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Choose Chicago launches new marketing campaign: Never Done. Never Outdone.

Choose Chicago launches new marketing campaign: Never Done. Never Outdone.

Yahooa day ago

Chicago, that toddlin' town with the big shoulders, is ready to rebrand itself through a new slogan and marketing campaign aimed at driving tourists, businesses and even locals to explore the second city.
Developed over more than a year of listening sessions, focus groups, research and spitballing with creative agencies, the new campaign was unveiled by Choose Chicago on Thursday. The city's tourism arm is hoping it has found a way to sum up and sell Chicago to the world in four words:
'Never Done. Never Outdone.'
The city's new branding will launch at home and abroad as summer ushers in Chicago's busiest tourist season. The rollout also coincides with the U.S. Travel Association's IPW 2025 trade show, which returns to McCormick Place this weekend for the first time in a decade, providing an influential international test audience for the new campaign.
'I think it's going to change the narrative for Chicago,' Kristen Reynolds, Choose Chicago's new president and CEO, told the Tribune.
Destined for everything from billboards and social media to TV, the campaign is being introduced with a 60-second spot featuring fast-moving vignettes of the city, from obligatory overhead shots of the 'L' to street festivals, sporting events and skyscrapers. The video is narrated by award-winning Chicago poet J. Ivy, who touts the people and places in the 'greatest city in the world.'
The campaign, which is slated to run locally, nationally and internationally, incorporates the red stars and colors of the Chicago flag, and features scenes of people making doughnuts, running by the lakefront and partying en masse at a live concert. The ads include slogans such as 'outwork,' 'outplay' and 'outlast,' sounding very much like the tagline from the 'Survivor' TV show.
Reynolds, who took the helm at Choose Chicago in May after previously serving in the same role at Discover Long Island, didn't take credit for the campaign, but added a few last-minute tweaks and gave her stamp of approval to 'Never Done. Never Outdone.'
'The first part really is about evolution and always staying and innovating and keeping current,' Reynolds said. 'And then never outdone is really dropping that Midwestern humble and bringing some of that New York City swagger in here, and being able to say, we're the best at what we do, and we're going to work harder and we won't settle.'
Choose Chicago has an annual marketing budget of about $4 million — far less than comparable cities such as Boston. But Reynolds said the campaign will find its way out into the world through paid and earned media, and partnered with other Chicago institutions.
Target domestic markets will include Atlanta, Los Angeles, Miami and New York City, while international focus will be on Brazil, Canada, Ireland, Japan, Mexico and the United Kingdom.
Choose Chicago created the new marketing campaign in collaboration with local agencies including Envisionit, Agents of Slang, October Productions, Word and Soul, and Chu Batsaihan. The branding was developed with MMGY Global, which works with many destination marketing organizations.
