By Steve Marinucci
Published on November 11, 1999, San Jose Mercury News (CA)
JOHN Lennon was not considered the sweet Beatle. That role was filled by Paul McCartney.
But Lennon did have his tender side -- and one aspect of it will be on view today through Sunday in the ''Art of John Lennon'' exhibit at San Jose's Westgate Mall.
During his days as a househusband after the birth of his son Sean on John's birthday on Oct. 9, 1975 , father and son often spent time drawing pictures together and making up funny captions for them as a way of playing together. Over 35 of those drawings were gathered in a book published earlier this year, "Real Love: The Drawings for Sean" (Random House, $12.99). Twelve of those drawings will be featured in the exhibit.
By phone from New York, Yoko Ono said that the drawings show that although, as a rock star, John had "a macho side too, at home he was a very kind of sweet, gentle person."
They were done when Sean was between the ages of 2 to 4, Ono says. After Sean turned 5 on Oct. 9, 1980, Ono says, "I think John was very busy with the 'Double Fantasy' album and I don't think there was much (drawing) going on."
In the introduction to the book, Ono described the process of how the drawings were created. "John would draw something and explain to Sean what it was. 'This is a cat catnapping, Sean.' 'Oh.' Then it was Sean's turn. He would show the drawings and explain, 'This is a bus and the people who want to get on the bus, but they can't because the bus is too small … so they're crying." Titles were added to each picture, some by Sean and some by John. The drawings also were originally in black-and-white, which Ono allowed to be augmented with color for use in the book. "I usually do the coloring. I always feel that he (John) wouldn't have minded if I did it myself, being his partner and all. But this time, it was … a special coloring you do for children's books. I let the professionals do it … somebody who knew professionally what you were supposed to do for children's books."
The drawings, she says, represent a special time in the relationship of the father and son. "Whatever he did with Sean, it was such a sweet thing to do. I think there was an incredible separation from what he did for Sean and what he did as his own artwork."
Ono says, however, she hasn't discussed the book with Sean.. "One of the reason I don't particularly want to bring up these subjects with Sean is that it still hurts him," she said.
The exhibit includes more than 100 serigraphs, signed lithographs and original drawings. Twenty hand-signed song lyrics will also be on display, as will several works from the original "Bag One" portfolio first shown in 1970 included in the permanent collection from the Museum of Modern Art in New York City.
As witnessed by the public uproar those Bag One drawings, which included a number of erotic sketches, received, John and Yoko's public image was often negative when Lennon was alive, but things seemed to have improved. Apple Computer Inc. recently featured a widely circulated billboard featuring John and Yoko as part of its "Think Different" campaign.
"That was marvelous," said Ono. "(It) was extremely lucky that we were chosen as well. I feel good about it. I think everything was really politically correct. They told me that they would like to give 100 computers to schools that didn't have computers instead of paying. I thought that was just right. Usually, in a case like that, I would have asked them to donate to the Spirit Foundation (a charitable works group set up by Yoko), but it's the same thing if they wanted to give the computers to kids. That was beautiful. … I think the ad was very special."
Also, Entertainment Weekly used the Nov. 5 installment of its weekly Encore feature to spotlight the 33rd anniversary of the meeting of John and Yoko, which took place on Nov. 9, 1966 at London's Indica Gallery. "We were really proud of that … the whole family," she said.
So what attracted John to her avant-garde artwork? "I think that it's the fun quality (in it). I think he was surprised there was some sense of humor. Usually when he (went) to art exhibitions, he told me (they were) … too serious or angry or something. (My exhibit) was, like, selling fresh apples for 200 (British) pounds … fun joke, in a way. Also, he had to climb up the ladder and (find a sign) that said 'yes.' There was some kind of playful quality to … my work. I think the playfulness is something that caught his eye."
Ono's own artistic contributions have received their own share of special recognition recently. One of her works is currently included in the "The American Century: Art & Culture 1900-2000" exhibit currently running at New York's Whitney Museum of American Art in New York City. In addition, her song "Walking On Thin Ice," done with John just before his death, is included in the Rhino boxed set, "R-E-S-P-E-C-T," a collection of music by women. "It's something I never thought would happen, thinking those things coming back while I'm alive. It's beautiful."
