Found this on something called trancenet.org


Next comes to the Trip to Rishikesh of February 1968. The Beautiful People sing Hare Krishna at Butlin's Holiday Camp, and matters reach a climax on several levels. Besides the Four and female companions, participants include Donovan, Mia Farrow, her sister Prudence, and Mike Love of the Beach Boys.

As far as can be determined from published accounts, things began well enough, with all four Beatles seemingly committed to the enterprise (although leadership certainly came from Lennon and Harrison, the foremost writers of related musical pieces). Outtakes like "What We Did On Our Meditation Course,Happy Birthday Michael Love," and "Spiritual Regeneration" (available on bootlegs from Chapter One and others) convey equal amounts of pretension and silliness, behaviors both childish and childlike.

I'm all for the indies but in 5-10 years will their still be albums, both new and old, manufactured? CDs may become what vinyl is today I guess.
A big thrill for me over the last 15 years or so has been buying CDs that I used to have many years ago on cassette and reading the linear notes that were never supplied in that format.

What gets me is the concept of lining up for the big new release, in store mini-shows by new and up-coming artists plus album signings. Corporations now decide which artists they are going to push and give them the budget for promotion but I can see this concept going to a whole new level.
The last few days we have posted about some bad BB out-put and I mentioned my dislike for some of Smileysmile but the idea, while it does have some appeal, of a artist putting out a concept album and me choosing to leave off various tracks or changing the playlist removes the personal touch or theme the artist is trying to create. To think that my Pet Sounds or Sgt Pepper would be different to everybody elses is terrible.

O course they also said TV would be the death of the movies.

A sad read below for us album fans which begs the question of what lies in store for new music of the future. 



For Tower Records, End of Disc
In Rockville, Reminders and Remainders of the Dying CD

By Paul Farhi
Washington Post Staff Writer
Monday, December 11, 2006; Page C01

In the wan light of retail desperation, it's nearly impossible to spot a gem amid the acres of dreck: Eddie Money CDs, anyone? The soundtrack of "Snakes on a Plane"? Boxed sets of "Captain and Tennille" DVDs? Get there before it's too late.

Too late, though, is almost here. Tower Records is closing, and as the signs say, everything must go. The whole chain is shutting, not just this thoroughly ravaged store off the Pike in Rockville. A liquidator is peddling the stock left in Tower's 85 or so remaining stores (five locally), and by Christmas, even Tower's desiccated carcass will be dust.

 All of it is going, of course -- not just Tower, but the record store culture that Tower embodied. Anything that can be squeezed down to ones and zeros and moved around at the speed of electrons doesn't have to be stacked in plastic cases, shoved into bins and splayed over aisles under fluorescent lights anymore. All of it's going online.

And isn't that better? Doesn't the digital universe give anyone with a computer and a credit card wider and speedier access to more music than any Tower could ever stock? Isn't it better when you never have to find a parking space or deal with one of those haughty, green-haired clerks who always gave your Beach Boys and show-tune selections a look that said, "Wow, you are such a geezer"?

No, it isn't. Not exactly.

There will never be the same sense of wonder on iTunes, the same joy of discovery and intoxicating power of musical abundance that hit you every time you walked into even the dinkiest Tower or any comparable record store. There it lay before you -- unheard! unseen! unfondled! -- potential treasures beckoning from row upon row of wooden bins.

Clicking a mouse cannot replace the singular ritual act of pawing through those big bins to find . . . well, you never knew what. And that was the point. Skilled veterans could flip through dozens of records -- "records"? Ha-ha, Grandpa! -- with knowing hands and studious concentration while the rest of us dawdled over a particularly alluring piece of cover art. Working your way down the alphabet (Abba, the Beatles, the Cure, etc.) could take the better part of an afternoon.

Tower facilitated all this with spacious, high-ceilinged stores that seemed to stock every note recorded in the preceding decade. Just when you thought you owned everything by [insert name of favorite artist], Tower had something you'd never heard of ("Whoa, when did Zeppelin do that?"). It had obscure imports, generous helpings of jazz, blues and classical.

