Thanks so much for sharing, Stephen - something I needed desperately (no pun intended) today.

I'm sorry, but this is hilarious.  That's all I can say.

An interview from New Zealand.

http://www.stuff.co.nz/entertainment/music/78451999/the-beach-boys-brian-wilson-battles-on

Thanks, kiwi surfer for the link.  

The good...that people make comments following the article.

The bad.  I found a lot of what was written was mostly common knowledge for informed fans. The interviewer should have been a boomer who could have engaged Brian as a contemporary and asked  about the detour from girls-cars-surf to more thoughtful and introspective music, and music that would raise awareness about the evils of colonialism (Holland) the migration of settlers in America, and environmental issues.  The writer could have asked how his children connect to the music.  

This was a wiki based or low-level research based article.  His legacy of work supersedes whatever personal struggles Brian has endured.  Ask about the work.  Ask about the process. Ask about bringing innovative sound effects that the whole world has been exposed to.  

Another boy doing a man's job.  JMHO

Should've been a boomer?  Ageism isn't cool. Hell, I'm 38 and I've probably forgotten more about Brian than many will ever learn.

Might sound ageist, but not really.  It is more situation ethics.  Brian is not some low-level political candidate running for office for example, where the issues are general, and time-specific and focused on a small election cycle and where some basic fact-bases will get you answers about election issues.  

Brian is someone whose work is so unique, and generation-spanning that the best person is someone who experienced the same frame of reference in real time that Brian did.  There are unique people who require someone better, in my opinion who appears to have done only cursory research (as we have seen in a couple of interviews in this thread) and in one at least who are suggesting that he be put "out to pasture."   These are rookies.  A rookie doing a phone interview, with a publication with a high readership is liable to do more harm than good.  Maybe they should be sending out a veteran reporter who grew up listening to the Beach Boys music in the 60's and drove those same hot rods, and grew alongside the music in post WWII America.  You put your best experienced person on the job.  

It is not age discrimination; it is being smart. I used Barbara Walters as an example, because of her rare ability to be sensitive and know the subject matter. She is in her 80's and still working.  Or someone else who is a contemporary of Brian's and can ask those things that go well beyond one's personal life, and look at the work, the technique and the longevity of the music.  I know you know have forgotten more about Brian than others will ever know, but you are not writing for a publication in a country with a readership that goes beyond the borders.  Your expertise is enjoyed by the finite (or infinite) readership here. It is a special subject matter that merits special treatment beyond a cursory wiki lookup.  A boomer does not have to ask or research what it was like to live in the 60's.  I don't have that late 50's high school experience that was a prime mover for the music being driven towards the youth of the time.  

And Brian's generation is pushing the envelope as to when they determine the age of retirement.  Tony Bennett is the new benchmark. Jagger still tours.  Ringo tours.  It is not for largely uninformed reporters to determine and shape what the public opinion of musician/performers to ask "Surely his time on stage is coming to an end? I don't know, he says ponderously. I don't think I will retire that soon."

Nor is asking  "Foolishly I make it a double headed question about whether he learned anything from soaking himself in psychedelic drugs for so long." Good interviewers ask one question at a time.  

Later in the interview he asks again "Does he regret what happened after those creative years?  No, Does he look back often?  No.  I ask again what he learned from that time?" This sounds like a question a teacher would ask a student after detention. Worst of all is the "I feel like Nurse Ratched, with wilson playing the post-ECT Randell McMurphy." And, "a mind polluted by years of ingesting industrial-strength quantities of cocaine, LSD, marijuana and benzedrine.."    

Using that disparaging language and those references, the music, which is the most important focus, is lost, before square one.  And, if I were running that publication, I would find a writer who was a contemporary of Brian's and who could relate to the evolution of music, try to get Brian to share his boldness in instrumentation and vocals, with the readership, or talk about writing in modules or other stuff that was unheard of, at that time, that made every musician who was Brian's contemporary imitate him, but who also knows the music of that era like the back of his/her hand.  

Who should ask what Brian "learned?"  They should be asking how it feels to have "taught and inspired" multiple generations over 55 years.          

