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Author Topic: Brian Wilson 2016 Tour Thread (Pet Sounds 50th Anniversary Tour)  (Read 403919 times)
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« Reply #700 on: April 01, 2016, 12:57:33 PM »

Regarding Barbara Ann, Brian has said several times he likes that song. In fact, I think during the Endless Summer TV Special, he begs the guys to do it despite their groans and says it's a great song. Probably why they recorded it to begin with.

Honkin doesn't seem to bother Al and he's always denied it's him who was bothered by Somewhere Near Japan. I think there is some truth to that.  The fact that  M and B never put it in the setlist all these years I think speaks to their thoughts about it .
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« Reply #701 on: April 01, 2016, 01:19:32 PM »

I can't imagine Al dislikes Honkin'. While it was apparently Adam Marsland getting Al to cover the song in a gig they backed him on that first got Al reacquainted with the song, I don't think he would have put it in his album if he was kind of "meh" about it.

Perhaps Al realizes it's a goofy song, and maybe he worries non-hardcore fans will ask WTF? But I doubt he dislikes it.

I think fans lately have only been asking for that song because they figure it's more likely because Brian wrote it and Al sang it originally, and Brian has an affinity for Love You. There are other Al songs I would pick over Honkin'.
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« Reply #702 on: April 01, 2016, 01:36:54 PM »

I can't imagine Al dislikes Honkin'. While it was apparently Adam Marsland getting Al to cover the song in a gig they backed him on that first got Al reacquainted with the song, I don't think he would have put it in his album if he was kind of "meh" about it.

Perhaps Al realizes it's a goofy song, and maybe he worries non-hardcore fans will ask WTF? But I doubt he dislikes it.

I think fans lately have only been asking for that song because they figure it's more likely because Brian wrote it and Al sang it originally, and Brian has an affinity for Love You. There are other Al songs I would pick over Honkin'.

Al talked before the reunion tour, and again in 2013 I think, about how much he likes Love You, thinks it's an underrated album, and would like to do some songs from it live. Between that and him including it on his solo album, I can't see it being a song he has any problem with at all.

If the reaction to that review was part of the reason it was dropped, and if as we're often told people in Brian's "camp" read this board, I do hope they will pay attention to the calls to reinstate it. It's a great song -- as are the other songs they cut. Whatever the quality of the performance, which obviously I didn't see, the reviewer was definitely wrong about the songs he picked to complain about.
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« Reply #703 on: April 01, 2016, 03:51:07 PM »

I can't imagine Al dislikes Honkin'. While it was apparently Adam Marsland getting Al to cover the song in a gig they backed him on that first got Al reacquainted with the song, I don't think he would have put it in his album if he was kind of "meh" about it.

Perhaps Al realizes it's a goofy song, and maybe he worries non-hardcore fans will ask WTF? But I doubt he dislikes it.

I think fans lately have only been asking for that song because they figure it's more likely because Brian wrote it and Al sang it originally, and Brian has an affinity for Love You. There are other Al songs I would pick over Honkin'.

All good points. I just wonder why he jokingly stated that he shouldn't have been the original lead singer on the song. I can only guess that has to do with the song being a much more uniquely Brian type of tune.
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« Reply #704 on: April 01, 2016, 05:44:18 PM »

Also, Alan and Blondie are great singers/musicians, but neither added much to the show.

I can't really agree with that -- I think they're each serving an important role in the band as it stands.  Al handling the likes of "Little Deuce Coupe" gives Brian a break while still keeping that authentic Beach Boy sound.  And Blondie?  He's really stretching the band this time around -- it's the contrast between cutting loose on an authentic "In Concert" arrangement of "Funky Pretty", almost back-to-back with the complete "Pet Sounds", which really drives home how damn talented they are.

Cheers,
Jon Blum

Hey Jon--

I think you missed what I was actually saying.  For the show in San Francisco, Al and Blondie didn't really make the show any better by being there.  I wasn't questioning or commenting
on their "role", whatever it might be, in being on the tour with Brian. 