I hear the music geeks whining: Tower wasn't the cheapest place around, and it often employed contemptuous or conveniently nonexistent salespeople. It also pushed the same Top 40 pap as the marts (Wal- and K), the big boxes (Best Buy, Barnes & Noble, etc.) and the surviving mall chain stores. Yeah, yeah and yeah. And so what?

Having grown up in Southern California, I hold a nostalgic fondness for Tower. The company was founded in Sacramento in 1960 by Russ Solomon, himself a music geek, who got his start selling records out of his father's drugstore. Solomon expanded first to San Francisco, then headed south, to Los Angeles.

There was a big Tower in the heart of Westwood Village, close to where I grew up, but the real action was a few miles away at Tower on the Sunset Strip. It wasn't the biggest location, but for a generation or two, it was a holy pilgrimage site for kids in the know.

The Strip Tower seemed to be open all the time, and it was always humming well into the werewolf hours. If you were really happening, you caught the late show at the Troubadour or the Whisky on the Strip (here's how old I am: I remember when all the talk around the Whisky was about an unknown band called Van Halen). And then, ears still ringing, you walked down the street to Tower. The place always had a slightly sinister, druggy feel to it, with a breathtakingly odd and diverse clientele and a PA crackling with the most obtuse music (Afro-Manding blues? central Indian Lavani tunes? whatever). For some reason, it always felt as if the cops were about to raid the place.

Music and the music industry have evolved rapidly in the past decade, and each mutation has disrupted Tower's niche. First came the discounters to undercut Tower on price, followed by Napster and Amazon.com and iTunes, which beat Tower on selection and convenience. It's reasonable to ask whether Tower could have adapted. As a friend put it, Tower had the brand-name cred to be what iTunes is, if only Tower hadn't clung to bricks and mortar and $17.99 CDs.

The future portends more abundance and choice than Russ Solomon could ever have stacked in his biggest store. But something's being lost in this vast and unending digital banquet. Tower's downward arc tracks the fragmentation of musical tastes into 10,000 little pieces. We're well past the point where broad musical consensus is possible.



That means there might never be another Beatles or U2 -- no more supergroups to span the niches and subcultures. More shocking, Tower's fall suggests the end of "standards." Long ago, two strangers could hear "Some Enchanted Evening" or "Norwegian Wood" and share, for just a moment, something familiar and lovely. Now my iPod ain't like yours.

There's no doubt the Internet is a superior transactional medium for getting music. But saying so assumes that the transaction is all there is. It values ends over means, destinations over journeys.

For a long time, Tower was a great journey.

"Can I help you?" one of the clerks asked a customer at the Tower store in Rockville the other day.

The guy said he was looking for something or other, something the store no longer had, which was just about everything.

Can I help you? The answer is, not anymore.

The original song, Christmas version or this?

http://www.bdpr.com/kkback.html

Did the Club come to anything?

I have a problem with a lot of Smiley Smile. Special mention though for "F B A B T W" "She's Going Bald" and the first section of "Little Pad" (who got into Brians stash?)

If we are going to expand on the BB related heres my 2 cents. I'm ok with Brian redoing his songs....live...once. ie Roxy but to cover BB work on each new album, its not for me.

Mike, Bruce and Dave re-recording their own songs for Nascar. The Pits-Stop!

Al live in Vegas singing BB songs. Who cares!

Billy, Jeff, Adrian and anyone else who feels they need to use the BB style on their solo work.

...and anything to do with Kokomo!

I have a problem with a lot of Smiley Smile. Special mention though for "F B A B T W" "She's Going Bald" and the first section of "Little Pad" (who got into Brians stash?)

If we are going to expand on the BB related heres my 2 cents. I'm ok with Brian redoing his songs....live...once. ie Roxy but to cover BB work on each new album, its not for me.