As far as Lennon projects go, Billboard magazine recently reported a film taken mainly from unreleased footage of the "Imagine" recording sessions called "Gimme Some Truth" will be released to TV and video . Ono acknowledged this, saying, "We're thinking in terms of (releasing it) Valentine's Day next year." But she wouldn't comment on other Lennon and Beatle projects that may be in the works, saying "I don't usually believe in dropping hints because it's better not to say anything."
Thursday, November 11, 1999
Friday, September 3, 1999
"Submarine" relaunched: New wave of Beatles on video and CD
By Steve Marinucci
Published Sept. 3, 1999, San Jose (CA) Mercury News
'SUBMARINE' RELAUNCHED
NEW WAVE OF BEATLES ON VIDEO AND CD
ONCE UPON a time - or maybe twice (to borrow a phrase from the movie) -- the Beatles released the wonderful animated adventure ''Yellow Submarine,'' their third film.
It was 1968, when the band -- and many of its fans -- were caught up in psychedelia. It was a time marked by an openness to experimentation with mind-altering substances, music with Eastern echoes and colorful, fantastic visual images.
On one level, ''Yellow Submarine'' was a children's story, in which the animated Beatles are recruited by the captain of said vessel to help save the people of Pepperland from evil forces. But its soundtrack included songs that could be interpreted on other levels -- ''Eleanor Rigby'' and ''Lucy in the Sky With Diamonds,'' for instance -- and the hits ''With a Little Help From My Friends,'' ''When I'm Sixty Four'' and ''All You Need Is Love.''
Audiences of all ages fell in love with the film after its world premiere on July 17, 1968, at the London Pavilion theater, attended by all four Beatles. Children saw it as a wonderful fairy tale. Adults considered it''trippy''; some raved about seeing it ''under the influence.''
The film made its video debut in 1987 but was soon withdrawn because of a court case (more on that in a minute). Now, 12 years later, ''Yellow Submarine'' is coming again to video -- in both VHS ($19.98) and DVD ($29.98) formats, available Sept. 14.
Its re-release was preceded by the Aug. 30 theatrical premiere of an enhanced version of the film, with colors enriched and soundtrack re-mastered, during a weeklong Beatles festival in Liverpool, England. The enhanced film plays today through Sept. 15 in a limited engagement at San Francisco's Castro Theater, one of only a handful of movie houses in the country showing it.
In addition, all the Beatles songs from the movie are being released in re-mastered, remixed form on a new CD, ''Yellow Submarine Songtrack,'' hitting stores Sept. 14.
'Hey Bulldog' included
Significantly for American audiences, a segment of the movie that was never shown in the United States or on videotape, featuring the song ''Hey Bulldog,'' is included in the new video version and theatrical print. While it's obvious why it was originally cut -- it's OK, not great -- it accompanies one of Lennon and McCartney's better rockers, and it's good to have it back where it belongs.
In addition, all the Beatles songs from the movie are included on ''Yellow Submarine Songtrack,'' even the ones originally found on the ''Sgt. Pepper's Lonely Hearts Club Band,'' ''Magical Mystery Tour,'' ''Revolver'' and ''Rubber Soul'' albums.
The new album, however, does not include the George Martin instrumental tracks from the original ''Yellow Submarine'' album. They remain on that disc alone, which will continue to be available.
The new audio CD provides a much cleaner sound and gives new perspective and enjoyment to the songs. On the track ''Yellow Submarine,'' for example, the wave effects drift back and forth dramatically between stereo channels.
All the original versions of the songs are used. No outtakes have been substituted, nor do any of the audio-CD mixes include dialogue or sound effects from the movie. (Sorry, bootleg fans, but that 8-minute version of ''It's All Too Much,'' which has been circulating for some time, still remains unreleased.) Some elements that were hardly audible in the original mix now can be heard clearly.
Matt Hurwitz of the Beatles fan magazine Good Day Sunshine says the two engineers at Abbey Road who worked on the mixes for the movie and album ''went to great pains to study and reproduce all of the original effects and processing that were applied originally. These included using the original Abbey Road Studio 1 echo chambers and compression equipment and studying the degree to which each one was applied to each instrument. They know Beatles fans would know the difference if a great change had been applied.''
