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Author Topic: New album info (as it rolls out...)  (Read 1056023 times)
Andrew G. Doe
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« Reply #3250 on: May 27, 2012, 03:59:30 AM »

After hearing all the parts, "Summer's Gone" is probably the only song i'd say is worthy of ending the Beach Boys Legacy.

Wait 'til you hear the full "FTTBA".  Grin
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« Reply #3251 on: May 27, 2012, 04:41:34 AM »

After hearing all the parts, "Summer's Gone" is probably the only song i'd say is worthy of ending the Beach Boys Legacy.

Wait 'til you hear the full "FTTBA".  Grin
Oooooo...AGD, can you elaborate on the key FTTBA things that will blow our minuscule minds?
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« Reply #3252 on: May 27, 2012, 05:28:31 AM »

After hearing all the parts, "Summer's Gone" is probably the only song i'd say is worthy of ending the Beach Boys Legacy.

Wait 'til you hear the full "FTTBA".  Grin
Oooooo...AGD, can you elaborate on the key FTTBA things that will blow our minuscule minds?

Sure.

It's very good.
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« Reply #3253 on: May 27, 2012, 05:35:06 AM »

After hearing all the parts, "Summer's Gone" is probably the only song i'd say is worthy of ending the Beach Boys Legacy.

Wait 'til you hear the full "FTTBA".  Grin
Oooooo...AGD, can you elaborate on the key FTTBA things that will blow our minuscule minds?

Sure.

It's very good.
LOL Sold! 9 (or 5 perhaps) days to go!
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« Reply #3254 on: May 27, 2012, 10:09:05 AM »

So my question is this -- what are you talking about?  Jon's review had nothing to do with asterisks, so what is your point?  Jon was saying that music snobs who like the BB because of Pet Sounds can't be bothered more than likely with something that sounds like MIU or BB85.  A large part of the problem is that Brian is at heart a square and corny guy who makes square and corny music, and someone listening to the new album looking for Pet Sounds 2012 is going to hate it.  Where in there do you see asterisks?  Your point that Brian made "hip" music from 63-66 is noted, but at heart I am not sure he was making music for himself during those years, but rather music as competition.  No one is saying that the album is "lesser" than any other album (if anything the review makes me hopeful that I agree with Mr. Doe who says this is the best BB album not counting Love You since Holland).  We are just saying that some music fans don't just listen to the music and react to how they feel about it but add baggage in terms of their ideology, and the problem is particularly acute for Brian's music.  To prove that, play someone "Johnny Carson" and see what happens.  You say that we don't explain away McCartney's music like that and reference the most recent album.  To which I say, heck yes they did, look at London Town.  Help me understand what you are trying to say.  I am honestly trying to understand you, but if you brush me off with a two word reply to my request for clarification, you lead me to believe that you don't care whether I get what you are saying or not.  You say I am putting words in your mouth, but you aren't showing me from your words where I am doing this.  I am reacting to things like this:  

"Did we go around telling people who liked Sgt. Pepper and the White Album similar things when his latest album of love ballads and songs came out? Maybe we did and I missed it"

And I am saying people did go around and say that when albums like London Town came out.

"Did he embrace the sappy, corny balladeer image after running from it for a few decades? Did he do it with a wink and a nod? Or was it just the album he wanted to make?"

He's been seen as the sappy, corny balladeer for decades.  Why do you think that Silly Love Songs was written?  What about the reviews for Red Rose Speedway when it came out?  To me the latest album isn't a case of McCartney embracing something he ran from as much as just taking it to the logical conclusion.

"I think with Brian and the Beach Boys in general, there is a double-edged sword when they're labeled a certain way. They're called hip, you play a record like "Ballad Of Ole Betsy" for someone who you've told about their being hip, and the reaction may be "What?" Or it may be "Damn, that's great!". Then get someone who had their girlfriend dancing on their shoulders at an outdoor BB concert to "Fun Fun Fun" and play them an album cut like "You Still Believe In Me", and they might say "What?" or "Damn, that's great!""