No offense meant to young people - but to those publications;  Just find someone who has as much time listening to Brian as he has been composing about the enduring legacy of his brand of music.   And, JMHO, of course.

And I want to vomit every time I read the often assumed "massive consumption of cocaine, etc." for a period of time in every interview.  I spent a fair amount of time with BW during those "lost years" when he was supposedly in bed.  Many people can testify to the fact that the man wasn't "in bed," but was out and about.  I didn't see massive illegal drugs.  In fact, I only saw them once with him and he wasn't especially interested in them.  He was focused on his musical guests.  Those drugs were everywhere in social situations at the time, yet they really weren't huge in Brian's life when I was around. That's why I keep saying, red herring.

Another time we went to an event in Santa Monica.  Brian managed to really pi** me off, so I was leaving him there (knowing someone else would deal with him and get him home) when Dennis called to me and said, "Hey, Debbie, if I take Brian to the boat, will you take care of him?"  He knew damn well I'd say yes, and I did.  No drugs offered, or involved in that situation in any way.  We went to sleep in the aft section of Dennis's boat while he entertained people forward.  So when did all this wild stuff take place?  I seriously want to know. Was Brian depressed, misdiagnosed and in a terrible situation?  Yes.  Was he a babbling drug addict?  Never, in all the years I observed.

With that in mind, taking any of these interviews seriously is tough for me.  They are misinformed from the start.  I hope Brian's book corrects some of this.

SJS is a nice guy and a big Beach Boys fan. There's no reason to pile on the insults every time he (or anyone else) comments in a way people don't like, even if some of his (or anyone else's) opinions or assumptions may be wrong. You're tired of his positions? Fine, I'm sure he's tired of yours. Somewhere there is actual truth, and it's most likely few to none of us know that anyway.

OK, back to the General Music and Sandbox forums for me.

Agreed.  It's really a bore reading the same people whine about the posts he and other people make.  Plus, if Melinda or anyone else close to Brian was not acting aboveboard, does anyone really think they'd tell us?  (Before someone accuses me of accusing Melinda of what I just said, settle down because I'm not)

Okay, since I've been mentioned here in previous posts, please explain to me why I, or anyone else named as an "insider," would lie about Melinda "not acting aboveboard."  Why would we sit back and allow Brian to be mistreated in any way and say nothing?

Sheriff, I think it's time you turned in your badge.

   Well...at the very least he needs to wipe the drool off of it.  These 'guys' who ignorantly label Melinda as the new Landy are such dinks.  There's an old saying.  It goes "Behind every successful man stands a great woman."  THAT'S what's happened here.  And it has for a long, LONG time.  Look at the strides.  Look at the successes.

Look to make sure there's water in the pool before you dive.  Ray and Deb aren't lying.  The insiders aren't guessing.  They KNOW.  Obviously Sheriff and Lonely know s.f.a.

Thanks, Lee, for taking care of this latest absurd comment by this consistently anti-Brian, anti-Melinda, humorless poster.  It's become a complete bore, I must say.

Controversy = click bait.  I clicked once.  That was enough.  This reviewer should be in our rear-view mirror. 

We know how amazing Brian, Al, Blondie, Matt and band are.  More realistic reviews were published.  The fans who attended were happy with both shows.

Thursday's concert gave the family and myself to experience a Brian Wilson with us all in attendance for the first time. My Wife and 4 (7,9,10,11) boys plus me. Having spent over $1000 on tickets alone it was money very well spent. Being at the back was different to where I was seated on Tuesday but allowed great viewing and a more orchestral experience. The comparison to Tuesday would be that the band was tighter, they are so good at their craft that even if they are tired and or off they can still pull it together. No need to pull it together on Thursday , they were flying! Paul made a reference at the encore to the foolish SMH "journalist" by stating that they are not too old!
Brian was more talkative during songs but to me sounded just as good as he did on Tuesday.
The crowd was more receptive with several standing ovations which Brian would talk over to get the show moving along.
I once again had the pleasure of attending the after show gathering, all the guys were great and most were in attendance, no kick on shenanigans at the pub like Tuesday as I was still recovering!