A few minute details
Fans might, however, notice some small changes in the new mixes.
''It's interesting,'' says Hurwitz, ''that they included things that weren't available in the stereo mixes but were heard in the mono mixes. An example is John's chanted response to the last verse of Ringo's singing in 'Yellow Submarine.' John's response to the first line -- 'As we live a life of ease,' ('A life of ease') -- hasn't been heard on any of the stereo mixes but was on the mono 'Revolver' album and 'Yellow Submarine' single from 1966.''
The DVD will offer a number of extras, including ''The Mod Odyssey,'' a vintage behind-the-scenes look at the making of the movie; an audio-commentary track by one of the film's animators and the film's designer; a music-only track in sync with the film that allows viewers to hear the songs without dialogue or sound effects; interviews; storyboard sequences (including two not in the film); photos; movie trailer; and an eight-page booklet.
The film is best seen, however, on the big screen and heard in a theater with state-of-the-art audio equipment. The musical mixes, done in 5.1 Dolby Surround Sound, are absolutely breathtaking in a theater setting. For example, in ''Only a Northern Song,'' the background percussion effects are almost three-dimensional. Some sounds move from one side of the theater to the other. The stereo separation is distinct and quite stunning, especially in ''It's All Too Much,'' which makes extensive use of multilayered sound.
The idea for the film came in the wake of the success of ''The Beatles'' children's TV show, which originally aired Stateside on ABC from 1965 to '69. (Now, why don't we have that on tape?) Al Brodax, who produced the series, developed and produced ''Yellow Submarine'' after making a deal with Beatles manager Brian Epstein.
In the film, the animated Beatles, whose cartoon speaking voices were done by actors, agree to help the captain of the Yellow Submarine and the people of Pepperland fight the Blue Meanies and their cronies the Snapping Turtle Turks, Countdown Clowns, Apple Bonkers, Butterfly Stompers and the Flying Glove, who had drained Pepperland of its music and color.
After traveling through the Sea of Time, Sea of Holes, Sea of Monsters and Sea of Green, John Lennon, Paul McCartney, George Harrison and Ringo Starr's cartoon personas disguise themselves as Sgt. Pepper's Lonely Hearts Club Band, the Pepperland musical group that had been silenced by the Meanies. With the help of Jeremy Hillary Boob, Ph.D. (who wasn't the nowhere man they thought he was), they battle the bad guys and save the day, motivated by the words ''All you need is love.''
The Beatles themselves appear at the end to help introduce the closing song, ''All Together Now.''
Beatles' reservations
In an interview in the book ''Fab Films of the Beatles'' by Edward Gross, McCartney said the band at first was enthusiastic but later had reservations about doing the movie.
''The Americans who'd done 'Popeye,' King Features, also did a Beatle cartoon TV series for kids on Saturday mornings,'' McCartney said. ''And it was very cutesy, which we thought was fine for the younger kids, but we didn't want to get too heavily involved. But that went so well, that Beatles cartoon, that they wanted to do a feature. I was excited, because I'm a major Disney fan; I really think it's high art. I told them we'd just got a song, 'Yellow Submarine,' which I'd written for Ringo, very childrensy, but it could be great.
''I saw it very realistically, a story about this old sea captain. But what they were seeing was where we were up to, which was 'Sgt. Pepper' time, fairly heavily 'sedated,' slightly otherworld. They saw us getting all psychedelic and thought, 'This is the sort of film we'll make.' So I was a bit disappointed by that. I thought it would have worked better with a bit of Disney depth.''
In a later interview, from ''Beatles At the Movies'' by Roy Carr, McCartney said, ''I don't mind it as much now as I did then -- 'Yellow Submarine' is a bit like 'Magical Mystery Tour' -- a bit disappointing at the time but now it looks a lot better.''
Time magazine gave the film a positive review, adding, ''If the result seems less a coherent story than a two-hour pot high, 'Yellow Submarine' is still a breakthrough of the feature film and art's intimacy with the unconscious.''