Of course Al and Blondie do support Brian, but the show would go on, whether they were there or not.  I'm glad they're both touring with Brian,  and yes, Al singing some songs,
does give Brian a break here and there.   But my point was that the show in San Francisco was still a bit flat and a bit uninspired.  Blondie doing "Sail On, Sailor" was fine, but
like I said, "Wild Honey" just wasn't that good.  Just didn't have it.  The current arrangement is pretty awful and Blondie seemed to fumble at the words.  This is not to say he should
sing them "exactly" like the record, but his performance just seem rushed and under rehearsed to me.  Just didn't like it.   As for him doing "Funky Pretty" on this tour, I've not heard
any performances of it yet, so I can't comment.   

And further for those two being on the current tour, I see what others say, and perhaps it would be nice if Al was given the spotlight to do a set of a few songs acoustically or with
just him and Matt and a few others, while Brian leaves the stage for a bit.  But we know it's "Brian's Gig" and this isn't going to happen.  Shame really, as I think it
might be fun and something fresh.

Anyway, I'm not knocking the talent that both Al Jardine and Blondie Chaplin have.  They're great musicians and great singers.  But this talent didn't seem to
be really showing in San Francisco last year.   This was my main point. 

Cheers,

Dogbone
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Alan Smith
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« Reply #705 on: April 02, 2016, 03:23:32 AM »

.
« Last Edit: April 02, 2016, 03:16:49 PM by Alan Smith » Logged

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« Reply #706 on: April 02, 2016, 03:44:29 AM »

Gday Alan, a few guys are gonna meet at laikas taps bar which is at 9 Fitzroy street at 4.30pm.
If you feel lost come on down, I'm trying to get to there myself. 
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« Reply #707 on: April 02, 2016, 05:32:40 AM »

Gday Alan, a few guys are gonna meet at laikas taps bar which is at 9 Fitzroy street at 4.30pm.
If you feel lost come on down, I'm trying to get to there myself. 

Yes, there's a casual meet up at Laika's in Fitzroy St at 4.30. There'll be an area set aside under my surname ( Dowsett ) for anyone interested. I'll be at the meet & greet from 3.30 but still hoping to be there at some point for a quick 1 o 2. For anyone that knows Joy and Jay from Perth, they'll be there, as well as a couple of others.
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« Reply #708 on: April 02, 2016, 04:21:57 PM »

9 HOURS TO GO!!!  BRIAN WILSON IN MELBOURNE!  Grin
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« Reply #709 on: April 02, 2016, 09:02:57 PM »

An interview from New Zealand.

http://www.stuff.co.nz/entertainment/music/78451999/the-beach-boys-brian-wilson-battles-on
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« Reply #710 on: April 02, 2016, 09:29:20 PM »

I'm embarrassed about how this guy forms sentences.  Most journalists here can write properly.
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tpesky
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« Reply #711 on: April 02, 2016, 09:31:07 PM »

What a weird ending to the article. Brian's not perfect, but I think some of these New Zealand/Australian press is really missing the boat on these reviews/articles.
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« Reply #712 on: April 03, 2016, 01:35:22 AM »

What a weird ending to the article. Brian's not perfect, but I think some of these New Zealand/Australian press is really missing the boat on these reviews/articles.

Very disrespectful article, especially the mention of Randle McMurphy.  Brian has mental health issues but still seems to be fair game to these people.  Personally, I would take him out of the firing line.  Is it really worth it to sell some tickets?  There are other ways to promote gigs.

As for the 'journalists', my theory is that they need to justify the fact they didn't get much out of Brian so they leave the readers in no doubt as to how difficult he is to interview, rather than it seem they weren't good at their job.  Either way nobody comes off looking good.

I'm fed up reading the same negative interviews over and over.  Brian deserves better.  At least the fans can see through it all and the comments at the bottom of the article were positive.
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« Reply #713 on: April 03, 2016, 05:45:36 AM »


Thank you, kiwi surfer, for the link. I enjoyed the article but these sentences made me feel a little...uncomfortable:

"But I have only 20 minutes by telephone. Then just 15, with the promise of a nameless manager listening in to ensure I don't stray too far from the nominated topics..."
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« Reply #714 on: April 03, 2016, 06:22:03 AM »

For the love of BW...... Roll Eyes
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And production aside, Id so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #715 on: April 03, 2016, 06:25:25 AM »

Melbourne gig = a blast!