Mike, Bruce and Dave re-recording their own songs for Nascar. The Pits-Stop!

Al live in Vegas singing BB songs. Who cares!

Billy, Jeff, Adrian and anyone else who feels they need to use the BB style on their solo work.

Lifted from the BBBritain site.

Al & Carnie on Dennis
Posted on December 4, 2006 at 01:08:05 PM by Asner

Launch Radio Networks has issued the following report
from Howie Edelson:

REMEMBERING BEACH BOY DENNIS WILSON

Today (Monday, December 4th) marks what would have been Beach Boys' drummer and cofounder Dennis Wilson's 62nd birthday. For most of his life, Dennis was overshadowed by his older brother Brian, who wrote most of the group's hits, and by his younger brother Carl, who sang lead on songs such as "God Only Knows" and "Good Vibrations." As a youngster, Dennis was considered the least musical of the Wilson brothers, but it was his idea for Brian and cousin Mike Love to first write about surfing. It was the Wilson's mother Audree who urged the group to include Dennis, who was then forced to play drums because he couldn't play anything else.

Although his playing was only used sporadically on the group's recordings after 1964, his heartthrob good looks and powerful live drumming provided the group with a much need boost in the wake of the "British Invasion." Brian Wilson often used direct instances from Dennis' life as the foundation for Beach Boys songs, including "Fun, Fun, Fun," "Let Him Run Wild," and "Surfin' U.S.A." Dennis sang lead on the group's 1965 remake of Bobby Freeman's "Do You Wanna Dance." He began contributing songs to Beach Boys albums in 1968, and everyone in the group was surprised at the spiritual quality of his work.

Beach Boys co-founder Al Jardine told LAUNCH that he's still amazed at the depth and beauty of Dennis' songs: ["Oh, he was the most underrated member of the band in those terms. His compositions, I think, were stronger, and they got stronger and stronger as we went along -- as he went along -- until obviously he couldn't go any further. And I just think that given time, you know, he would've been the... probably the best composer in the band, outside of Brian, of course. Yeah, he just had that natural, intuitive instinct about music and lyrics. He always... he was the kind of guy who could get to the point without beating around the bush and, you know, could just nail it."

While Brian slowly retreated from the group in a haze of mental illness and drug abuse, it was Dennis' songs on albums like 20/20, Sunflower, and Holland that kept the band's artistic vision advancing.

His personal life was less successful, including four failed marriages and a year-long friendship with the infamous Charles Manson.

In 1977, he became the first Beach Boy to release a solo album, called Pacific Ocean Blue.

In recent years, it's come to light that Dennis' greatest success was in cowriting the Joe ####er hit "You Are So Beautiful" with Billy Preston in 1974, for which he did not initially receive a credit. Friends that were there that night have gone on record claiming that Dennis contributed integral portions to the song, but that he refused to be credited, explaining that he was "just helping a friend out." Dennis went on to perform the song at nearly every Beach Boys show starting in 1975.

Carnie Wilson, who is Brian Wilson's daughter and Dennis' niece, told LAUNCH that she thinks about her uncle regularly: ["I had a crush on Dennis, he made my stomach feel funny. And my memories of Dennis was, like, him getting on the ground like he was proposing to me, kneeling down in front of me whenever he saw me and he would kiss my hand in like 20 places. That was his thing. And he was wild and sexy. You know, wild. Just out there."

Dennis Wilson drowned in Marina Del Rey, California, on December 28th, 1983, at the age of 39.

In 2004, an illegitimate son of Dennis' was reunited with the Wilsons, thanks in part to the efforts of a Beach Boys fan website.

I wonder what would have happened if around 66/ 67 (drugs taken out of the equation) if Brian, Carl and maybe Dennis had left the group,  and done their own thing what would have been the result? Maybe a Wilson/ Flame vibe but without having to do the old BB stuff in concert.

I agree with a lot of what you're saying.