So glad you and your family all got to attend the shows.  It is worth the expense, isn't it?  Every show like this is a once-in-a-lifetime event.  Who cares about a journalist looking for mouse clicks with some controversy?  Other reviewers gave an actual balanced view of the performance. 

Another view:  http://www.thebrag.com/music/brian-wilson-sydney-opera-house - Opinions and drama will fly, and great shows will continue to happen.  I don't think Brian or band need our coaching. 

If it was an off night, every band has one.  But let's not get into that argument posting links showing off-night YouTube videos and reviews of various band's shows.

...  Stephen was also in charge of hiding me in the sauna/tape storage room when one person would visit the offices who didn't want me there.  He obviously thought it was all pretty funny.  So did I.

OK, Debbie, if you're at liberty to do so, let's hear more about this story!  

(And, as far as I'm concerned, it fine for threads to go off on various tangents - it happens all the time, not only on message boards but in actual conversations as well. Also fine for posters to call for a return to the main topic at hand, but that's often a fruitless endeavor. I find posts from people like Debbie and Ed, who were actually there at the time, to be very informative and of greater interest than endless speculation from those of us who were not.)

Also, Debbie, I'm sure you've answered this before, but do you recall exact time frame (month and year you started and stopped) when you worked for the BBs? The Sunflower era is an especially interesting one to me as my fandom had reached incredible heights, but it was coupled with frustration that so few people (in the US at least) were willing to listen the the band at that time.

I was there Aug-Nov 69.  I'm pretty sure that was the timing of the Sunflower mixing sessions - like I said, I didn't journal (sorry)  I returned Apr to whenever, '70.  I'm thinking probably Aug or Sept. was when I had to leave.  Steve had the job of telling me I'd been "found out" and even though they all loved me, I had to stop coming in.  I'm not about to share who wanted me gone.  It was silly and everyone was very young.

Thanks for the info, Debbie. (No matter, but I think I may have just realized who the person in question might have been. Or maybe not!)

Anyway, considering the time frame, I've got another question for you. -- What was your sense of the BBs level of concern about their declining popularity in the US during the time you were working at Ivar? Did you detect any level of desperation? Or did they seem content that they were popular overseas and confident that their new contract with Warner/Reprise and forthcoming album (entitled Add Some Music when I first heard about it, but later changed to Sunflower after the relative failure of the Add Some Music single in Feb. 1970) would lead to a renewed level of record sales success? Did they seem happy to be rid of the Capitol Records contract? Were they (and in addition to the BBs, this would include Nick Grillo, Fred Vail, and Steve Love) bummed that Capitol deleted their albums when their Capitol contract ended and they went to Warner/Reprise?

I know that a lot of my questions may be beyond the scope of what a teenaged Debbie K may have been interested in, but I'd love to know more about the vibe in the office at that time.

A noted board historian here ;-) looked up the Sunflower mixing sessions (or possibly just knew it) and tipped me off, and they were during the summer of 70 Ivar period instead of late 69.  It does blur together after these many decades.  

Back to Stephen.  I so wish he'd talk about those times here, but I guess he's uncomfortable on this board.  I doubt they were as controversial as later events.

[without]

Brian has the best group thing going at the moment, but if both camps could just pull it together. damn!
they are even doing a similar setlist these days.  Brian has incorporated the car/surf hits, and Mike has included
deeper and rare cuts.  They are almost on the same plane that it's not even funny.  I wish politics and money
had nothing to do with these groups, because together with Bruce included, these guys could do stellar things again.
Brian with Al and Blondie
Mike with Bruce.
damn guys! 

They do stellar things without Mike and Bruce.  In fact I think that Mike and Bruce's interpretation lowers the quality.  

I have absolutely zero interest in seeing Mike and Bruce ever again.  Even if Brian wanted to and there were no 'political' problems it would reduce my enjoyment, not least of all because you don't know how it would all go wrong again.  Last time there was little sign of them enjoying each other's company - before the show they were waiting in the wings, separate from each other and not talking.  On stage there was a good bit of sniping.  Whereas with Brian's band they make it clear that they feel respect for Brian and show him support.

Sorry but I'm not going to mince my words on this issue any longer.  I want to make it clear to Brian and his management that they shouldn't get together with them on my account.  I hope everyone who feels the same way will make their feelings clear too.  Those in favour have been banging on about it for years so it's time those of us who are not should stand up and be counted.