Many classic BW moments, my particular fave telling us all to stop clapping as the GV bridge started to wind down.

Touching standing ovation for GOK and Al & Blondie on fire, smokin' percussion and drum solo during PS (the song), and Paul Mertens certainly wailin' that sax.  Matt Jardine had Brian's back throughout and nothin' but high praise for the entire band, as expected.

Great to see Moz and meet Bringahorseinhere (RickB).

Should be a pretty sharp show by the time it returns to the USA.
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« Reply #716 on: April 03, 2016, 06:33:21 AM »

Great to hear the Australian smilers had a blast!
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And production aside, Id so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #717 on: April 03, 2016, 07:52:21 AM »

Thanks, kiwi surfer for the link.  Wink

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

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« Reply #718 on: April 03, 2016, 09:18:13 AM »

Thanks, kiwi surfer for the link.  Wink

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



I doubt he would have gotten answers to those questions anyway.  Brian just doesn't enjoy interviews.  The quick 15 minute phone call is not conducive to Brian opening up. Hence, why I said a few posts up I don't think he should need to do them anymore.
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« Reply #719 on: April 03, 2016, 09:30:18 AM »

Thanks, kiwi surfer for the link.  Wink

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



I doubt he would have gotten answers to those questions anyway.  Brian just doesn't enjoy interviews.  The quick 15 minute phone call is not conducive to Brian opening up. Hence, why I said a few posts up I don't think he should need to do them anymore.
So, if a publication does it's homework ahead of time, and is looking to be effective and sensitive, they do their homework like Barbara Walters or Larry King has done.  There is no need to ask about Landy.  There is a need to talk about Pet Sounds and other work that went from popular music to become music standards in our culture.  I have seen some in-person interviews (some pre-C50) where Brian was funny and candid. 

And of course it is a big deal to have this tour in each particular region and it will be covered as a concert review because it is an important event, but even those should be conducted by someone highly experienced who can ask non-offensive, non-personally invasive (as they should do with everyone) questions and center it on the work and it's lasting impact rather than tabloid trash.  Landy is yesterday's news.  Today's news is that the music is still pertinent for both veteran listeners as well as young people. 
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« Reply #720 on: April 03, 2016, 09:59:27 AM »

Thanks, kiwi surfer for the link.  Wink

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.
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« Reply #721 on: April 03, 2016, 10:26:43 AM »

Personally I'm not a fan of saying who a writer/interviewer should have been, or what s/he should have written. It's the interviewer/writer's prerogative to write what s/he wants, and everyone reader's job to form an opinion of the result. But it's just not very productive (for example) for me to say Batman v. Superman should have done without the superheroes, or that Star Wars should cut out the space crap.
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« Reply #722 on: April 03, 2016, 10:56:23 AM »

Thanks, kiwi surfer for the link.  Wink

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.   Wink And, JMHO, of course.
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« Reply #723 on: April 03, 2016, 11:48:05 AM »

Thanks, kiwi surfer for the link.  Wink

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.   Wink 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.
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« Reply #724 on: April 03, 2016, 01:11:39 PM »


Thank you, kiwi surfer, for the link. I enjoyed the article but these sentences made me feel a little...uncomfortable:

"But I have only 20 minutes by telephone. Then just 15, with the promise of a nameless manager listening in to ensure I don't stray too far from the nominated topics..."

It appears some people might not know or understand how the process works when dealing with the press or scheduling phone interviews for artists or celebrities.

Don't know why this would cause discomfort, considering it's been standard practice for decades when interviews of this type are scheduled and done as part of the usual press junkets. The reporters are scheduled and given so much time to interview the artist or individual, and are put in a queue to wait their turn. When it's that reporter's time, the artist's management or the staff running the process goes live with the call (if it's a phone interview like this one), and that reporter gets his allotted time to ask questions, then it's onto the next reporter in line in the phone queue.

Standard practice. Nothing to get alarmed about.
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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
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