Wikipedia

Brian Wilson is a genius

"Brian Wilson is a genius"is a line that became part of a media campaign spearheaded in 1966 bythe Beatles' formerpress officerDerek Taylor,who was then employed asthe Beach Boys'publicist.Although there are earlier documented expressions of the statement, Taylor frequently calledBrian Wilsona "genius" as part of an effort to rebrand the Beach Boys and legitimize Wilson as aserious artiston a par with the Beatles andBob Dylan.

A magazine article proclaimingBrian Wilsonofthe Beach Boysto be a genius(Melody Maker,May 21, 1966)

With the aid of numerous associates in the music industry, Taylor's promotional efforts were integral to the success of the band's 1966 albumPet Soundsin England. By the end of the year, anNMEreader's poll placed Wilson as the fourth-ranked "World Music Personality" —about 1,000 votes ahead of Bob Dylan and 500 behindJohn Lennon.However, the hype generated for the group's next album,Smile,bore a number of unintended consequences for the band's reputation and internal dynamic. Wilson ultimately scrappedSmileand reduced his involvement with the group.

Wilson later said that the "genius" branding intensified the pressures of his career and led him to become "a victim of the recording industry".[1]As he shied away from the industry in the years afterward, his ensuing legend originated the trope of the "reclusive genius" among studio-oriented musical artists[2]and later inspired comparisons between other musicians such asPink Floyd'sSyd BarrettandMy Bloody Valentine'sKevin Shields.[3][4]

Background and origins

edit
The Beach Boysat a 1964 photoshoot. Wilson (top-center) felt that his band's clean-cut image distracted from the sophistication of his music.

Brian Wilsonwrote the majority ofthe Beach Boys' hits and was one of the first recording artists allowed to act as an entrepreneurial producer, a position he attained thanks to his immediate success with the band after signing toCapitol Recordsin 1962.[5]His talents inspired a number ofLos Angelesmusic industry figures to refer to him as a genius.[6][nb 1]By early 1966, he wanted to move the group beyond their surf and hot rod aesthetic, an image that he believed was outdated and distracting the public from his talents as a producer and songwriter.[9]InMike Love's description, Wilson sought recognition from thecounterculturaltastemakers, or the "hip intelligentsia".[10][nb 2]Wilson later reflected that "legends grew about... our music... and I was getting fascinated with the fact that I was becoming famous and there was an interest in my style of life."[12]

In the meantime,the Beatles' former press agentDerek Taylorhad left the UK and moved to California, where he started his ownpublic relationscompany.[13]By 1966, he had quickly assimilated into what was then an expanding coterie of Wilson's worldly-minded friends, musicians, mystics, and business advisers.[14]In the description of music journalistNick Kent,"Derek Taylor was at that time the single most prestigious figure with whom to have one's name linked in matters of promotion.... he knew the Beatles and had actually worked with them andBrian Epstein.There could be no more spectacular recommendation. "[15]

Van Dyke Parks,Wilson's lyricist at the time, claimed to have introduced Taylor to Wilson,[16]while biographerDavid Leafwrote that it wasBruce Johnstonwho "set up a meeting for Derek with Brian."[17]The Beach Boys began employing Taylor as their publicist in March 1966,[18]two months before the release of their albumPet Sounds,with the group paying him a salary of $750 a month (equivalent to $7,040 in 2023).[15]According toCarl Wilson,although the band were aware that trends and the music industry were shifting, "Capitol had a very set picture of us", and the band were unhappy with the way the label promoted them circaPet Sounds.[19]

According to Taylor, the "genius" promotion came from Brian discussing how "he thought he was better than most other people believed him to be".[20]Taylor recalled one conversation with Brian andDennis Wilsonin which the brothers denied ever writing "surf musicor songs about cars or that the Beach Boys had been involvedin any waywith the surf anddrag fads... they would not concede. "[21][nb 3]In Taylor's view, the Beach Boys' clean-cut "all-American" image, instigated by former manager and the Wilsons' fatherMurry,had "done them a hell of a lot of damage. Brian, in particular, suffered."[22]He said that the prevailing attitude was that "Brian Wilson was not supposed to be strange", even though that quality was seen as normal for Hollywood people.[23][nb 4]

Absolutely, Brian Wilson is certainly a genius. It was something I felt had to be established.... despite his strangeness, how could you deny him when he was creating [songs like] "Surf's Up"?