Question about your hypothetical. do you Brian, Carl and Dennis quitting the Beach Boys to start a band together or do you mean all three going solo? It's hard for me to imagine what might of been because Brian was so fried and not that interested in music anymore. If Brian had not gone insane maybe he could of had the power to dissolve the Beach Boys. Imagine if he quit the group and started writing and producing records in direct competition with them. How could they have survived? The Beach Boys would have been obliterated.

Yeah I meant the three doing something together and the drug thing with Brian never happening. Just a concept and nothing else.

Great in theory but to me the older they got the weirder they looked IMO. Take a look at say Pink Floyd and The Moody Blues. Elder statesman for sure but they still look ok in concert. Now think of the BBs of the 80s and what is now the Mike and Bruce show. The surf/ car tunes are like a double edge sword. Its what the paying customer wants I guess but a bunch of  Hawaiin shirt wearing 65 year olds look like multi Bob Hope's. However the alternative, casual clad but singing kiddy teen songs would also be cringe worthy.


http://www.dailyrepublican.com/bob_hope2-94.jpg

http://www.ellisisland.org/genealogy/bob_hope_vietnam.jpg

Remind you of anyone?

To me the BBs got lost in a way where the Stones stayed true to their school. The early 60s were the surf/ car songs with mainly Mikes lead but the group as a whole were working as one. Mid 60s had the PS/ Good Vibe tunes. Aside from the non-music problems of band members, these were changing times which maybe some group members handled better than others. As I have said before, it must have been VERY hard for Mike to go from singing lead on most of the songs to being a vocal sideman and a non instrument playing one onstage at that. The later 60s/ early 70s took it even further with the SMiLE stuff/ Feel Flows etc, etc. Throw in the Al Jardine folky-feel and you have one very mixed up group of band members IMO.
I wonder what would have happened if around 66/ 67 (drugs taken out of the equation) if Brian, Carl and maybe Dennis had left the group,  and done their own thing what would have been the result? Maybe a Wilson/ Flame vibe but without having to do the old BB stuff in concert.

The BBs had their last hit with "Kokomo" in 88 and the Stones with "Start Me Up" in the early 80s.

The Stones had 22 UK and/or US Top 50 hits after "Start Me Up"...

Sumahama "charted" too.

Point taken but none of those Stone tunes since have been used as a show opener or have got much play in concert by the next tour.

As I said, Mick Jagger is one smart cookie.

I was thinking this would be the way to go for Brians London 5 nighter next year. It is a pretty big ask for Brian to sell that many tickets on his own, even if Al comes along. PS has been done to death and SMiLE has passed so maybe a few "real" guests would be in order. Bruce played with Brian a few years ago so the Lovester would be the hat-trick.

The BBs had their last hit with "Kokomo" in 88 and the Stones with "Start Me Up" in the early 80s. Both, up to Carls death released albums on a semi- regular basis.
The truth is Mick Jagger is one smart cookie.

Brian's been saying he doesn't want to be involved with the Beach Boys for a long time now. That's one of the (admittedly few) things he's been adamant about,

From a Capitol Tower reunion thread June.
...The three original band members have not performed together in years. But, asked about the possibility of sharing the stage again, Wilson replied, "There's a chance of that."...

Changes like the wind

[In Concert]

Fav "There is only one"

In Concert 

Aside from the ego's involved, the Brian concept and the Mike and Bruce concept of touring is different now so I see his point. Keep in mind he cracked under the pressure of doing countless shows in 64. Ok he had the stress of writing back then I know but at his age the thought of 100 plus shows even for say one year must be a turn-off.
I say that in the last few years Brian Wilson is bigger than the Beach Boys, and I don't mean the Mike and Bruce show but the legacy as a whole. When he stops, sure the group will be once again be foremost but at this point due to marketing and promotion, in most peoples eyes he was the Beach Boys.

Music bio's sell. As mentioned Ray, Cash plus Tina a few years ago. Didn't Ike come out looking good in that one!