The film became a cult classic and a midnight show at theaters long after its initial release. When it was issued on video in 1987, a dispute arose between the Beatles and MGM over the rights. A verdict in the Beatles' favor resulted in ''Yellow Submarine'' being pulled off store shelves.
In later years, the VHS tapes and laser discs in circulation commanded high prices, and bootleg copies surfaced.
''Yellow Submarine'' was one of the first movies to tap into product tie-ins. In 1968, those included stationery, alarm clocks, watches, cigarettes and bubble-gum cards.
For the new release, the marketing net reaches wider to include character figures, trading cards, comics, model kits, cookie jars, lunch boxes, snowboards (and snowboarding wear), backpacks, sunglasses, 3-D mugs, boxer shorts, teapots, lamps, cigarette lighters, baby bibs and cell-phone ringer lights.
Whether at the turn of the century ''Yellow Submarine'' generates the kind of buzz it did in the '60s -- attracting new audiences, rather than those on a nostalgia trip -- remains to be seen. If it's a hit, it could conceivably launch a new wave of Beatles reissues.
Published Sept. 3, 1999, San Jose (CA) Mercury News
'SUBMARINE' RELAUNCHED
NEW WAVE OF BEATLES ON VIDEO AND CD
ONCE UPON a time - or maybe twice (to borrow a phrase from the movie) -- the Beatles released the wonderful animated adventure ''Yellow Submarine,'' their third film.
It was 1968, when the band -- and many of its fans -- were caught up in psychedelia. It was a time marked by an openness to experimentation with mind-altering substances, music with Eastern echoes and colorful, fantastic visual images.
On one level, ''Yellow Submarine'' was a children's story, in which the animated Beatles are recruited by the captain of said vessel to help save the people of Pepperland from evil forces. But its soundtrack included songs that could be interpreted on other levels -- ''Eleanor Rigby'' and ''Lucy in the Sky With Diamonds,'' for instance -- and the hits ''With a Little Help From My Friends,'' ''When I'm Sixty Four'' and ''All You Need Is Love.''
Audiences of all ages fell in love with the film after its world premiere on July 17, 1968, at the London Pavilion theater, attended by all four Beatles. Children saw it as a wonderful fairy tale. Adults considered it''trippy''; some raved about seeing it ''under the influence.''
The film made its video debut in 1987 but was soon withdrawn because of a court case (more on that in a minute). Now, 12 years later, ''Yellow Submarine'' is coming again to video -- in both VHS ($19.98) and DVD ($29.98) formats, available Sept. 14.
Its re-release was preceded by the Aug. 30 theatrical premiere of an enhanced version of the film, with colors enriched and soundtrack re-mastered, during a weeklong Beatles festival in Liverpool, England. The enhanced film plays today through Sept. 15 in a limited engagement at San Francisco's Castro Theater, one of only a handful of movie houses in the country showing it.
In addition, all the Beatles songs from the movie are being released in re-mastered, remixed form on a new CD, ''Yellow Submarine Songtrack,'' hitting stores Sept. 14.
'Hey Bulldog' included
Significantly for American audiences, a segment of the movie that was never shown in the United States or on videotape, featuring the song ''Hey Bulldog,'' is included in the new video version and theatrical print. While it's obvious why it was originally cut -- it's OK, not great -- it accompanies one of Lennon and McCartney's better rockers, and it's good to have it back where it belongs.
In addition, all the Beatles songs from the movie are included on ''Yellow Submarine Songtrack,'' even the ones originally found on the ''Sgt. Pepper's Lonely Hearts Club Band,'' ''Magical Mystery Tour,'' ''Revolver'' and ''Rubber Soul'' albums.
The new album, however, does not include the George Martin instrumental tracks from the original ''Yellow Submarine'' album. They remain on that disc alone, which will continue to be available.
The new audio CD provides a much cleaner sound and gives new perspective and enjoyment to the songs. On the track ''Yellow Submarine,'' for example, the wave effects drift back and forth dramatically between stereo channels.
All the original versions of the songs are used. No outtakes have been substituted, nor do any of the audio-CD mixes include dialogue or sound effects from the movie. (Sorry, bootleg fans, but that 8-minute version of ''It's All Too Much,'' which has been circulating for some time, still remains unreleased.) Some elements that were hardly audible in the original mix now can be heard clearly.