—Derek Taylor on Brian Wilson, 1974[24]

After becoming aware of how highly regarded Wilson was to musician friends such as Parks and singerDanny Hutton,Taylor wondered why it was not the mainstream consensus, and began "putting it around, making almost a campaign out of it".[20]To update the band's image with firsthand accounts of Wilson's latest activities, Taylor's prestige was crucial in offering a credible perspective to those outside Wilson's inner circle. He became intent on promoting Wilson as an exceptional "genius" among pop artists, a belief that he genuinely held.[25]

Contemporary press

edit

Pet Soundsand "Good Vibrations"

edit

One of the earliest instances of Taylor announcing that Wilson was a genius was in his 1966 article titled "Brian Wilson: Whizzkid Behind the Beach Boys".[26]More references to the "genius" rhetoric appeared inMelody MakerandNew Musical Express,specifically the articles "Brian, Pop Genius!" by Don Traynor (May 21, 1966), "Brian Wilson's Puppets?" by Alan Walsh (November 12, 1966), and "Brian: Loved or Loathed Genius" by Tracy Thomas (January 28, 1967).[27]In Taylor's writings, Wilson was presented as a pop luminary on the level of esteemed contemporaries such asJohn Lennon,Paul McCartney,andBob Dylan,as well as classical figures such asBach,Beethoven, andMozart.[28]What follows is a typical excerpt by Taylor, identified as "'60s Hollywood reporter Jerry Fineman", and contains some exaggerated claims:

This is Brian Wilson. He is a Beach Boy. Some say he is more. Some say he is a Beach Boy and a genius. This twenty-three-year-old powerhouse not only sings with the famous group, he writes the words and music then arranges, engineers, and produces the disc... Even the packaging and design on the record jacket is controlled by the talented Mr. Wilson. He has often been called "genius", and it's a burden.[29]

Wilson producing aPet Soundsrecording session in early 1966

Pet Soundshad been widely influential and raised the band's prestige as an innovative rock group.[30]Taylor is widely recognized as instrumental in the album's success in the UK due to his longstanding connections with the Beatles and other industry figures.[31]This was at a contrast to its underwhelming sales in the U.S., where its promotion was no different from earlier Beach Boys offerings and relied on the group's familiar public image instead of rebranding.[18][nb 5]Although most of the influential writers who had acknowledged the cultural value of Bob Dylan's work were not prepared to devote similar attention the Beach Boys, as biographerPeter Ames Carlinwrites, "many musicians [in America] understood the significance of Brian's achievement on the album, as did a few members of the small but increasingly influential band of journalists and intellectuals who had begun to apply serious analytical thought to rock music."[32]

In May, Taylor and Bruce Johnston traveled to London and arranged listening parties for the album, inviting prestigious musicians (including Lennon and McCartney) and rock journalists. These journalists subsequently helped promulgate the idea of Wilson as a "pop genius" and of the album's forward-thinking aesthetic.[18]Much of the British and American press also focused on the disparity between Wilson as a "studio mastermind" and the Beach Boys' stage performances.[33][nb 6]Rolling Stonefounding editorJann Wennerlater reported that British fans identified the Beach Boys as "years ahead" of the Beatles and declared Wilson a "genius".[35]Musicians who praised Wilson on record included Lennon,Eric ClaptonofCream,Rolling StonesproducerAndrew Loog Oldham,Spencer Davisofthe Spencer Davis Group,andMick Jaggerofthe Rolling Stones.[34]Clapton toldMelody Makerthat "Brian Wilson is without doubt a pop genius."[34]