Successfully branding a city can significantly boost visibility and tourism, searing memorable taglines into the collective unconscious of potential visitors. A good example is 'What happens here, stays here,' the ubiquitous Las Vegas slogan which has captured the essence of the city's appeal in countless commercials since its introduction in 2003.
The slogan was updated in 2020 to 'What happens here, only happens here.'
Chicago, which has accumulated a number of slogans over the years from sources both literary and cultural, has evolved from 'hog butcher for the world' to a diverse world city, a major convention and tourism destination, and an international business center.
But recent attempts at rebranding have not quite stuck.
In 2015, Choose Chicago introduced 'Chicago Epic,' a bold national TV campaign recasting the city as a hotbed of music festivals, hipsters, fine dining and shopping. At the time, officials said the slogan 'Chicago Epic' would become as famous as 'I Love New York.' It didn't.
In 2022, a pandemic-battered city launched 'Chicago Not in Chicago,' a low-budget guerrilla marketing campaign touting a long list of homegrown innovations — from the cellphone and the coffee maker to the skyscraper — that changed the world, but with little credit given to Chicago. Despite the campaign, for the most part, the world has yet to thank us.
Officials nonetheless have high hopes for the new slogan and marketing campaign.
'I am proud of the work our colleagues at Choose Chicago have done in developing this new campaign,' Mayor Brandon Johnson said in a news release Thursday. 'I'm confident it will ultimately share an authentic depiction of our city and convey the open-minded, welcoming spirit of Chicagoans.'
Chicago seeing fewer international travelers, but local hotels still expect 'solid' summer
Tourism in Chicago is on the rise, with the city welcoming 55.3 million visitors in 2024, up 6.5% year-over-year and setting a post-pandemic high, according to data released last month by Choose Chicago.
But economic and political headwinds may make it hard to match that total this year, with tariffs, civil unrest and international backlash to President Donald Trump's policies and bluster potentially tamping down tourism.
Choose Chicago is nonetheless projecting a strong summer tourism season, with events such as upcoming Premier League soccer exhibitions and the NASCAR Chicago Street Race setting the pace in July.
While the budget is limited, Choose Chicago will remain nimble in targeting markets — domestic and international — for the best chance to get a return on investment, Reynolds said. A newer market she has her sites set on is Phoenix, hoping to lure Chicago expatriates and transplanted Californians to visit from the 'Valley of the Sun.'
As to the new campaign, Reynolds expects the 'Never Done. Never Outdone' slogan to become ubiquitous, including buy-in from Chicagoans, who provide the bulk of recreational activity during the winter months.
Chicago saw a boost in tourism last year. Will the pope be a blessing in 2025?
'This is a campaign that we're hoping the entire community embraces and you're going to see it so much that it's going to be second nature,' Reynolds said.
If the new marketing campaign doesn't resonate, the city's image may still get a boost from divine intervention — the selection of south suburban Dolton native Robert Francis Prevost as the first American pope. On Wednesday, Pope Leo XIV was photographed sporting a White Sox cap at the Vatican, spreading the gospel of Chicago around the world.
rchannick@chicagotribune.com