Just a few days after Brian Wilson was inducted into the UK Hall of Fame, the songwriter has made a deal with “Saving Private Ryan” producer Mark Gordon to start work on a feature length biopic about his life.
David Leaf who has known Wilson for 30 years and previously filmed Wilson for the documentary “Beautiful Dreamer” is also on board to help with the new film.

Rights to use Wilson’s song catalogue has been granted and a scriptwriter is soon to be appointed.

Talking to Daily Variety, Wilson said, "I love the idea of there being a movie on my life, and I can't wait to see the script.”

Talking about how the film would tackle some of the hard parts of his life, Wilson said, "It's tough, and when I see the movie I'll be ill at ease at some of the bad parts. But I remember when we made 'Pet Sounds,' and I knew we were up to something spiritual and special. I have that feeling again."

The producers will take the film package to the studios once the script is complete



....now theres a thought. Tom Hanks plays the older Brian and his son, who was in a episode of "Band of Brothers" the younger.   Think Forrest Gump meets Brian Wilson.


edit

Colin Hanks is the man. Here he is in training for the Sloop John B pool video shoot!

http://videodetective.com/photos/578/024295_25.jpg

Also from the Britain site.  Source unknown.


The High School Reunion Tour !
Posted on November 15, 2006 at 04:08:30 PM by Mr. Kleen

Al Jardine reunites with Brian Wilson for 'Pet Sounds' celebration at the Keswick
By: Mike Morsch
11/15/2006

Wouldn't it be nice if Brian Wilson came back to the Keswick Theatre in Glenside? And wouldn't it be nice if Beach Boys bandmate Al Jardine came along?

Well, we don't have to really wish and hope and pray it might come true because that's exactly what will happen at 7:30 p.m. Sunday, Nov. 19, when Wilson makes a stop at the Keswick on an abbreviated six-city tour to celebrate the 40th anniversary of the Beach Boys' legendary "Pet Sounds" album.
Wilson, with his backing band and special guest Jardine, will play "Pet Sounds" in its entirety, which follows last month's two-CD reissue of what some call Wilson's masterpiece.
And if you don't already have a ticket, you're out of luck because the show is a sellout.
Wilson kicked off the short tour Nov. 1 at UCLA's Royce Hall in Los Angeles. On Nov. 12, he was in London without Jardine. But the two will reconnect again for the Nov. 17 show in Boston, the Nov. 18 show in Washington, D.C., the Nov. 19 show here and for two shows Nov. 21-22 in New York.
"This is a great opportunity to enjoy the music we worked so hard to create," said Jardine in a telephone interview last week from his home in California. "We really didn't enjoy it as much at the time because it was so labor-intensive. Forty years later we're getting some gratification, and that's special."
Jardine said that invitations to participate in this tour had been extended to other Beach Boys Mike Love and Bruce Johnston, but that "for some reason, it didn't work out."
"But that's not sour grapes," said Jardine. "So I just invited myself along with Brian. And I'm having a ball."
Longtime Beach Boys fans are familiar with the story of "Pet Sounds." In the mid-1960s, Brian Wilson decided to stop touring with the Beach Boys and concentrate on writing songs. He had listened to the Beatles' "Rubber Soul" album and wanted to produce a better body of work.
In 1966, the Beach Boys - with Brian at home writing with collaborator Tony Asher - had toured Japan. Brian had "Pet Sounds" waiting for them when they returned.
"I felt competitive with the Beatles and I wanted to top them," Wilson said in "The Making of Pet Sounds," a video history of the album that is part of the two-CD reissue by Capitol Records. "I knew there was a 'Pet Sounds' in my soul somewhere."
"Pet Sounds" includes some classic Beach Boys songs like "Wouldn't It Be Nice," "Sloop John B" and "God Only Knows."
"It was overwhelming then," said Jardine, of what type of music the Beach Boys found in "Pet Sounds" when they returned from Japan. "It had a lot of musical concepts that fused the old and the new. Really, in all honesty, it abandoned the formula that we were used to up to that point."
If the reaction Wilson and Jardine got at the opening gig Nov. 1 at UCLA is any indication, local fans are in for something special at the Keswick.
"It was the first time that Brian and I had been on stage together for quite a while, the first time ever we had performed 'Pet Sounds' together on stage," said Jardine. "I had to fall into line and try to remember my parts. But it all came back real fast. It's like riding a bike."
Jardine said that he was impressed with Wilson's performance. "He's singing with feeling." And Jardine added that the California crowd enthusiastically welcomed the California boys. Jardine's assessment of Wilson's performance was backed up by reviews of the concert and various Internet message board comments from people who attended the show.
"It was a very humbling experience to be welcomed like that," he said of the UCLA crowd. "I reciprocated by giving them a really good version of Phil Spector's 'Then I Kissed Her.' I hadn't sung that one for a long time.
"I can feel the energy coming back between Brian and me on stage," he said. "I'm complementing Brian and freeing him up from carrying the entire load on this body of work. And I can go back to my original parts - which is quite a challenge because the music is in its original keys - and not clash with anybody else in the band."
These days, Jardine tours with his own band, Endless Summer, which includes his sons Matt and Adam and many of the members of the original Beach Boys touring band. Endless Summer is planning an East Coast swing in late February/early March 2007, starting in Long island, N.Y.
Jardine said that he initially never imagined that the Beach Boys and their music would have such longevity.
"Not in the beginning," he said. "I thought it would be a one-hit deal and then I'd go back to dental school. But the Wilsons (Brian, Carl and Dennis) - along with Mike Love and Bruce Johnston - had a great blend and it was nice to be part of that blend."
And Jardine hinted that this might not be the last time he and Wilson get together.
"Frankly, we need all the rehearsal we can get at this point," said Jardine in reference to the upcoming tour dates. "But we'll see where it goes from here. We may do some other things together."
Keswick officials are thrilled to be one of the stops on Wilson's short tour.
"I think they look at Glenside as Philadelphia, part of a bigger market," said Roy Snyder, executive director of the Keswick. "They [Wilson and his representatives] are comfortable here and we're very flattered by that. I think it's a wonderful thing."