Throughout the summer of 1966, Wilson concentrated on finishing the group's next single, "Good Vibrations".[36]Additional writers were brought in as witnesses to hisColumbia,Gold Star,andWesternrecording sessions, who also accompanied him outside the studio. Among the crowd:Richard Goldsteinfrom theVillage Voice,Jules SiegelfromThe Saturday Evening Post,andPaul Williams,the 18-year-old founder and editor ofCrawdaddy![37]Released on October 10, 1966, "Good Vibrations" was the Beach Boys' third U.S. number-one hit, reaching the top of the charts in December, and became their first number one in Britain.[38]One headline proclaimed that the Beach Boys' British distributorEMI Recordswere giving the band the "biggest campaign since the Beatles".[39]

ALos Angeles Times West Magazinepiece byTom Nolanfocused on the contradictions between Wilson's unassuming "suburban" demeanor and the reputation that preceded him (noting "he doesn't look at all like the seeming leader of a potentially-revolutionary movement in pop music" ). Asked about the future of pop music, Wilson responded, "Whitespirituals,I think that's what we're going to hear. Songs of faith. "[40][nb 7]At the end of 1966,NMEconducted a reader's poll that placed Wilson as the fourth-ranked "World Music Personality" —about 1,000 votes ahead of Bob Dylan and 500 behind John Lennon.[42]The Beach Boys themselves were crowned the top vocal group, ahead of the Beatles.Ringo Starrremarked, "We're all four fans of the Beach Boys. Maybe we voted for them."[34]

Smileand cancellation

edit

Wilson declared in a late 1966 interview that the Beach Boys' next album,Smile,would surpass all of their previous recording efforts.[43]In April 1967,CBSaired theLeonard Bernstein-hosted television specialInside Pop: The Rock Revolution,where Wilson premiered the unreleased song "Surf's Up".[44]The next month, Taylor announced thatSmilehad been "scrapped", and the music press subsequently amplified their romanticized depictions of Wilson.[45]

In October,Cheetahmagazine published "Goodbye Surfing, Hello God!",a memoir written by Jules Siegel.[46][47]It included a tongue-in-cheek reference to the widespread "genius" rhetoric, with Siegel pondering the question of whether Wilson was "a genius, Genius, or GENIUS". Siegel covered Wilson's struggle to overcome the band's surfing image in the U.S. and credited the collapse ofSmileto "an obsessive cycle of creation and destruction that threatened not only his career and his fortune but also his marriage, his friendships, his relationships with the Beach Boys and, some of his closest friends worried, his mind".[48]

According to academic Kirk Curnett, Siegel's article was "the most instrumental in establishing Brian as mercurial in the broader senses of that term: as an eccentric and erratic artist perilously pursuing the muse instead of blithely serving the masses".[49]Also discussing the article, professor Andrew Flory wrote:

Siegel greatly romanticized Wilson andSmile,echoing and fostering the pervasive audience view of Wilson as a tortured genius... Depicting Wilson in decline, with the non-release ofSmileas the most obvious byproduct of mental and creative psychosis... gave rock fans a manner in which to view Wilson as hip, helping countercultural audiences traverse the social chasm between "Fun, Fun, Fun"and" Good Vibrations. "... [The article also] veneratedSmileas a relic of this hipness, intensifying audience interest in the unavailable work[48]

Impact on Wilson's withdrawal

edit

When "God Only Knows"came out, Paul [McCartney] called it the greatest song ever written. If that's so, what was there left for me to do?