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Ripped from the headlines: How the showrunners of ‘Monsters,' ‘Apple Cider Vinegar' and ‘Good American Family' mined truth for drama
Ripped from the headlines: How the showrunners of ‘Monsters,' ‘Apple Cider Vinegar' and ‘Good American Family' mined truth for drama

Yahoo

time28 minutes ago

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Ripped from the headlines: How the showrunners of ‘Monsters,' ‘Apple Cider Vinegar' and ‘Good American Family' mined truth for drama

Truth is indeed stranger than fiction — which makes true crime incredibly fertile ground for generating compelling ideas for TV series. But it also brings its own set of complications, where showrunners have to toe a careful line when dealing with real-life characters. Here, the executive producers behind three of the season's news-inspired series — Monsters: The Lyle and Erik Menendez Story's Ian Brennan, Good American Family's Katie Robbins, and Apple Cider Vinegar's Samantha Strauss — reveal how they navigated those landmines to critical and commercial success. More from GoldDerby 'The Traitors' Season 4 casts a different Rob from 'Survivor,' a K-pop star, and Taylor Swift's potential future mother-in-law Dakota Fanning said 'yes' to 'The Perfect Couple' the moment she heard Nicole Kidman was involved, without knowing anything else about the show Roy Wood Jr. on how 'Lonely Flowers' became his most personal special to date Gold Derby: What made you want to take on these complex projects? Ian Brennan: I wasn't actually convinced at first. We were trying to follow Dahmer, and those are big shoes to fill. And my level of detail about the Menendez brothers was really minimal. I remember them being caricatured on Saturday Night Live for crying on the witness stand. It was not articulated at the time what they were crying about. That's how low our cultural resolution was at the time, to keep two thoughts in our head, that boys could be victims of sexual violence and also murderers — that was just too hard for that era of pop culture. But just getting into the case, I was like, "Oh no, this contains multitudes, this is really deep." It was in fact, a lot to take in. It's not this was like a new case or anything. It's become now a new case, which is f--king wild. I expect that the boys will get paroled based on this 'new' evidence that was not new at all. We just pointed those out again, and it shows the power of television for sure. Samantha Strauss: Our show is about a woman who faked brain cancer and built a wellness empire on her lie. There was a 60 Minutes exposé, which was a trainwreck of an interview, and it really captured the imagination here in Australia. She wore a very interesting pink turtleneck and just was unable to tell the truth. The rise and the fall of Belle Gibson might just feel like a scammer story we've seen before, but the journalists who actually broke the story on Belle wrote this beautiful book about her, and they had incredible sources, they also painted the picture of wellness culture. They followed other cancer scammers across history and other wellness influencers, and what I just loved was that it was a tapestry and an opportunity to have a conversation about wellness culture, about social media, about our need for approval. Katie Robbins: Hulu came to me back in 2020 with the idea of turning this story about Natalia Grace and the Barnetts into a narrative limited. Back then, the story was out in the world, but not as pervasive as it is now. And so I had to do my own deep dive into it. I had never done true crime, nor had I been like looking to do true crime, necessarily, but I was so struck by the experience of reading about these stories in that I would read one article and just be like, "Oh my gosh, this is the truth." And then I'd go and watch an interview with one of the other parties involved, and I'd be like, "Oh my gosh, no, I was wrong." That feeling of whiplash and not knowing which way was up, I thought was really interesting. The more I learned about the story, the more important and insidious that became because at the end of the story, there is some empirical, biological evidence. And that evidence didn't end up mattering in the court of law or the court of public opinion. I thought was really fascinating and really troubling, and something that feels every day more troubling because we're seeing it writ large across this country. And so I came up with the idea of using perspective as the way of telling the story — starting the story in the perspective of the Barnetts in this heightened, slightly campy, kind of tone, and then at a certain point that being upended and switching perspectives, and us having to question everything that we've been we've seen so far, and also question why we believed what we saw so far. Do you feel like you were able to get at some "truth"? Brennan: For our show, we knew from the beginning that truth was going to be tricky, because four people know