I think everyone agrees with that -- but Jon was addressing a specific audience, with a specific mindset.  You are trying to generalize, I think.  And while that's fine, that doesn't remove the need for Jon's point.  There is a group of people who only like the artsy music that the BB put out, that think that an album like Keeping the Summer Alive is pretty worthless crap because of what it stands for.  Jon is saying that if you approach the music like that, you will hate the new album.  And you probably hate a lot of Brian's music because so much of it is corny.  After Pet Sounds, think about what he did -- Smiley Smile, "Busy Doin' Nothin", "I Went to Sleep", Love You, "Shortnin' Bread", the list goes on.  And let's face it -- with its references to exotica, tiki, Americana, Smile itself is full of "square" elements too.  The square elements may be seen as "hip" by someone in how they are crafted, but still the parts come from Brian's love of things like the Four Freshman.

Explain "we", did you and Jon Hunt collaborate on that review?

I find it interesting too that after how many years of avoiding this forum, you suddenly re-appear on page 120-something of this thread with guns blazin' over some commentary I made after reading Jon Hunt's review. Where were you for those other years when some really neat things were happening around the Beach Boys and some discussions here could have benefited from your input? It took my reaction to Jon's review to bring you back into the fold? I'm curious.

To the point of the asterisk: I was being conceptual, maybe too much. The two word answer is valid, sorry if you think it was dismissive.

An asterisk as we all know is often used as a disclaimer, as an addendum, as "fine print" after an offer or sale, as a way of adding on to the original point or the original content, especially if there is something that needs to be protected against or some additional meaning or backstory that should be mentioned in the wording but not necessarily as a main focus of the original wording.

In the case of baseball history, the asterisk is mentioned when some scandal or some problem of some kind is associated with the statistic or the history being recorded. Mark McGwire and Barry Bonds set hitting records, but because of the subsequent drug issues that surrounded them and those records specifically, many say there will always be an asterisk next to those records which they hold. In marketing they put the asterisk underneath the banner headline to ensure folks know before entering into the deal exactly what they will be getting - protecting buyer and seller.

What I'm saying is that the Beach Boys in 2012 need no asterisks of any kind next to an upcoming album. The fact that they are back together making solid new music in their 70's with some 50 years of making music already under their belts, is perhaps a bigger point and quite an accomplishment.

I personally don't care how they are perceived, I don't care to know how the hipsters will receive them, I wouldn't care to assume too much about anyone's potential reaction to this album if they're expecting something other than a new Beach Boys album as of 2012. I felt like the review was placing more emphasis than necessary on an asterisk next to the project and attempting to remove those possible, hypothetical responses from some fan looking for "Pet Sounds 2".

I like reviews which describe a personal connection to what that reviewer has just heard, positive or negative. I like much of what Jon has reviewed in the past, and on this particular one I just didn't feel there was that much need to preface the album for fans who are expecting something other than reality or hipsters who want a certain thing based on their likes or dislikes. It's irrelevant to hearing a song like the current TWGMTR single and connecting with it on some level. It either happens or it doesn't.

In 2012 The Beach Boys are what they are - there is so much water which has gone under that bridge over 5 decades of music and drama in this band, and likewise there is just too much back-catalog material out there and readily available where anyone who does not have at least some idea what this band is all about is either naive or a hopeless idealist who thinks everything Brian Wilson touches will be Pet Sounds Mach 3 or whatever.

For that I sarcastically also blame McCartney's question to Brian in that film from '76: "When are you going to give us another Pet Sounds?", Sir Paul leaned in and asked Brian at the party.

Never - That is the easy response because you can never do that again. See the Charlie Rose roundtable interview for Brian's reaction when Al Jardine raised that same topic relating pet Sounds to the new music and it looked like Brian bristled just a bit at the comment. As he should - PS was a personal album based on emotion, at least according to Brian.

The McCartney point: At what point are The Beach Boys considered at that place in their career where a review of their newest music does not have to remind anyone of anything beyond that music which has just been released? McCartney releases what he releases, and it is what it is: His fans will like it probably more than those who are not big into Paul but enjoy The Beatles, or whatever other scenario. McCartney doesn't need any kind of disclaimer along the lines of the cornball term being applied to Brian when he puts out music ranging from ballads to rockabilly to electronica. It's new music from Paul - damn the descriptions, damn the preconceived notions, it is what it is. Add any number of those artists from the 60's to that pool - is it necessary to place anything like an asterisk next to their name or remind potential listeners of their past work when discussing something new they are offering?