—Brian Wilson, 1976[50][51]

Wilson later said that he had run out of ideas by 1967 "in a conventional sense" and was "about ready to die".[52]He also expressed a dissatisfaction with being branded a genius: "Once you've been labeled as a genius, you have to continue it or your name becomes mud. I am a victim of the recording industry."[1]Parks echoed that Taylor's line "forced Brian Wilson to have to continuously prove that he's a genius".[16]Mike Love said that Wilson turned to drugs as a way to expand his creative conceptions and deliver on the comparisons he had received with the Beatles and Mozart.[53]

On December 14, 1967, Jann Wenner printed an influential article inRolling Stonethat denounced the "genius" label, which he called a "promotional shuck" and a "pointless" attempt to compare Wilson with the Beatles. He wrote: "Wilson believed [that he was a genius] and felt obligated to make good of it. It left Wilson in a bind... which meant that a year elapsed betweenPet Soundsand their latest release,Smiley Smile."[35]As a result of the article, many rock fans excluded the group from "serious consideration".[35]In a September 1968 piece forJazz & Pop,Gene Sculattiwrote that a rock controversy involving Wilson was brewing among "the academic 'rock as art' critic-intellectuals, the AM-tuned teenies, and all the rest of us in between.... the California sextet is simultaneously hailed as genius incarnate and derided as the archetypical pop music copouts".[54]

Wilson's bandmates resented that he had been singled out as a "genius".[55]Love reflected that while Brian deserved the recognition, the press was a frustration to everyone in the group, including Carl, who was especially bothered by the misconception that the members were "nameless music components in Brian's music machine".[56][nb 8]Brian's then-wifeMarilynintimated that Brian "felt guilty that he got all the attention and... was called a genius" and decided to reduce his involvement with the band "because he thought that they all hated him".[60][nb 9]From 1968 onward, his songwriting output declined substantially, but the public narrative of "Brian-as-leader" continued.[63]He became increasingly known for his reclusiveness[64]and would not attract the level of press attention he had achieved in the 1960s until a new marketing campaign, "Brian's Back!",was devised in 1976.[65]

Wilson in 1971

By the 1970s, there had formed a contingent of fans and detractors who viewed Wilson as a burned-out casualty of thepsychedelic era.Some of the characterizations advanced by industry insiders included "genius musician but an amateur human being", "washed-up", "bloated", "another sad fucking case", and "a loser".[66][nb 10]In a 1971 interview, Carl commented that the Jules Siegel writings "and a lot of that stuff that went around before really turned [Brian] off."[68]He explained that most of it was "grossly inaccurate" and characterized Brian as "a very highly evolved person" who is "very sensitive at the same time, which can be confusing," adding that Brian does not cooperate with the press "at all".[68]

In 1975,NMEpublished an extended three-part piece by journalist Nick Kent, "The Last Beach Movie", which depicted Wilson as an overeating, fey eccentric. According to music historian Luis Sanchez: "The article followed the bombast of Siegel's 'Genius with a capital G' line to some bizarre ends.... the reader is left with the image of an insufferable man out of touch with reality: the leader of The Beach Boys reduced to a caricature, tormented by his own genius."[69][nb 11]Carlin wrote that Wilson's "public suffering" effectively "transformed him from a musical figure into a cultural one",[71]while journalistPaul Lestersaid that Wilson, by the mid-1970s, had tied with ex-Pink FloydmemberSyd Barrettas "rock'snumero unomythical casualty. "[72]

In 1978, David Leaf's biographyThe Beach Boys and the California Mythwas published. While the "Goodbye Surfing, Hello God" article originated all the main reference points of the Wilson/Smilemythology, Sanchez references Leaf's book as the first work that "put the 'Brian Wilson is a genius' trope into perspective", especially by emphasizing a "dynamic of good guys and bad guys."[73][nb 12]Quoted in the book, music journalist Ben Edmonds cited Taylor's "'Brian Wilson Is a Genius' hype" as "one of those things that has come back to haunt Brian like a curse.... the whole playing on the Brian Wilson mythology, whether it be for that point in time or 1976, has always been crucial to manipulating the Beach Boys."[75]

Retrospective criticism

edit
Steven Page(front) was so inspired by stories of Wilson's "mad genius" that he wrote a song, "Brian Wilson",that became a hit for his bandBarenaked Ladiesin 1992.[76]