the truth of the story. Two are in prison. Two are dead. There's not some piece of evidence that hasn't been looked at, it's been so combed over, and everybody's sticking to their story. So we knew we had to tell it like, like Rashomon, that we had to keep telling the story over and over again from different perspectives. You have to allow yourself to be making a painting, not a photograph, and you try to get as close as you can. Robbins: The 'truth' is it's complicated and hard to hold onto in our story, and yet there was some empirical fact at the end of it. And so the way that we went about doing it was to really draw from allegations that the two sides have made about each other, and that we use the perspective-driven storytelling as a way of saying, "OK, we're telling this person's version of events, and now we're telling this person's version of events, and then finally we end with some sense of empirical fact." We had a treasure trove of research. I often thought about we were doing as the way a sculptor works with a big piece of granite. You've got the form, and now we have to chisel away at that and figure out what is the story that we're telling with this boulder of research that we have. As long as your North Star is an emotional truth for the people that you're telling stories about, then I think it gives you a little bit of license to be able to play and to tell a story that feels dramatically engaging and emotionally true. Strauss: I really grapple with this telling a true story. The effect can be a pile on. Our Belle is a real person. She's out there, and she's got a family. I had to keep going back to the idea of entertainment first and foremost. It's the conversation around those decisions of trying not to sensationalize the story, not glorify her behavior. Because as a writer, I love an antihero. You just want to get in there and get into the marrow, and you put all your own sh-t into her sh-t and your needs and deep wounds into her deep wounds. It was always important to get right to the edge of empathy for her, because she's the baddie, but it's the culture that's enabled her, the social media culture in particular, and how that cannibalizes our intense need for approval and for love. There were grown-ups in the room that were really enabling her behavior. Every time we in the writers room felt too much sympathy for her, we would then walk it back and have to remember the people who were so negatively affected by her, and that was why it was important to to juxtapose her with someone who really did have cancer and who desperately wanted to save herself, and who was lying to herself about how her alternative treatment was making her well. Did you reach out to the real people involved, or did the legal teams say to you, actually, you're better off not talking to them at all. Strauss: That was our legal advice, but also the creative advice. Our character of Belle, played by Kaitlyn Dever, she became our version, not the real version. Some things are condensed and all of those things, but hopefully, the profound truth is at the center Brennan: We didn't [contact the Menendez brothers], but that was by design. I don't even think at the beginning they would have wanted to speak to us, but we didn't reach out again. There's nothing more to learn. Their story has remained the same. And I think you don't want to be seen as being in the tank for anybody. We didn't get any worried phone calls from legal. I think the Menendez brothers have reached a threshold of fame that's almost public domain by virtue of how everybody knows it. I think that's just where you try to do as much research internally as you can and trust a moral North Star. Robbins: It was very important to try to do justice to Natalia's story and to get that story out there, and to use the structure of it to shine a light on these themes around bias and disability and the fact that the truth doesn't matter sometimes, if the person who's telling it is telling it in a way that is captivating and convincing, we stop asking questions and then we cease to move through the world with empathy and curiosity. So that was really important. We really got to tell the story that we wanted to tell, and the story that felt like it was doing justice in the way that we'd hoped. Have you heard from the real people involved? Strauss: I haven't. I really expected Belle to storm the launch, but for someone who really did crave the spotlight, she has been surprisingly AWOL, which is great. I mean, it might have been good for the publicity. [Laughs.] Brennan: No. The person who's out there still is Leslie Abramson, their lawyer, who I thought we'd hear from, just by virtue of being a lawyer on TV. I think we portrayed her in a way that she would love. But I was wondering if she was going to come knocking but she never did at all. Robbins: Nothing from the Barnetts. What do you want people to take away from your projects? Strauss: I read every negative thing that anyone ever writes, but in