I've loved Brian's band since the beginning, and like many others have traveled a few continents to see them over the years.  Remarkably, now this band is the best it's ever been and Brian is clearly loving it.  I'm another person who has no desire to see that change.

...  Stephen was also in charge of hiding me in the sauna/tape storage room when one person would visit the offices who didn't want me there.  He obviously thought it was all pretty funny.  So did I.

OK, Debbie, if you're at liberty to do so, let's hear more about this story! 

(And, as far as I'm concerned, it fine for threads to go off on various tangents - it happens all the time, not only on message boards but in actual conversations as well. Also fine for posters to call for a return to the main topic at hand, but that's often a fruitless endeavor. I find posts from people like Debbie and Ed, who were actually there at the time, to be very informative and of greater interest than endless speculation from those of us who were not.)

Also, Debbie, I'm sure you've answered this before, but do you recall exact time frame (month and year you started and stopped) when you worked for the BBs? The Sunflower era is an especially interesting one to me as my fandom had reached incredible heights, but it was coupled with frustration that so few people (in the US at least) were willing to listen the the band at that time.

I was there Aug-Nov 69.  I'm pretty sure that was the timing of the Sunflower mixing sessions - like I said, I didn't journal (sorry)  I returned Apr to whenever, '70.  I'm thinking probably Aug or Sept. was when I had to leave.  Steve had the job of telling me I'd been "found out" and even though they all loved me, I had to stop coming in.  I'm not about to share who wanted me gone.  It was silly and everyone was very young.

Thanks for the info, Debbie. (No matter, but I think I may have just realized who the person in question might have been. Or maybe not!)

Anyway, considering the time frame, I've got another question for you. -- What was your sense of the BBs level of concern about their declining popularity in the US during the time you were working at Ivar? Did you detect any level of desperation? Or did they seem content that they were popular overseas and confident that their new contract with Warner/Reprise and forthcoming album (entitled Add Some Music when I first heard about it, but later changed to Sunflower after the relative failure of the Add Some Music single in Feb. 1970) would lead to a renewed level of record sales success? Did they seem happy to be rid of the Capitol Records contract? Were they (and in addition to the BBs, this would include Nick Grillo, Fred Vail, and Steve Love) bummed that Capitol deleted their albums when their Capitol contract ended and they went to Warner/Reprise?

I know that a lot of my questions may be beyond the scope of what a teenaged Debbie K may have been interested in, but I'd love to know more about the vibe in the office at that time.

Yeah, teeny-bopper Debbie definitely wasn't in any of the business meetings, but there were obvious currents that anyone paying attention could pick up.  I definitely didn't get a sense of desperation from any of the band.  Everyone was young and it was an exciting time for any artist.

Poor Nick had to deal with all the messes that were going on in business/finance.  It was rather amusing because we'd be all the way at the front of the offices and this loud eruption would come from the "vault" in the back corner.  That's what Nick's office was called - with a bit of a wink - since it had this rather strange sliding vault-like door that his secretary, Lou would activate from her desk.  His nature was to express himself, loudly, and then it would pass.  It was usually hilarious.  I mean, it was this business guy dealing with 20-something artists who'd known nothing but success and fame from a very young age.  It was the 60's when everything seemed possible, so it was youthful exuberance meets reality - in the vault.  The decor was late 60's - orange and gold foil wallpaper, green furniture and the like.  It would have been a perfect movie set. Stephen's office was modest, across from the sauna/tape storage room and just down from the "vault."

...  Stephen was also in charge of hiding me in the sauna/tape storage room when one person would visit the offices who didn't want me there.  He obviously thought it was all pretty funny.  So did I.

OK, Debbie, if you're at liberty to do so, let's hear more about this story! 

(And, as far as I'm concerned, it fine for threads to go off on various tangents - it happens all the time, not only on message boards but in actual conversations as well. Also fine for posters to call for a return to the main topic at hand, but that's often a fruitless endeavor. I find posts from people like Debbie and Ed, who were actually there at the time, to be very informative and of greater interest than endless speculation from those of us who were not.)