A major tenet of Wilson's "genius" rests on a narrative that is familiar to the arc of atragic artist.[77][78][79]At the center of his legend, according to music criticCarl Wilson(no relation to the Beach Boys' Carl Wilson), is this "tragic genius". Carl wrote in 2015:

It is to pop what the tragic genius ofVincent van Goghis to modern art: a parable of sensitivity sacrificed to cruel indifference.... For decades that lore has echoed through new records and retrospective box sets, countless books and essays, documentaries, TV movies, fictional accounts,... and tribute songs.... The word "genius" always risks estranging its subject from their cultural context. There were many influences on Wilson's signature style... Combining clean-cut, boy-next-door appeal with aesthetic forward-thinking was what made Wilson a real anomaly in US pop-culture history. And in that myth was also the seed of his downfall, as creativity and conformity collided.[78]

He concluded that the interest in Brian's life comes primarily from a "human-interest angle" concerned with "the popular tendency to fetishise any overlap between genius and madness" rather than a purely musical one, ultimately distorting "both Wilson's story and his significance."[78][nb 13]Music criticBarney Hoskynsdescribed Taylor's campaign as "the birth of a pop cult" and added that the term genius "is actually a rare commodity in pop music" more likely to be reserved for artists who espouse "tragedy", "failed promise", "torment", "or the very least by major eccentricity."[79]He located the "particular appeal" of Wilson's genius to "the fact that the Beach Boys were the very obverse of hip – the unlikeliness of these songs growing out of disposable surf pop – and in the singular naivety and ingenuousness of his personality."[79][nb 14]

Writing inThe Rolling Stone Record Guide(1983),Dave Marshbemoaned that Wilson became a "Major Artist" through the hype that continued to surround Wilson and theSmileproject throughout the 1970s, calling it "an exercise in myth-mongering almost unparalleled in show business".[82]Van Dyke Parks believed that Wilson was a highly innovative songwriter, but that it was a "mistake" to call him a genius, instead preferring the description of "a lucky guy with a tremendous amount of talent and a lot of people collaborating beautifully around him."[16][nb 15]

As a result of the mythology surrounding Wilson, Mike Love is often regarded as Wilson's lifelong antagonist.[78]After a jury ruled that Love wasowed credit to 39 songs previously credited solely to Wilsonand that Wilson or his agents had engaged in promissory fraud, the potential damages were estimated to range between $58 million and $342 million. According to Love, fans of Wilson thought "he was beyond accountability.... By now, the myth was too strong, the legend too great. Brian was the tormented genius who suffered to deliver us his music—the forever victim, as his lawyer said."[83]

Record producerDon Wascreated a documentary about Wilson,I Just Wasn't Made for These Times(1995), reportedly to address why the phrase "Brian Wilson is a genius" had become "holy gospel" among musicians.[84]

Wilson's response

edit

Maybe I have a genius for arrangements and harmonics, but I don't think I'm a genius. I'm just a hard-working guy. I believe the word genius applies only to people who can do things that other people can't do. I can't do things others can't. I wasn't a genius in high school and I'm not now. But because ofPet Sounds,people thought I was a genius.

—Brian Wilson, 1976[51]

Wilson said: "I didn't think I was a genius. I thought I had talent. But I didn't think I was a genius."[1]In the early 1990s, he referred to the branding as a burden and as the worst thing that had happened to him: "The idea being that you're automatically categorized, and the idea is to break free... and do a few things not based on what you think others would want to hear."[85]Asked if he disliked being known as a "crazy guy" who writes "crazy songs", he replied: "Yeah, I do.... I think it's exaggerated. It's going an extra 20 yards."[80]

In a eulogy given at Taylor's funeral in 1997, Wilson praised Taylor's efforts and credited him with the success ofPet Soundsand "Good Vibrations" in Britain. He stated: "Despite what he wrote about me, it was Derek Taylor who was the genius. He was a genius writer."[86][nb 16]