Matt Hurwitz of the Beatles fan magazine Good Day Sunshine says the two engineers at Abbey Road who worked on the mixes for the movie and album ''went to great pains to study and reproduce all of the original effects and processing that were applied originally. These included using the original Abbey Road Studio 1 echo chambers and compression equipment and studying the degree to which each one was applied to each instrument. They know Beatles fans would know the difference if a great change had been applied.''
A few minute details
Fans might, however, notice some small changes in the new mixes.
''It's interesting,'' says Hurwitz, ''that they included things that weren't available in the stereo mixes but were heard in the mono mixes. An example is John's chanted response to the last verse of Ringo's singing in 'Yellow Submarine.' John's response to the first line -- 'As we live a life of ease,' ('A life of ease') -- hasn't been heard on any of the stereo mixes but was on the mono 'Revolver' album and 'Yellow Submarine' single from 1966.''
The DVD will offer a number of extras, including ''The Mod Odyssey,'' a vintage behind-the-scenes look at the making of the movie; an audio-commentary track by one of the film's animators and the film's designer; a music-only track in sync with the film that allows viewers to hear the songs without dialogue or sound effects; interviews; storyboard sequences (including two not in the film); photos; movie trailer; and an eight-page booklet.
The film is best seen, however, on the big screen and heard in a theater with state-of-the-art audio equipment. The musical mixes, done in 5.1 Dolby Surround Sound, are absolutely breathtaking in a theater setting. For example, in ''Only a Northern Song,'' the background percussion effects are almost three-dimensional. Some sounds move from one side of the theater to the other. The stereo separation is distinct and quite stunning, especially in ''It's All Too Much,'' which makes extensive use of multilayered sound.
The idea for the film came in the wake of the success of ''The Beatles'' children's TV show, which originally aired Stateside on ABC from 1965 to '69. (Now, why don't we have that on tape?) Al Brodax, who produced the series, developed and produced ''Yellow Submarine'' after making a deal with Beatles manager Brian Epstein.
In the film, the animated Beatles, whose cartoon speaking voices were done by actors, agree to help the captain of the Yellow Submarine and the people of Pepperland fight the Blue Meanies and their cronies the Snapping Turtle Turks, Countdown Clowns, Apple Bonkers, Butterfly Stompers and the Flying Glove, who had drained Pepperland of its music and color.
After traveling through the Sea of Time, Sea of Holes, Sea of Monsters and Sea of Green, John Lennon, Paul McCartney, George Harrison and Ringo Starr's cartoon personas disguise themselves as Sgt. Pepper's Lonely Hearts Club Band, the Pepperland musical group that had been silenced by the Meanies. With the help of Jeremy Hillary Boob, Ph.D. (who wasn't the nowhere man they thought he was), they battle the bad guys and save the day, motivated by the words ''All you need is love.''
The Beatles themselves appear at the end to help introduce the closing song, ''All Together Now.''
Beatles' reservations
In an interview in the book ''Fab Films of the Beatles'' by Edward Gross, McCartney said the band at first was enthusiastic but later had reservations about doing the movie.
''The Americans who'd done 'Popeye,' King Features, also did a Beatle cartoon TV series for kids on Saturday mornings,'' McCartney said. ''And it was very cutesy, which we thought was fine for the younger kids, but we didn't want to get too heavily involved. But that went so well, that Beatles cartoon, that they wanted to do a feature. I was excited, because I'm a major Disney fan; I really think it's high art. I told them we'd just got a song, 'Yellow Submarine,' which I'd written for Ringo, very childrensy, but it could be great.
''I saw it very realistically, a story about this old sea captain. But what they were seeing was where we were up to, which was 'Sgt. Pepper' time, fairly heavily 'sedated,' slightly otherworld. They saw us getting all psychedelic and thought, 'This is the sort of film we'll make.' So I was a bit disappointed by that. I thought it would have worked better with a bit of Disney depth.''
