Walter Everett, Trevor de Clercq, and David Temperley have demonstrated that most mainstream rock songs employ triadic diatonicism as their normative harmonic language. Against a diatonic norm, deviations from tonal function can offer effective means for illustrating fantasy or psychological escapism. This paper explores the use of chromatic transformations within predominantly diatonic rock songs to convey a sense of escape. In celebration of TSMT's anniversary, this paper will focus on songs from 1978. Following Richard Cohn's work, the analyses model triadic progression on a neo-Riemannian Tonnetz. This Tonnetz shows diatonic chords contained within a horizontal parallelogram, hexatonic PL motion is shown on the northeast/southwest diagonal, and octatonic PR motion on the northwest/southeast diagonal. Analyses by Cohn, Matthew Bribitzer-Stull, and others have shown that hexatonic motion often paints magic and supernatural phenomena in a wide variety of musical genres. In this paper, analyses of songs by Queen, Kate Bush, and the Talking Heads show how normal-life activities are described with diatonic motion while escapes from reality are harmonized by trips through either the hexatonic or octatonic alleys or both. Mapping progressions this way highlights interactions between the three systems and even invites a reimagining of certain tonal functions including V-i in minor keys and motion involving augmented triads. `