Also, Debbie, I'm sure you've answered this before, but do you recall exact time frame (month and year you started and stopped) when you worked for the BBs? The Sunflower era is an especially interesting one to me as my fandom had reached incredible heights, but it was coupled with frustration that so few people (in the US at least) were willing to listen the the band at that time.

I was there Aug-Nov 69.  I'm pretty sure that was the timing of the Sunflower mixing sessions - like I said, I didn't journal (sorry)  I returned Apr to whenever, '70.  I'm thinking probably Aug or Sept. was when I had to leave.  Steve had the job of telling me I'd been "found out" and even though they all loved me, I had to stop coming in.  I'm not about to share who wanted me gone.  It was silly and everyone was very young.

Man, that fan mail from 1964 must have felt like from a century ago by 1970!

I admit to cheating after awhile and picking out my favorite mail.  The Japanese fans wrote wonderful, admiring poetry.  I tried to pass a lot of those along.  A young teen in Louisville, KY wrote Dennis twice a week - 5 page letters, describing his body in glorious terms every time.  I'd never seen anything like it.  There were all these letters and then I found one final one where she said he hadn't replied, so she was done with him - and that was the last letter.  Hilarious.  But I did plow through tons more.

But this isn't bringing us back on topic, is it?  I'm not certain what else there is to add.  Stephen was also in charge of hiding me in the sauna/tape storage room when one person would visit the offices who didn't want me there.  He obviously thought it was all pretty funny.  So did I.

Tour merchandise up on BW.com

http://brianwilson.shop.livenation.com/store/

Wow! In Auckland the program was $20 and the poster $10 I believe. (About 15 and 7 US)

SurferDownUnder. Row S dead centre. Could see Brian's foot tapping.

Bonnie. Thanks again for the clips.

Holy Bee. Yes it was a bit of a work in progress on the night, but as someone else said it was proof that this was a real band and not some backing track. I loved it as those guys switched instruments between songs and called out 'l'm not ready yet' or 'Wait' as they moved around.
Not sure about the comment about Brian and Blondie. Looking at clips from past shows he looks disinterested during WH etc but he is still on the tour so who knows?


We knew how good Matt was but I think when Al introduced him most in the audience thought 'Aawwww how nice, he's got his son with him. Oh and he's aloud to sing a song too. Ain't that cute....' until they realised 'Holy Crap...This guy CAN sing!

You know I love you guys, but I kind of think that there's one thing that's obvious - the mutual respect that Brian and Blondie have for each other, as they've stated publicly, and with the fact that Brian hired Blondie to do this tour after touring with him last year, and that Blondie - a very "in demand" guy - agreed to do it.  If Brian didn't love what Blondie does, he wouldn't have him in his band, and if Blondie didn't love what Brian does, he has lots of other offers.  I said it several pages back, but I'll repeat it, Brian often sits "stone faced" when he's listening to music because he's listening and that's how he looks when that happens - he's serious about music.  I've seen him listening to his favorite records doing the exact same thing.  It's him. 

My daughter does the same thing...I asked her about it, and she was like 'cause I get inside the music, that's why...it's like I go somewhere else, just me and the music'.

Billy - Bingo!  You got it.

Brother Records
1654 North Ivar Avenue
Hollywood, CA

Debbie is not alone in referring to the Brother offices as "Ivar" -- Fred Vail does so as well.  It too me a while into my first lengthy conversation with Fred to figure out what he was talking about when he referred to "meeting at Ivar" or "a decision made at Ivar."  

Lee

In my memory, Ivar, (where The Flame were rehearsing first time Dennis took Trisha & I there), was usually referred to as American Productions.  Steve later moved those offices to Sepulveda & Rosecrans, in Manhattan Beach

Thanks, Ed.  I was never part of the Manhattan Beach offices - never even saw them.  I didn't even know that those offices on Ivar were called American Productions, and I answered the phones when asked.  It's all pretty comical, really.  I was a teenage baby, happily in that strange, windowless domain, opening fan mail, etc.  There was truly magical music in that unfinished rehearsal space.  I'm glad you enjoyed it, too.