between, is the positives, which is the people who feel hurt, who are chronically ill or have cancer, who are bullied by their friends online. They're told to literally drink apple cider vinegar and you'll cure yourself. What is heartbreaking is the, hundreds, thousands [of dollars] that you might spend to go to a quack center and put your health in the hands of someone who's not necessarily a scientist, who hasn't been to medical school. It was important for us to show that doctors aren't always right. You do have to advocate for yourself. We get so polarized. and social media loves pushing us into down our rabbit holes, and creating an us and them. I love the sentiment of listening to each other and balance. Robbins: At the end of the day, the great horror of it is that there was empirical fact about Natalia's age, and that didn't matter, and in the state of Indiana, that hasn't made a difference in her birth certificate. That's terrifying to me, that there can be scientific evidence and that doesn't mean anything. That becomes more and more of something that I think we need to be aware of, and we need to have media literacy and ask questions. This wouldn't have happened had Natalia been of average stature, if she hadn't been born into the body that she was born into. If our show can help people ask more questions and move through the world with a little bit more empathy and curiosity, that's the great takeaway. Brennan: That abuse, sexual or otherwise, is almost like you actually abuse multiple generations of people. It almost destroys someone's DNA and it becomes this heritable thing that then they pass on generation after generation. I think there is rarely sexual abuse that happens in a vacuum. I'm sure it does happen, but it's almost always abused, sexually abused, abusive people were themselves sexually abused. It's learned behavior — these cycles of abuse, how toxic and how permanent they become, and become almost a sort of family member that everyone's forced to live with. Why do you think audiences are looking for these kinds of stories now more than ever? Brennan: Dahmer was a real eye opener for everybody, including Netflix. That's a challenging show. That's a hard watch, but I think we live in dark times, and people need a little bit of affirmation that they're not alone in seeing horrors around them. Robbins: It certainly seems that there is an appetite for this kind of storytelling, and I am always wondering what that's about. Why are we so interested in it? There's a little bit of a desire to dissect what is happening in the world, and holding a mirror up to ourselves. And these are stories that are larger than life in a lot of ways, and don't feel necessarily reflective of each of our individual experiences. And yet, these are real people, and so there is something almost Shakespearean about the scale at which these stories are being told, and yet, what they're born out of are things that are very true to each of us, Nobody sets out every day to say, I want to be a villain, I want to go off and do bad things and torment people. They are trying to lead their lives in the way that feels like true to them. And yet these things happen. And so I'm trying to understand why these things are happening within our society, and what that says about our society, What I like about doing this kind of work, having now done it once, is that it does feel like a chance to write an op-ed a little bit. I think an important thing to be able to do as an artist is to look at the world around you and try to make sense of it. That's what we're doing. We're meaning makers. Strauss: They are easy to sell, or they have been lately, because there's already a built in audience and a conversation. Our show sort of sits in the scammer microcosm. I have thought a lot about that, why we like scammers. Part of it is the audacity. How can someone do that? How can they break the system? Oh, maybe I can break the system. But then I think we do like to see the fall from grace and justice served sat a deeper level. I wonder if it's because we often feel like we're being scammed by people in our lives, or we're being gaslit by people in our lives. Brennan: It's also that it was a true story, you couldn't write it. It's ruined writers' rooms for me, because if it was a scripted story, you'd get the note: "That's too on the nose." Because humans are super weird. The third season of Monsters is about a grave-digging necrophiliac — really, really dark stuff. And it doesn't faze me at all. It's just fascinating. That is what human beings are capable of. Best of GoldDerby Inside 'The Daily Show': The team behind the satirical news series on politics, puppies, punchlines — and staying sane Dakota Fanning said 'yes' to 'The Perfect Couple' the moment she heard Nicole Kidman was involved, without knowing anything else about the show 'Slow Horses' star Rosalind Eleazar gets real about her MI5 outcast Louisa Guy: 'She's really not OK' Click here to read the full article.

