torturer of his one true obsession: music.
Henry
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