Debbie, the imagery that came to my mind when hearing you recount your experiences opening fan mail made me wonder: have you ever seen the film "Good Ol' Freda" about The Beatles' fan mail operations lady? Brilliant documentary. I do wish there could also be a BBs companion version of this doc.

I actually haven't seen it, but I know that the Beatles took care of that super-fan, from what I've read.  I didn't really start a fan club, or anything like that.  I opened the mail that had been sitting for 6 years, apparently.  The BBs had gotten rid of their fan mail management firm back then in order to manage it themselves and it got lost in the shuffle.  I was a teen fan myself at the time and in the midst of plowing through all that mail, many interesting things took place in those offices and I was lucky enough to be exposed to wonderful music from the rehearsal room and to meet a lot of key players.  Pretty heady stuff for a little teen girl.  And many of the friendships have lasted to this day.

So that's how I met Nick Grillo, Stephen Love, Fred Vail, several band members, Flame, etc.  One thing that I would add is that the BBs were very interested in a fan's perspective on their music and were really respectful.  Carl even asked my opinion on a mix on Sunflower (This Whole World) when I delivered those cheeseburgers.  I thought that was really cool.

So, back to the topic - the Stephen Love I met was a very polite, professional young man finishing a degree at USC. 

Tour merchandise up on BW.com

http://brianwilson.shop.livenation.com/store/

Wow! In Auckland the program was $20 and the poster $10 I believe. (About 15 and 7 US)

SurferDownUnder. Row S dead centre. Could see Brian's foot tapping.

Bonnie. Thanks again for the clips.

Holy Bee. Yes it was a bit of a work in progress on the night, but as someone else said it was proof that this was a real band and not some backing track. I loved it as those guys switched instruments between songs and called out 'l'm not ready yet' or 'Wait' as they moved around.
Not sure about the comment about Brian and Blondie. Looking at clips from past shows he looks disinterested during WH etc but he is still on the tour so who knows?


We knew how good Matt was but I think when Al introduced him most in the audience thought 'Aawwww how nice, he's got his son with him. Oh and he's aloud to sing a song too. Ain't that cute....' until they realised 'Holy Crap...This guy CAN sing!

You know I love you guys, but I kind of think that there's one thing that's obvious - the mutual respect that Brian and Blondie have for each other, as they've stated publicly, and with the fact that Brian hired Blondie to do this tour after touring with him last year, and that Blondie - a very "in demand" guy - agreed to do it.  If Brian didn't love what Blondie does, he wouldn't have him in his band, and if Blondie didn't love what Brian does, he has lots of other offers.  I said it several pages back, but I'll repeat it, Brian often sits "stone faced" when he's listening to music because he's listening and that's how he looks when that happens - he's serious about music.  I've seen him listening to his favorite records doing the exact same thing.  It's him. 

You know, I was so absorbed I didn't even notice the rest of the audience!

Yes, thanks again, Bonnie.

[you]

Thanks, Ed.  I was never part of the Manhattan Beach offices - never even saw them.  I didn't even know that those offices on Ivar were called American Productions, and I answered the phones when asked.  It's all pretty comical, really.  I was a teenage baby, happily in that strange, windowless domain, opening fan mail, etc.  There was truly magical music in that unfinished rehearsal space.  I'm glad you enjoyed it, too.

Thank you, Debbie, or should I say 'Golden Hair' - (and was it my daughter Brianne, who believe it or not turned 39 on 3/13, who coined that nickname for you?) - but I knew those offices in Manhattan Beach, (right near Stan & Steve's residence), better than Ivar.  (And by the way, was the place downstairs from Ivar called - King James?).  Wasn't Hollywood & Ivar another real estate deal they were screwed on - this one by Grillo?  Or was that just typical Dennis, claiming to own something they were only renting?  I remember him showing me how far they owned up Hollywood Blvd.  (Then again, he did the same with the porno theater where they rented warehouse space for the Holland/Brian studio, until they wouldn't let us in drunk!  The next day, the porno theater was raided, and construction began on Brother Studios!)