‘The Traitors' Season 4 casts a different Rob from ‘Survivor,' a K-pop star, and Taylor Swift's potential future mother-in-law
‘The Traitors' Season 4 casts a different Rob from ‘Survivor,' a K-pop star, and Taylor Swift's potential future mother-in-law

Yahoo

time29 minutes ago

  • Yahoo

‘The Traitors' Season 4 casts a different Rob from ‘Survivor,' a K-pop star, and Taylor Swift's potential future mother-in-law

Reality TV's most ruthless stars are gearing up for a fierce showdown in the Scottish Highlands. The 23 cast members for The Traitors Season 4 were announced on Friday by Peacock, and they include contestants from The Amazing Race, The Bachelor, Big Brother, Dancing With the Stars, Laguna Beach, Love Island, The Real Housewives, RuPaul's Drag Race, The Surreal Life, and Survivor. Last year, Survivor alum Rob Mariano stole the show as a Traitor, and now a different Rob — Rob Cesternino, also from Survivor — will be trying to make a similar impact on viewers. More from GoldDerby Ripped from the headlines: How the showrunners of 'Monsters,' 'Apple Cider Vinegar' and 'Good American Family' mined truth for drama Dakota Fanning said 'yes' to 'The Perfect Couple' the moment she heard Nicole Kidman was involved, without knowing anything else about the show Roy Wood Jr. on how 'Lonely Flowers' became his most personal special to date Rounding out the cast are notable names with no strong ties to reality TV: K-pop singer-songwriter Eric Nam, actor Michael Rapaport, comedian Ron Funches, and Donna Kelce, the mother of NFL bros Travis & Jason Kelce. With Travis and Taylor Swift's high-profile relationship still going strong, might Tay Tay be tuning in each week to watch her potential future mother-in-law take center stage on The Traitors?As always, Alan Cumming will oversee the drama as the villainous Traitors plot each night to secretly murder the unsuspecting Faithfuls — until they're banished from the castle. Cumming won two Emmy Awards in 2024 as a host and producer of Peacock's whodunnit competition show. "We all really care so much about this show and the production standards," Cumming recently said. "We care about the experience people have on it. We're very passionate about it in a way that, I don't think in my experience, has always been the case when you promote a show." Below is The Traitors Season 4 cast list, as it stands now. Note that new contestants can always be introduced to the game at a later date. Candiace Dillard Bassett, The Real Housewives of Potomac Caroline Stanbury, The Real Housewives of Dubai Colton Underwood, The Bachelor 23 Donna Kelce, "Mama" Kelce Dorinda Medley, The Real Housewives of New York City Eric Nam, K-pop singer-songwriter Ian Terry, Big Brother 14 Johnny Weir, Surreal Life: Villa of Secrets and Olympic figure skater Kristen Kish, Top Chef host Lisa Rinna, The Real Housewives of Beverly Hills Mark Ballas, Dancing with the Stars pro dancer Maura Higgins, Aftersun: Love Island USA Michael Rapaport, actor Monét X Change, RuPaul's Drag Race 10 Natalie Anderson, The Amazing Race 21 and Survivor: San Juan del Sur Porsha Williams, The Real Housewives of Atlanta Rob Cesternino, Survivor: The Amazon Rob Rausch, Love Island USA Ron Funches, comedian Stephen Colletti, Laguna Beach and actor Tara Lipinski, Olympic figure skater Tiffany Mitchell, Big Brother 23 Yamil "Yam Yam" Arocho, Survivor 44for the Jed Foundation The cast announcement appears to be savvily tied to the start of Emmy voting, which runs from June 12 to 23. The Traitors is already a three-time winner, for reality casting (for Season 1), and competition series and reality host (both for Season 2), and now Season 3 is eligible for more trophies at the 2025 Emmys. Survivor legend Cirie Fields won Season 1, The Challenge vets Chris "CT" Tamburello and Trishelle Cannatella won Season 2, and a whopping four people won Season 3: Dolores Catania, Dylan Efron, Gabby Windey, and Ivar Mountbatten. Season 4 of The Traitors is expected to air in early 2026, as the first three seasons all began in early January. The show has already been picked up for a fifth season. Peacock SIGN UP for Gold Derby's free newsletter with latest predictions Best of GoldDerby The 25 best 'Survivor' villains of the past 25 years 'Survivor' winners list: All seasons 'The Voice' winners: All seasons Click here to read the full article.

Appreciation: Brian Wilson, dead at 82. ‘I never knew what 'genius' meant,' he told us
Appreciation: Brian Wilson, dead at 82. ‘I never knew what 'genius' meant,' he told us

American Military News

timean hour ago

  • American Military News

Appreciation: Brian Wilson, dead at 82. ‘I never knew what 'genius' meant,' he told us