In a later interview, from ''Beatles At the Movies'' by Roy Carr, McCartney said, ''I don't mind it as much now as I did then -- 'Yellow Submarine' is a bit like 'Magical Mystery Tour' -- a bit disappointing at the time but now it looks a lot better.''
Time magazine gave the film a positive review, adding, ''If the result seems less a coherent story than a two-hour pot high, 'Yellow Submarine' is still a breakthrough of the feature film and art's intimacy with the unconscious.''
The film became a cult classic and a midnight show at theaters long after its initial release. When it was issued on video in 1987, a dispute arose between the Beatles and MGM over the rights. A verdict in the Beatles' favor resulted in ''Yellow Submarine'' being pulled off store shelves.
In later years, the VHS tapes and laser discs in circulation commanded high prices, and bootleg copies surfaced.
''Yellow Submarine'' was one of the first movies to tap into product tie-ins. In 1968, those included stationery, alarm clocks, watches, cigarettes and bubble-gum cards.
For the new release, the marketing net reaches wider to include character figures, trading cards, comics, model kits, cookie jars, lunch boxes, snowboards (and snowboarding wear), backpacks, sunglasses, 3-D mugs, boxer shorts, teapots, lamps, cigarette lighters, baby bibs and cell-phone ringer lights.
Whether at the turn of the century ''Yellow Submarine'' generates the kind of buzz it did in the '60s -- attracting new audiences, rather than those on a nostalgia trip -- remains to be seen. If it's a hit, it could conceivably launch a new wave of Beatles reissues.
Sunday, June 20, 1999
Bad vibrations: A&E "Biography" details the sad life of Brian Wilson
By Steve Marinucci
Published June 20, 1999, San Jose (CA) Mercury News
'BIOGRAPHY': BRIAN WILSON: A BEACH BOY'S TALE
5 and 9 tonight June 20, A&E
Brian Wilson has been responsible for some of the most joyful pop music ever created. If only his life story could have been as sweet.
A&E's ''Biography'' on Beach Boy Brian, which premieres on his 57th birthday, tries earnestly to present an honest picture of his bumpy life. There are numerous recent interviews featuring Wilson, fellow Beach Boy Bruce Johnston, current wife Melinda Wilson, former wife Marilyn Wilson, Ginger Blake and Diane Rovell, Marilyn's former cohorts in the Honeys singing group, whose songs were produced by Wilson, biographer and friend David Leaf and two members of the famed studio musician group called the Wrecking Crew, among others.
Seen less often are Brian's late mother Audree (whose image comes from Brian's biography film ''I Just Wasn't Made for These Times,'' which is on video, and fellow Beach Boys Al Jardine and Mike Love. Brian's brothers Dennis and Carl are not interviewed and are rarely shown.
Sued by band mate
Wilson and Love have been at odds creatively at various times through the years. Brian was even sued by Love, who alleged that he'd never got credit for songs he had written. (Love won and was awarded $5 million.) While Love's short screen time won't cause many Beach Boys fans who revile him to lose sleep, certainly the absence of the beloved Carl, who died of cancer in February 1998, will.
Along with snippets of TV and film performances, and some very rare home-movie footage, a portrait of Wilson emerges that makes you wonder how he was able to create such positive music from such a turbulent life.
His father, Murry, who himself dreamed of a musical career and once got Lawrence Welk to perform one of his songs, was tyrannical and abusive. In one audio clip in the show that has circulated in more complete form on bootleg, he mockingly tells Brian at a recording session, ''I'm a genius, too.'' The session continues with tense exchanges between the two and finally, Brian kicks him out of the studio. Murry supposedly caused Brian's partial deafness with a blow to one of his ears.
In late 1964, while on a plane, Brian, who hated touring, fell to the floor screaming and sobbing. He returned to Los Angeles and spent his days creating in the studio while then little-known Glen Campbell took his place on stage.
The grown-up Brian added to his problems through extensive substance abuse and overeating, ballooning at one point to over 300 pounds and spending 2 1/2 years in bed. It wrecked his marriage with Marilyn and disrupted the lives of his two daughters, Carnie and Wendy, who later became two-thirds of the harmony-based singing group Wilson Phillips.