(Off topic:  Yes, Brianne named me Goldenhair - loved that gorgeous child, now young woman).  The Ivar offices were above a drugstore when I worked there.  I vaguely remember hearing that the property was sold and became "The Baths" - a pretty legendary place before the AIDS epidemic. I'm assuming the purchase of that building would have been done by Grillo, given the timing.  Steve Love had entered as Grillo's intern before the sale and was likely aware of the details, but I don't think he'd have been in charge then.  I never heard if they lost money in that deal or not.  I also remember the BBs being invested in Wally Heider studios, south and around the corner from the Ivar offices on Selma, so possibly that was Dennis's reference?  I had the lofty job of delivering cheeseburgers to Carl and Steve Desper as they worked on mixing "Sunflower" there, so that would have been the time-frame of that ownership, or partial ownership.

It was everything I'd ever dreamed. Brian was amazing, Al was back in 1965, Matt blew the roof off. I am now an official Blondie disciple. Nothing can top that ever. For those curious aside from Pet Sounds they played:

Wake the World
Honkin Down The Highway
Funky Pretty
Wild Honey
In My Room
Don't Worry Baby (Matt)
Shut Down (Al)
Little Deuce (Al)
Barbara Ann
All Summer Long
California Girls
GV
Heroes and Villains (Bicycle Rider)
Our Prayer (Opened the show, I wept)
Love and Mercy
Surfin USA
One Kind of Love
I Get Around
 

This is the band that should be called The Beach Boys. They play BB's music and 3 of the core guys are there. It's not a BW solo show, not with Al and Blondie there, and they're not playing BW solo tracks.

  Ohhhhhhhhhhhhhhh yeahhhhhhh!

Oops - how did I miss that quote!?  Thanks OSD.  This band is glorious - saw them last July.  I can't imagine anyone coming close.  And I'm serious.  Look at all the actual BBs who still have talent and make music on this stage, with the family organic sound - gorgeous vocals.  I'm thrilled with this and can't wait to see all the shows I booked.

Brother Records
1654 North Ivar Avenue
Hollywood, CA

Debbie is not alone in referring to the Brother offices as "Ivar" -- Fred Vail does so as well.  It too me a while into my first lengthy conversation with Fred to figure out what he was talking about when he referred to "meeting at Ivar" or "a decision made at Ivar." 

Lee

In my memory, Ivar, (where The Flame were rehearsing first time Dennis took Trisha & I there), was usually referred to as American Productions.  Steve later moved those offices to Sepulveda & Rosecrans, in Manhattan Beach

Thanks, Ed.  I was never part of the Manhattan Beach offices - never even saw them.  I didn't even know that those offices on Ivar were called American Productions, and I answered the phones when asked.  It's all pretty comical, really.  I was a teenage baby, happily in that strange, windowless domain, opening fan mail, etc.  There was truly magical music in that unfinished rehearsal space.  I'm glad you enjoyed it, too.

Here's some video:
https://www.youtube.com/watch?v=45sY0g9oRCw

Man, Matt's falsetto is unreal. Know it's been said before but damn.

Oh my - I'm sorry, but nobody sounds this good on the first night of a tour!  But this is Brian's brilliant band - many long-time members who know his every move and nuance, and other members who are intuitively perfect for him - Al, Matt and Blondie.  May I say, I have loved Blondie Chaplin since 1969?  Near perfection out of the gate, it appears.

Brother Records
1654 North Ivar Avenue
Hollywood, CA

Debbie is not alone in referring to the Brother offices as "Ivar" -- Fred Vail does so as well.  It too me a while into my first lengthy conversation with Fred to figure out what he was talking about when he referred to "meeting at Ivar" or "a decision made at Ivar."  

Lee

Fred and I were next door neighbors at that time.  Yeah, it's a bad habit, referring to a business and a set period of time as a single entity, normally lacking further explanation.  Well put.

Okay, someone help me out here.  What does this have to do with Stephen Love's credibility?  Apparently, the claims were about the testimony of Rocky/Rushton and Stan Love.  It's been interesting, but I don't understand how it relates to him.  I'm not disputing.  Just asking a question.  I've even made the mistake of mixing Stan and Steve when I write about this, as my personal experience was "Stan and Rocky."  But Stephen wasn't at Brian's every day in the late 70's.  In fact, I never saw him after the late 60's at the Ivar offices.  I don't think he ever claimed that he perjured himself at the songwriting trial.