Listeners expecting "Pet Sounds 2" with anything Brian has done or will do since 1966 up to the present and beyond are, I hate to say it, lost in many ways in their own fantasy. "Orange Crate Art" was an enjoyable album, but was there not an inherent letdown associated with it no matter the quality when it was more of a "Brian sings songs written by Van Dyke Parks" reality rather than a "1966-67 redux" collaboration between words and music? Then there are the fans who expected "Smile 2" when they saw Wilson and Parks at that piano singing for Don Was, and unfortunately (or fortunately) those fans had no idea what was really happening. Brian's own solo releases over 10 years show just how many sounds and styles of music this man can and will record - everything in between pop and classical, basically. Is it all good? No - but after so many styles have appeared under his name on those albums, those folks expecting his work with the BB's to sound like 1966...I don't know what to say other than if that's what they really expect, they may be in for a rude awakening but at the same time, it is up to them to decide whether to listen or not.

Back to McCartney - people know who he is and what he does after 50+ years making music, and he is a stylistic chameleon, sometimes good and sometimes bad. Is someone worried when he releases a new album that the people who think of him a certain way will not go near it because of their expectations or perceptions from something he did in the past? Or is it simply "The Next New McCartney Album"? I'd vote for the latter.

I think after 50 years of making music, nothing needs to be explained. A new Beach Boys album comes with so much history and cache, I feel the tracks should stand on their own and whatever happened with previous albums or projects is worth noting in the right context, but perhaps not surrounding this album before it comes out. That's just my opinion and reaction. Those folks expecting anything but a new Beach Boys album in 2012 will most likely be disappointed, and if that is the case so be it. I wouldn't spend as much time worrying over what a hipster who may be cautiously pessimistic about the album will do or say when deciding to listen or not. Ultimately they will either like or dislike the album, and ultimately that affects no one but them.

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« Reply #3255 on: May 27, 2012, 10:33:02 AM »

Do you think the self-referential nature of this music, and the lyrics, contributes to the existence of this sort of review?  Also, Brian's music has a more distinct and unique sound than The Beatles, in my opion (even if this is due partly to the fact that so much of rock has aped The Beatles for so many years).
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« Reply #3256 on: May 27, 2012, 11:06:32 AM »

Do you think the self-referential nature of this music, and the lyrics, contributes to the existence of this sort of review?  Also, Brian's music has a more distinct and unique sound than The Beatles, in my opion (even if this is due partly to the fact that so much of rock has aped The Beatles for so many years).

I do think The Beach Boys - and Brian in particular - are judged differently and sometimes held to a higher standard than their peers like The Beatles, Stones, VU, or go down the list of 60's artists whose members are still releasing new music. It may be due to the fact that there are many fans who really connect with something in the music - and by connect I mean a truly deep connection brought out as emotion or as inspiration to make music of a similar type or feeling - on a different level than other artists, or so it would seem with numbers of BB's fans. Of course fans of other artists (Beatles, Elvis, Sinatra, etc) will say the same thing regarding the other artists, so maybe it's not that unique but it feels different in some way.

It's tough to explain because connecting to any artist from afar through their work can be such a unique, individual experience and everyone feels it a different way. Would you say a decent number of Beach Boys fans and fans of Brian's work within and for The Beach Boys in particular connect in a different way than fans of *...fill in the blank...*?

I think that BB-BW dedicated audience will be and will always be the primary source of record sales on anything "new" by this band and its members. BWPS (Smile), Kokomo, and Stamos singing on Full House may very well be the only widely successful non-greatest-hits "new" product to be widely known since the 1970's...is that accurate? If so, it says a lot about this scene, and the fact that most new albums of BB's tunes have not exactly won over new audiences since the 70's. The concerts are more of a universal "Greatest Hits" trip - the album will be what it is, and fans will support it. Ultimately, though, if it is less than stellar along the lines of BB '85 or any of the other miscues, it will not sell nor will it be remembered fondly. Standards are standards after all, no matter who it is.

Putting Brian back in the studio making new music with original members of The Beach Boys - naturally expectations will be as high as possible and anticipation levels will be off the chart. We each have that notion of "that sound" we hope it will be, and that is powerful stuff indeed. Yet, those fans who know and have followed this band for months, years, or decades: Will we be tempted to not buy the new album unless reminded of the past history of hits and misses, innovation versus schlock, heartfelt versus schmaltz, Dr. Landy and "Smart Girls", etc?