 

[No, no, no. I have no intention of ever being involved in a reunion.]

Thanks to the BB Britain site




http://theedge.bostonherald.com/musicNews/view.bg?articleid=167497

‘Pet’ project: A reunion - of sorts - for Beach Boys Brian Wilson and Al Jardine
By Jed Gottlieb
Thursday, November 16, 2006

Wouldn’t it be nice if the remaining Beach Boys - Brian Wilson, Mike Love, Al Jardine and Bruce Johnston - could put aside their bickering and reunite for one last tour? Well don’t hold your breath. Though Wilson, Jardine and an 11-piece band kicked off a 40th anniversary “Pet Sounds” tour in Los Angeles earlier this month - it stops at the Orpheum tomorrow - their rekindled friendship doesn’t extend to Love or Johnston.

In separate phone interviews from their California homes, both Wilson and Jardine gushed about performing the landmark album in concert and sharing the stage for the first time in a decade. But neither offered much hope for a Beach Boys reunion.

AL JARDINE: ‘Amazing to be back with (Brian)’

Herald: Did you approach Brian or he did he approach you about this tour?

Jardine: Actually, I asked him. We had a great day that day with Mike and Bruce at the Capitol Records “Pet Sounds” anniversary party. It was there that I tried to put a Beach Boys reunion together but it didn’t work out. We just couldn’t get it done. So I told Brian, “We should do the ‘Pet Sounds’ tour together because someone has got to represent the band.” We talked about it for a while and eventually he thought it was terrific idea.

How did you feel at that first L.A. show?

There was a little bit of anxiety on my part. Of course there was a lot of joy once we actually got through it that first night. I didn’t even have keys for the songs until the day of the show, so I went in ice-cold. But when the crowd reacted I felt very humbled. And Brian gave me a darn good introduction.