See also

edit

Notes

edit
  1. ^In September 1965, a press report stated that Brian was absent from the Beach Boys' concerts because he was "busy being a genius and composing more songs".[7]There also exists an early 1965 recording of Murry Wilson telling Brian "I'm a genius, too" during an argument about the song "Help Me Rhonda".[8]
  2. ^Van Dyke Parks remembered: "Brian sought me out... At that time, people who experimented with psychedelics—no matter who they were—were viewed as 'enlightened people', and Brian sought out the enlightened people."[11]
  3. ^Like the Beatles, he felt, it was "sad that they should be so determined to disown their past."[22]
  4. ^However, he still struggled with Wilson's eccentricities, especially his "temporary whims" and his "mad competitiveness" with the Beatles.[23]
  5. ^According to Carl, Capitol Records "felt they didn't have to promote it; that our records would automatically sell because we were getting so much airplay."[19]
  6. ^Mick Jagger toldMelody Maker"I hate The Beach Boys... but I like Brian Wilson. He's very nice and sort of different to them.... If you saw The Beach Boys perform live you wouldn't believe it. The drummer can't seem to keep time to save his life."[34]
  7. ^Nolan's same November 1966 article reports that Wilson's change in direction was inspired by apsychedelic experiencehe had one year prior: "He'd never take it again, he says, because that would be pointless, wouldn't it? And the people who take it all the time, acid heads he can't go along with. Like all those people–Timothy Learyand all–they talk a lot, but they don't really create, you know? "[41]
  8. ^In a 1966 article that asked if "the Beach Boys rely too much on sound genius Brian", his brotherCarlrejected the notion, explaining that although Brian was the most responsible for their music, every member of the group contributed ideas.[57]Conversely, Dennis defended Brian's stature in the band, stating "Brian Wilsonisthe Beach Boys. He is the band. We're his fucking messengers. He is all of it. Period. We're nothing. He's everything. "[58][59]
  9. ^Producer and friendTerry Melcherattributed Wilson's diminished output to being aware of "his reputation, so he makes a lot of unfinished records; sometimes, I feel that he feels that he's peaked and does not want to put his stamp on records so that peers will have a Brian Wilson track to criticize."[61]Alternatively, the band's former engineerStephen Despersaid that Brian's reduced contributions was "just that you've got limited hours in the day. Brian... doesn't like to hurt anyone's feelings, so if someone's working on something else, he wasn't going to jump in there and say, 'Look, this is my production and my house, so get outta here!' That's totally out of character for him."[62]
  10. ^Writing in his 1970 bookAwopbopaloobop Alopbamboom: The Golden Age of Rock,Nik Cohn's depiction of Wilson was of an "increasingly withdrawn, brooding, hermitic... and occasionally, he is to be seen in the back of some limousine, cruising around Hollywood, bleary and unshaven, huddled way tight into himself."[67]
  11. ^Kent wrote a follow-up to the piece in 1980, where he reported that the Beach Boys "hated" the original article so much that they "instigated a long drawn-out communication breakdown with the paper lasting a number of years". Bruce Johnston stated in another music magazine that Wilson became "suicidally depressed" after reading the original article.[70]
  12. ^For Taylor's part, he could not recall hearing "a single disparaging word" about Brian from the other Beach Boys during his employment with the group; "Maybe a few jokes about his eccentricities, but always basically affectionate."[74]
  13. ^The Flaming Lips'Wayne Coyne,who interviewed Wilson in 1999 for an unaired episode ofReverb,[80]was skeptical of the "genius" claim due to Wilson's poor verbal skills, explaining: "I'm not in contempt of him... I just hate that if someone is drug-damaged, or eccentric, or possibly mad, people will let them shit all over themselves thinking, 'Isn't he cool?'"[81]
  14. ^In Gene Sculatti's 1968 editorial, titled "In Defense of the Beach Boys", he praised the "characteristic innocence and somewhat childlike visions" that were imbued in their music.[54]Wenner's 1967 article also criticized the Beach Boys' "totally disappointing" live performances: "To please their fans, they do their old material but make fun of it. Their old material is fine and they should do it with pride that they have every reason to take."[35]
  15. ^In Parks' opinion, "genius" was more befitting for the singer-songwriterHarry Nilsson.[16]
  16. ^In 1978, David Anderle said that Taylor "did a huge amount of work for the Beach Boys. More than I think they to this day know."[87]