That different or even higher set of standards among BB and BW fans is a mixed blessing for the music, I'd say. And that distinct musical sound and nature of the lyrics we know and love because it all was so unique and so personal is a part of it, definitely. I don't know how much convincing needs to be done on people for them to decide to give this album a listen, or how much of the audience is already determined to buy it and like it either way, and after they buy it the album's success depends solely on whether those people outside the BB-BW fan realm determine on their own if it is good or bad. Or just "bleh". Grin 
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« Reply #3257 on: May 27, 2012, 11:30:39 AM »

The reason for the reappearance was described well elsewhere by Jon, I think, but I can't remember if it was here or on the Record Room, so to summarize, it was an act of good faith, an attempt to see if anything can be salvaged among relationships once forged.  Jon posted about the discussion on the Record Room, so I got curious and came over to read.  First time I have been here in many months, and posted in many years.  I saw your discussion and I took up Jon's side because I agree with him, and thought it might be interesting to post.  Nothing more.  If you prefer we not post here, I will gladly make this the last post.

As for everything else, your opinion is totally valid, but you must remember that you are not the only potential audience for this album and that there are other types of fans people interact with.  Perhaps Jon actually KNOWS some of the "artsy Pet Sounds" fans, perhaps the web site which accepted his review is full of them.  Point is that right or wrong, there are going to be fans who add baggage to the album.  And another reason why the McCartney analogy doesn't work is that this is the first new Beach Boys album in 20 years, and the first Beach Boys album to have a genuine Brian Wilson production credit (as opposed to a credit given because of contractual reasons) since 1977.  McCartney puts out new albums every year or two, so people are used to what they get from him.  Think about this -- this is the first time since Love You that Brian Wilson has actively produced on a Beach Boys album.  You don't think that some hipsters aren't going to make expectations on that?  You don't think that some expectation leveling for some fans isn't needed?  If you personally can approach the album objectively then fine, but if the new album is closer in style to the post-Love You albums, then I think Jon is right to set expectations for fans who might otherwise attach more to the moment than the album can support.  Jon tells you exactly what type of music to expect and reviews it on that level, while still talking about his personal attachment to the music.  Works for me.
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« Reply #3258 on: May 27, 2012, 11:33:45 AM »

Everybody needs to get over what happened in the past and just enjoy the BBs.
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« Reply #3259 on: May 27, 2012, 12:12:10 PM »

Everybody needs to get over what happened in the past and just enjoy the BBs.

Some people have wider interests than The Beach Boys. That is why the thing split apart, simple as that. The reason some people who used to be regulars are posting here for a bit, and the Beach Boys section of The Record Room is active at the moment, is that the folks there are momentarily interested in the band again in an active manner. Soon, everyone here will go back to doing what they do, and The Record Room will go back to discussing other things. Simple. It isn't important.
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« Reply #3260 on: May 27, 2012, 12:16:12 PM »

Everybody needs to get over what happened in the past and just enjoy the BBs.

h8teerrzz gona h8 ma boiii!
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« Reply #3261 on: May 27, 2012, 12:23:25 PM »

EDIT: Oh nevermind.
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« Reply #3262 on: May 27, 2012, 12:37:33 PM »

The reason for the reappearance was described well elsewhere by Jon, I think, but I can't remember if it was here or on the Record Room, so to summarize, it was an act of good faith, an attempt to see if anything can be salvaged among relationships once forged.  Jon posted about the discussion on the Record Room, so I got curious and came over to read.  First time I have been here in many months, and posted in many years.  I saw your discussion and I took up Jon's side because I agree with him, and thought it might be interesting to post.  Nothing more.  If you prefer we not post here, I will gladly make this the last post.

As for everything else, your opinion is totally valid, but you must remember that you are not the only potential audience for this album and that there are other types of fans people interact with.  Perhaps Jon actually KNOWS some of the "artsy Pet Sounds" fans, perhaps the web site which accepted his review is full of them.  Point is that right or wrong, there are going to be fans who add baggage to the album.  And another reason why the McCartney analogy doesn't work is that this is the first new Beach Boys album in 20 years, and the first Beach Boys album to have a genuine Brian Wilson production credit (as opposed to a credit given because of contractual reasons) since 1977.  McCartney puts out new albums every year or two, so people are used to what they get from him.  Think about this -- this is the first time since Love You that Brian Wilson has actively produced on a Beach Boys album.  You don't think that some hipsters aren't going to make expectations on that?  You don't think that some expectation leveling for some fans isn't needed?  If you personally can approach the album objectively then fine, but if the new album is closer in style to the post-Love You albums, then I think Jon is right to set expectations for fans who might otherwise attach more to the moment than the album can support.  Jon tells you exactly what type of music to expect and reviews it on that level, while still talking about his personal attachment to the music.  Works for me.