What did he say?

It wasn’t what he said but how he said it. You could tell it was genuine and I felt moved by it. We were estranged for quite some time so it was amazing to be back with him.

Did Brian share your feelings about the show?

He was a different Brian Wilson (that night). I found him very much enamored of his own music. He enjoyed it and that’s something that I haven’t noticed before. And he put a lot of feeling into his lyrics and that was missing before. I hope I was in some small way a reason for that.

BRIAN WILSON: ‘A lot of spiritual love for this’

Herald: How did you feel about that first “Pet Sounds” performance?

Wilson: I was very happy with the way it went. I thought Al was fabulous, I thought his voice sounded just as good as it did in the early ’60s when we used to gather around the mike and make harmonies. He is doing a wonderful job. If we continue to tour, I’m 95 percent sure he’ll stay with me.

How hard was it to turn the album into a live show?

The hardest thing I’ve done was learning to play “Smile” live, but “Pet Sounds” was pretty rough too. There’s a lot of intricate vocal harmonies and chord changes. “God Only Knows” - which is the best song I’ve ever written - is the toughest. Then “Caroline No” and “Wouldn’t It Be Nice.” . . . You know everybody loves “Pet Sounds” and we waited long enough to do it for America. People just appreciate the voices on the songs so much. There’s a lot of spiritual love for this.

I was surprised to find out that Al approached you about playing together. Did you immediately agree?

I told him I’d think about it. Then a month later he called me and told me he really wanted to go with me on my “Pet Sounds” tour. We talked it over more and I agreed and that was it.

Al seemed to think that at the Capitol Records party the band was close to reaching an agreement about a reunion.

No, no, no. I have no intention of ever being involved in a reunion.

I can see this done in the style of the Cash flick. Safe. Very little on the fellow band members. I have that DVD and still don't know their names. The stuff that is well known such Murry, 64 tour mental  breakdown, the drugs and then Landy will be the bulk of the story but forget anything about the group as such.  The love-interest formula  can't be f***ed with so I don't see Marilyn objecting, she was the only good thing for him. Some how I don't see time in the movie to mention "Getting I O M Head" Maybe the bloopers!
Of course like Ray and W T Line, you need a happy ending. (Que live shot of Real Brian launching into H and V from SMiLE tour.)

Movie writing offers to yours truly care of this board.

If you're interested...

http://www.latimes.com/classified/realestate/news/communities/la-re-guide29oct29,0,2914938.story?coll=la-realestate-communities

and from wikipedia

Demographics
African Americans make up approximately 78.5% of Baldwin Hills' population. It is one of the wealthiest majority-black areas in the United States. Prior to 1965, it was known as "Pill Hill" because a large number of doctors were believed to live there. After African Americans began moving into the area, it was given nicknames such as the Golden Ghetto and the Black Beverly Hills. It has been home to such celebrities as Ray Charles, Tina Turner and the late Los Angeles Mayor Tom Bradley. Like nearby Ladera Heights and View Park -Windsor Hills, it has seen a recent influx of white, Asian, and Latino families drawn to its relatively affordable yet high-quality housing


Which reminds me, after the negative talk last year, what is the state of the Hawthorne monument these days?

From a link on this site to a South Bend Tribune Mike Love interview yesterday. A reference was made to why Alan Boyd is having trouble setting up Central (see bottom of page)


...A soft-spoken and congenial man in conversation with a warm voice that displays none of the nasality for which he's known as a singer, Love becomes a little testy, however, when asked about whether he, The Beach Boys' corporation or the band's original label, Capitol Records, has considered releasing material that remains unreleased.

"There's a reason things are unreleased, because you felt what you came up with was better than what was in vault, so all this scavenging to me is a little bit desperate, desperation from a record company," he says and then softens his response a little. "Once in a while, you find something that could be redone, worked up a little."...