References

edit
  1. ^abc"The Beach Boys".Music Favorites.Vol. 1, no. 2. 1976.
  2. ^Guriel, Jason (May 16, 2016)."How Pet Sounds Invented the Modern Pop Album".The Atlantic.
  3. ^Lester, Paul(March 12, 2004)."I lost it".The Guardian.
  4. ^Hill, Scott (November 2011)."An Open Letter to My Bloody Valentine's Loveless".Wired.
  5. ^Butler 2012,p. 225.
  6. ^Carlin 2006,pp. 46, 56.
  7. ^Badman 2004,p. 98.
  8. ^Marsden, Rhodri (March 7, 2015)."Rhodri Marsden's Interesting Objects: The fake Beach Boys mixer".The Independent.
  9. ^Sanchez 2014,pp. 91–93;Kent 2009,p. 27
  10. ^Love 2016,p. 48.
  11. ^Love 2016,p. 152.
  12. ^Priore 1995,p. 248.
  13. ^Kozinn, Allan (September 9, 1997)."Derek Taylor, Beatles' Spokesman, Dies at 65".The New York Times.RetrievedMarch 10,2016.
  14. ^Sanchez 2014,p. 92.
  15. ^abKent 2009,p. 27.
  16. ^abcdDombal, Ryan (April 22, 2011)."5–10–15–20: Van Dyke Parks The veteran songwriter and arranger on the Beach Boys, Bob Dylan, and more".Pitchfork.
  17. ^Leaf 1978,p. 88.
  18. ^abcButler 2012,p. 231.
  19. ^ab"Comments by Carl Wilson".The Pet Sounds Sessions(Booklet).The Beach Boys.Capitol Records.1997.{{cite AV media notes}}:CS1 maint: others in cite AV media (notes) (link)
  20. ^abKent 2009,p. 27, origins;Love 2016,p. 146
  21. ^Kent 2009,pp. 30–31.
  22. ^abKent 2009,p. 31.
  23. ^abKent 2009,p. 32.
  24. ^Kent 2009,pp. 27, 32.
  25. ^Sanchez 2014,pp. 91–93, "credible perspective";Kent 2009,p. 27, origins, "single most prestigious figure" and Taylor's personal beliefs
  26. ^Lambert 2016,p. 264.
  27. ^Lambert 2016,pp. 264, 272–73.
  28. ^Sanchez 2014,pp. 92–93, pop luminary;Love 2016,pp. 146–147, classical comparisons
  29. ^Carlin 2006,pp. 109–110.
  30. ^Bogdanov, Woodstra & Erlewine 2002,p. 72.
  31. ^Gaines 1986,p. 152.
  32. ^Carlin 2006,pp. 96–97.
  33. ^Lambert 2016,p. 218.
  34. ^abcd"The History of Rock 1966".Uncut.2015. pp. 79, 141–142.ASINB01AD99JMW.
  35. ^abcdBadman 2004,p. 207.
  36. ^Badman 2004,p. 5.
  37. ^Sanchez 2014,p. 94.
  38. ^Badman 2004,pp. 155–156.
  39. ^Sanchez 2014,p. 86.
  40. ^Sanchez 2014,pp. 93–94.
  41. ^Nolan, Tom(November 27, 1966)."The Frenzied Frontier of Pop Music".Los Angeles Times West Magazine.
  42. ^Carlin 2006,p. 106.
  43. ^"Brian Wilson".Melody Maker.October 8, 1966. p. 7.
  44. ^Sanchez 2014,p. 97.
  45. ^Lambert 2016.
  46. ^Carlin 2006,pp. 103–105.
  47. ^Sanchez 2014,pp. 99, 102.