First, it's not up to me or what I prefer to see anyone do on any board or forum, unless I'm running it. So have a blast, post wherever, it's all good! I just found it curious that after comments made in the past and staying away from this forum for years it was wanting to defend Jon's review against something I said that drew you back in. And it wasn't a warm welcome back, it was with what seemed to be a rush to come out swinging with various points because I disagreed with Jon on an aspect of that review he wrote. The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me.

Perhaps guitarfool2002 or Mumbly Joe 1978 or Random Poster (etc...) actually KNOWS some of those artsy Pet Sounds people as well and has recommended on request other Beach Boys albums to those artsy type folks in the past only to have them come back later and say "It's not what I expected". So what! It makes no difference - opinion is opinion, music either hits you now, hits you later, or doesn't hit you at all and you forget about it.

I think people who *assume* some fans need guidance or anything from anyone before listening to or being able to judge a piece of music are being a bit too high-minded, bordering on self-importance. It's that mindset which all but sank the world of jazz since the 70's, honestly, and an albatross which also hangs around the neck of more than one genre of so-called "serious" music and prevents some people from experiencing some truly incredible songs.  I can (and do) talk endlessly about things I like or music I really enjoy but if the music itself just doesn't connect with the new listener, that becomes the last word on the subject in that moment. Maybe years later they'll re-visit the same music and hear something different. I'd say listening with your own two ears is the first step, and probably the ultimate one to take. I don't think a sales pitch or a disclaimer is necessary as much as someone to just say "here's what I think, there is the album, check it out for yourself, I hope you enjoy it because I sure did...or didn't".

The McCartney point is valid, and made more valid if you put him in the group of his peers, and Brian's peers, who continue to release new music, no matter whose name is listed as producer. Does the fact that Mike Love is credited as Executive Producer mean anything good or bad to the quality of this particular BB's album? If not, should it? If not McCartney, plug in another aging 60's rocker, anyone will do if they're still releasing albums. If Bowie is ever going to release something new, I don't think I'll read a review of that mentioning his cover duet with Mick Jagger in the 80's. Or maybe I will... Cheesy

It feels like associating this new BB's music - which 98% of those who want to hear it have not been able to in full as of this afternoon - with some questionable or corny elements of previous albums or releases does more to try to lessen the negative impact of what may be perceived as lesser-quality music to some listeners than it would be to forget about hypothetical points or reactions entirely and focus on the grooves, especially the ones that work and hit just the right way or fall short, whatever the case. Again, that is my preference when reading reviews, and in this case as someone who has read some really high-quality, very enjoyable writings and reviews from Jon in the past.

Let me restate an earlier point, that a good review will inspire discussion and debate, and this one did. I would not have read and commented if it were a poorly done review, or if I didn't care what the reviewer had to say. Likewise if some feel any review is beyond reproach, and should not be questioned on specific points, they're missing the whole point of sharing opinions.
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« Reply #3263 on: May 27, 2012, 12:42:55 PM »

The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me. 

Right there, you answered why someone such as Jeff Mason stays away from a board such as this.
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« Reply #3264 on: May 27, 2012, 12:48:23 PM »

Everybody needs to get over what happened in the past and just enjoy the BBs.

Some people have wider interests than The Beach Boys. That is why the thing split apart, simple as that. The reason some people who used to be regulars are posting here for a bit, and the Beach Boys section of The Record Room is active at the moment, is that the folks there are momentarily interested in the band again in an active manner. Soon, everyone here will go back to doing what they do, and The Record Room will go back to discussing other things. Simple. It isn't important.
I understand that along with the drama with Chuck, I just think the two boards and their members can post on both without drama. The record room is great for non-BB's conversation and this place is great for the BBs conversation with  the record room alums welcome to talk BBs once in while.
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« Reply #3265 on: May 27, 2012, 12:57:40 PM »

Everybody needs to get over what happened in the past and just enjoy the BBs.