So who is this mysterious attorney who suddenly appeared after these odd, much less literate, anti-Brian posts that seemed to appear randomly.  It's so curious.

Debbie, excuse my off-topic and very ignorant question, but can you quickly explain the distinction between Ivar and BRI?

Not a problem - Ivar was the BBs/Brother Records offices late 60's/very early 70's when Nick Grillo was Manager and Stephen Love was apprenticing.  BRI is Brother Records International - that continued after these offices were closed, to this day.

Okay, someone help me out here.  What does this have to do with Stephen Love's credibility?  Apparently, the claims were about the testimony of Rocky/Rushton and Stan Love.  It's been interesting, but I don't understand how it relates to him.  I'm not disputing.  Just asking a question.  I've even made the mistake of mixing Stan and Steve when I write about this, as my personal experience was "Stan and Rocky."  But Stephen wasn't at Brian's every day in the late 70's.  In fact, I never saw him after the late 60's at the Ivar offices.  I don't think he ever claimed that he perjured himself at the songwriting trial.

So who is this mysterious attorney who suddenly appeared after these odd, much less literate, anti-Brian posts that seemed to appear randomly.  It's so curious.

Ha.  If you look at his entire post history it is all pro-Mike propaganda, several of which are OSD parodies (though pro-Mike).  It almost screams a second identity of another poster.  Maybe SB was right...

EoL

Agreed.  It's quite odd, isn't it?  And yet there's been no response as to what this has to do with Steve Love's credibility.    

Debbie - More than once on this board, I have said that my fandom is as a Beach Boys' fan.  I agree with OT.  That makes three lawyers who have "gently" weighed in, in this highly contentious set of threads.  Maybe if you read the whole thread you will figure out the third.

First, the mods can tell by a person's IP address who is posting and when.  People used to change their handles often. It seems to happen less.  But they have the same IP addresses.  And, can check.

Second, almost any lawyer would have found the same things as OT, because the issues raised are the same and the rules come from the same place.    

The others dealt with the "content" (what was allegedly said) of the alleged tape.  I was thinking about the "instrumentality" or "means" of procuring this alleged tape without the "consent of all the parties."  Many states require consent of all the parties being recorded and CA is one of those.

OT gave both Federal and CA rules for hearsay and admissibility and credibility with "prior inconsistent statements." OT generously gave of his time to make that explanation. First, he is thanked. Then, gets disrespected.  

Of course, none of us who was not a witness, knows exactly what transpired other than the accounts of assaults and batteries, which I had read about in other BB related books.  Those who grew up in that era know that, even for the richest people, there was little effective treatment.  There is a scene in the Johnny Cash movie that reminds me of a similar scenario where the "June" character's father sat outside of the house with a shotgun when the dealers came selling their wares. That was their solution. They were extreme times.  I like to look at everyone's position and consider their role in the situation.  

It is my best understanding is that the mods can see the IP addresses so that if it was raised that issue would be solved quickly.  At some point, both OT and I were signed on last night and today.  Two names would have shown up with the same IP address as is the system I understand if it was the same person posting under two member names.

This is quite quizzical, FdP.  I never linked you to this mysterious attorney, yet I seem to be painted here as doing that.  Why so defensive FdP?  Seriously.  I never mentioned your SS name, nor your IP address.  You brought it up.  

And my main point was to bring this back to the topic of the thread - Stephen Love.  As far as I know, he never said he perjured himself.  Why is this now about Rocky and all this other business, other than to derail a thread?  

Edit:  Oddly my original, fairly brief post seems to be mixed in with all of your quotes in some odd amalgam.   How did your posts become mixed with mine?

L&M (thanks to Martin Renner from the BW board for posting)

https://www.youtube.com/watch?v=bQV_bEl_jOE

Liked Blondie's extra vocal on this.

Yes.  Maybe someday I can share how special this link was.  Perhaps, not.  In any case, many thanks.  It was a perfect treasure to me today.

Edit:  I too, loved Blondie's vocal.  I was one of the lucky ones who heard him with Flame.  He's an amazing talent to this very day.