  48. ^abLambert 2016,p. 219.
  49. ^Lambert 2016,p. 7.
  50. ^Leaf 1978,p. 89.
  51. ^abRensin, David (December 1976)."A Conversation With Brian Wilson".Oui.
  52. ^Highwater 1968.
  53. ^Love 2016,pp. 145–147, 158–159.
  54. ^abSculatti, Gene(September 1968)."Villains and Heroes: In Defense of the Beach Boys".Jazz & Pop.RetrievedJune 13,2017.
  55. ^Carlin 2006,p. 110.
  56. ^Love 2016,pp. 145–147.
  57. ^Priore 2005.
  58. ^Webb, Adam (December 14, 2003)."A profile of Dennis Wilson: the lonely one".The Guardian.
  59. ^Carlin 2006,p. 316.
  60. ^Don, Was(1995).Brian Wilson: I Just Wasn't Made for These Times(Documentary film). Event occurs at 44:00.
  61. ^Leaf 1978,p. 169.
  62. ^Carlin 2006,p. 151.
  63. ^Matijas-Mecca 2017,pp. xxi–xxii, 83.
  64. ^Carlin 2006,p. 165.
  65. ^Sanchez 2014,p. 4.
  66. ^Matijas-Mecca 2017,pp. xx, 89.
  67. ^Cohn 1970,pp. 103–104.
  68. ^abNolan, Tom(October 28, 1971)."The Beach Boys: A California Saga".Rolling Stone.No. 94. Archived fromthe originalon July 18, 2012.RetrievedAugust 25,2017.
  69. ^Sanchez 2014,pp. 103–104.
  70. ^Kent 2009,p. 54.
  71. ^Carlin 2006,p. 277.
  72. ^Lester, Paul(June 1998)."Brain Wilson: Endless Bummer".Uncut.
  73. ^Sanchez 2014,pp. 24, 99.
  74. ^Priore 1995,p. 262.
  75. ^Leaf 1978,p. 146.
  76. ^Myers 2007,pp. 95, 164, 208.
  77. ^Butler 2012,p. 223.
  78. ^abcdWilson, Carl (June 9, 2015)."The Beach Boys' Brian Wilson: America's Mozart?".BBC.
  79. ^abcHoskyns, Barney (September 1, 1995).""Brian Wilson is a Genius": The Birth of a Pop Cult ".The Independent.
  80. ^abJC Gabel (2000)."Brian Wilson Vs. Wayne Coyne Vs. Stop Smiling: Part One".Stop Smiling.No. 9.
  81. ^JC Gabel (2000)."Brian Wilson Vs. Wayne Coyne Vs. Stop Smiling: Part Two".Stop Smiling.No. 9.
  82. ^Marsh & Swenson 1983,p. 31.
  83. ^Love 2016,pp. 373–374.
  84. ^Was, Don(1995).I Just Wasnt Made for These Times.MCA Records.
  85. ^Harrington, Richard (December 1, 1991)."Brian Wilson and the Angry Vibrations".The Washington Post.
  86. ^Granata & Asher 2016,p. 154.
  87. ^Leaf 1978,pp. 85–86.
  88. ^Schinder 2007,p. 124.

Bibliography

edit

Further reading

edit

Book

  • Curnutt, Kirk (2012).Brian Wilson (Icons of Pop Music).Equinox Pub.ISBN978-1-908049-91-9.– analysis of the "genius" rhetoric surrounding Wilson

Web articles

Contemporary articles

Retrieved from "https://en.wikipedia.org/w/index.php?title=Brian_Wilson_is_a_genius&oldid=1238934323"