Some people have wider interests than The Beach Boys. That is why the thing split apart, simple as that. The reason some people who used to be regulars are posting here for a bit, and the Beach Boys section of The Record Room is active at the moment, is that the folks there are momentarily interested in the band again in an active manner. Soon, everyone here will go back to doing what they do, and The Record Room will go back to discussing other things. Simple. It isn't important.
I understand that along with the drama with Chuck, I just think the two boards and their members can post on both without drama.

Unfortunately, trr thinks this board is filled with idiots. But that's partially because they all love TRR, it's pretty normal for people to identify with their own website.  I feel like I can switch back and forth between the two and still post my usual dopey shallow comments and not miss a beat.
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« Reply #3266 on: May 27, 2012, 01:06:10 PM »

The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me. 

Right there, you answered why someone such as Jeff Mason stays away from a board such as this.

As if there aren't assholes all over the internet and they can be avoided if you're using messageboards etc.
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« Reply #3267 on: May 27, 2012, 01:15:40 PM »

The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me. 

Right there, you answered why someone such as Jeff Mason stays away from a board such as this.

I thought it was because of someone named Chuck.

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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
Shady
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« Reply #3268 on: May 27, 2012, 01:25:15 PM »

Still no leak, not a trace..

For those getting impatient  Razz
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According to someone who would know.

Seriously, there was a Beach Boys Love You condom?!  Amazing.
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« Reply #3269 on: May 27, 2012, 01:36:53 PM »

The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me. 

Right there, you answered why someone such as Jeff Mason stays away from a board such as this.

I thought it was because of someone named Chuck.



Let's not get this started.  Roll Eyes
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Runaways
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« Reply #3270 on: May 27, 2012, 01:48:17 PM »


"what did i do?"
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Zach95
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« Reply #3271 on: May 27, 2012, 02:06:39 PM »


"what did i do?"

Aww, nothing Runaways!  Now, group hug

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Jim V.
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« Reply #3272 on: May 27, 2012, 02:39:43 PM »

The fact that you missed my points by a country mile or ten country miles but took what you misunderstood to be my truth and ran with it anyway in some rush to defend someone else's review was a bit surprising for me to see. But that's me. 

Right there, you answered why someone such as Jeff Mason stays away from a board such as this.

I thought it was because of someone named Chuck.



*Mods feel free to delete this if you feel it is TMI!


That is (kinda) the truth.

Let's just set this out for all to see. I apologize if I get anything wrong.

Jon and John ended The Smile Shop. I'm pretty sure they were gonna maybe bring it back in another form, but I suppose that never happened.

Chuck L. and others were sad to see The Smile Shop forum die, so he basically took it over and renamed it Smiley Smile (thus what we have today).

So naturally, John, Jon, Ian, blah blah blah, were upset cuz they felt Chuck co-opted The Smile Shop. But they still stuck around somewhat.

Then there was the Professor (apparently not the same Van Dyke Parksian "professor" who graces us today. And the professor did some things that would be considered inappropriate to a lady on the board. I will leave her name out. And Chuck apparently took dudes side or something, and then apparently the same chick said Chuck was being inappropriate to her. Was he? Well that's up to you to decide folks.

So that led the quote "final" blowout, and some really decent posters left for TRR. I honestly think those involved wanted any excuse to leave this place anyways, and this definitely gave them room to. But whatever, just my opinion.  But I recall Ian around here because I think he secretly loves the place, despite his protestations.

So along the way, some other decent folks would always have a hearty laugh over at TRR because they think we here at SS are stupid BB obsessed assholes. But whatever. There's still some good convo over there, so I occasionally post there now too. And let's be honest, if anybody is posting at either "the rocking beach boys room" or "smiley smile" and could tell you the name of track 7 on KTSA, chances are they are obsessed. Most of the people on both boards are generally nice people (even you Ian), and we should just all get along.

Any questions??
« Last Edit: May 27, 2012, 03:20:10 PM by sweetdudejim » Logged
Shady
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« Reply #3273 on: May 27, 2012, 02:44:22 PM »

I'd like to hear more about the "lady" incident
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« Reply #3274 on: May 27, 2012, 02:46:17 PM »

what the hell is going on
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People make mistakes.
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