In late 1975, Dr. Eugene Landy was brought in by the family to save Wilson. He helped Wilson lose weight and get off drugs but was later fired by the family when his bill rose to $20,000 a month. He later was forced by a judge to end his work with Wilson after he allegedly had Brian rewrite his will. Landy later lost his license to practice in California.
New family, new work
Today, Wilson has a new wife, Melinda, whom he met through a date arranged by Landy. He has two newly adopted young daughters. He released his first album in ages last year called ''Imagination.'' These days, however, Brian isn't pushing to do new music. As he told one friend, ''My work is done.'' Some friends comment that he's complacent.
However, the music's still there. He's been touring for the first time since his Beach Boy days. Melinda says she still occasionally hears him play some beautiful songs on the piano. When asked if he has recorded them, he says, ''Nah.''
Oh, to be a fly on the wall at a time like that. Wouldn't it be nice?
Published June 20, 1999, San Jose (CA) Mercury News
5 and 9 tonight June 20, A&E
Brian Wilson has been responsible for some of the most joyful pop music ever created. If only his life story could have been as sweet.
A&E's ''Biography'' on Beach Boy Brian, which premieres on his 57th birthday, tries earnestly to present an honest picture of his bumpy life. There are numerous recent interviews featuring Wilson, fellow Beach Boy Bruce Johnston, current wife Melinda Wilson, former wife Marilyn Wilson, Ginger Blake and Diane Rovell, Marilyn's former cohorts in the Honeys singing group, whose songs were produced by Wilson, biographer and friend David Leaf and two members of the famed studio musician group called the Wrecking Crew, among others.
Seen less often are Brian's late mother Audree (whose image comes from Brian's biography film ''I Just Wasn't Made for These Times,'' which is on video, and fellow Beach Boys Al Jardine and Mike Love. Brian's brothers Dennis and Carl are not interviewed and are rarely shown.
Sued by band mate
Wilson and Love have been at odds creatively at various times through the years. Brian was even sued by Love, who alleged that he'd never got credit for songs he had written. (Love won and was awarded $5 million.) While Love's short screen time won't cause many Beach Boys fans who revile him to lose sleep, certainly the absence of the beloved Carl, who died of cancer in February 1998, will.
Along with snippets of TV and film performances, and some very rare home-movie footage, a portrait of Wilson emerges that makes you wonder how he was able to create such positive music from such a turbulent life.
His father, Murry, who himself dreamed of a musical career and once got Lawrence Welk to perform one of his songs, was tyrannical and abusive. In one audio clip in the show that has circulated in more complete form on bootleg, he mockingly tells Brian at a recording session, ''I'm a genius, too.'' The session continues with tense exchanges between the two and finally, Brian kicks him out of the studio. Murry supposedly caused Brian's partial deafness with a blow to one of his ears.
In late 1964, while on a plane, Brian, who hated touring, fell to the floor screaming and sobbing. He returned to Los Angeles and spent his days creating in the studio while then little-known Glen Campbell took his place on stage.
The grown-up Brian added to his problems through extensive substance abuse and overeating, ballooning at one point to over 300 pounds and spending 2 1/2 years in bed. It wrecked his marriage with Marilyn and disrupted the lives of his two daughters, Carnie and Wendy, who later became two-thirds of the harmony-based singing group Wilson Phillips.
In late 1975, Dr. Eugene Landy was brought in by the family to save Wilson. He helped Wilson lose weight and get off drugs but was later fired by the family when his bill rose to $20,000 a month. He later was forced by a judge to end his work with Wilson after he allegedly had Brian rewrite his will. Landy later lost his license to practice in California.
New family, new work
Today, Wilson has a new wife, Melinda, whom he met through a date arranged by Landy. He has two newly adopted young daughters. He released his first album in ages last year called ''Imagination.'' These days, however, Brian isn't pushing to do new music. As he told one friend, ''My work is done.'' Some friends comment that he's complacent.
However, the music's still there. He's been touring for the first time since his Beach Boy days. Melinda says she still occasionally hears him play some beautiful songs on the piano. When asked if he has recorded them, he says, ''Nah.''
Oh, to be a fly on the wall at a time like that. Wouldn't it be nice?
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