The term 'tortured genius' has been too liberally applied to a number of great and not-so-great artists over the years, but Brian Wilson is one of the few who truly qualified for both designations. The announcement of his death Wednesday at the age of 82 silences one of the most transcendent musical voices of his generation — a deeply troubled man-child whose best music exuded joy and beauty with a unique combination of sophistication and wide-eyed youthful wonder. 'I never knew what 'genius' meant. I think it means 'clever.' I don't know,' Wilson said in 2016 during my sixth and most recent San Diego Union-Tribune interview with him. Both as the mastermind of the Beach Boys and in his best work as a solo artist, Wilson demonstrated a singular degree of melodic ingenuity, emotional depth and meticulous craftsmanship. He was able to create gorgeous sonic soundscapes despite — and, perhaps, in response to — the physical and mental travails he underwent for much of his life. Wilson's father, Murry, battered Brian psychologically and physically, including hitting his then-teenaged son in the head so hard with a two-by-four piece of wood that the younger Wilson lost his hearing in one ear. Later in his life, he was diagnosed with schizoaffective disorder and manic depression. Years of drug abuse also left their mark on Wilson. So did the weighty expectations placed on him as a result of the Beach Boys' multimillion-selling records and the lavish critical praise he received. 'Yeah, the success I achieved was expensive for a couple of reasons,' Wilson said in a 1991 Union-Tribune interview. 'One, it made it difficult for me to live up to what I had achieved. … It's like when you plant seeds earlier in your life: 'I'm going to be successful in the recording industry; I'm gonna be a good singer,' and you achieve that. 'Then what happens? You're going, 'Hey, what's wrong here?' Then one day it occurs to you that the seeds you planted were a little too big, that you're not going to be able to get the goal that you set for yourself, because you set it too high. That happens to a lot of people. And your encore is more of the same, and pretty soon you go crazy and you say, 'I can't do this. What am I? I can't do this'.' Classic songs What Wilson did do, both during and — at times — after his 1960s heyday, will continue to stand the test of time. The list of classic songs he wrote or co-wrote includes 'Surfin' U.S.A.,' 'California Girls,' 'In My Room,' 'Good Vibrations,' 'God Only Knows,' 'Don't Worry Baby,' 'I Get Around,' 'The Warmth of the Sun,' 'Surfs Up,' 'Sail On, Sailor,' 'Fantasy Is Reality/Bells of Madness,' 'I Just Wasn't Made For These Times' and a good number more. Also on that list is the gorgeous, deeply melancholic 'Summer's Gone,' a standout number from the Beach Boys' final album with Wilson, 2012's 'That's Why God Made the Radio.' And, of course, the entire 'Pet Sounds' album, the landmark 1966 opus that has been ranked ever since as one of the greatest recordings of the 20th century. Wilson had mixed emotions when he reflected on the making of 'Pet Sounds' in our 1991 interview. 'I use(d) drugs to create 'Pet Sounds,' and they do help me and it was an experience for me. Although, at the same time, I was very dismayed at the fact that not too long afterwards, I was smoking (marijuana), I was using drugs much more profusely than I did with 'Pet Sounds.' 'And I began to grow up, because I said, 'If I can create 'Pet Sounds' on drugs, I can create something greater on drugs.' So I made 'Good Vibrations' on drugs; I used drugs to make that. I was on drugs. I learned how to function behind drugs and it improved my brain, it improved the way I was, it made me more rooted in my sanity. 'The only thing is a couple of side effects, like paranoia and b.s. like that,' he continued. 'But you can get over that, you know, simply by not overdoing it. If you do it in moderation, you see, I took drugs in moderation (and) I was able to create, I could create. It gave me the ability — carte blanche — to create something, you know what I mean? 'And that's where it's at; drugs aren't where it's at. But, for me, that's where it was at in 1966. And I got off the stuff. I said, 'Hey, I don't need this anymore'.' San Diego Zoo visit The cover photo for 'Pet Sounds' was taken at the San Diego Zoo. 'I can't remember who came up with the idea. I think I did,' said Wilson in 2016, while acknowledging his zoo visit was a one-off. 'Have I ever been back? No. Never again.' Wilson's influence on several generations of musicians and fans is a matter of record. His admirers include Paul McCartney, Elton John, Weezer, Ireland's Prefab Sprout, Fontaines D.C. and such San Diego artists as Cindy Lee Berryhill and Blink-182. Another San Diego-bred band, Nickel Creek, drew great inspiration from Wilson's legendary 1966 and 1967 recording sessions for his wildly experimental album 'SMilE.' 'There is such freedom, such curiosity and wonder permeating every single track on 'SMiLE',' said Nickel Creek's Chris Thile in a 2023 Union-Tribune interview about 'Celebrants,' his band's then-new album. 'Because (Wilson) didn't ever finish 'SMiLE,' it's such a springboard to one's own musical imagination and possibilities. The greatest pieces of art are empowering in that way. They kind of rocket you into creativity. I think any number of brilliant pieces of art feel gloriously unfinished in that way. So, we sat up late at the beginning of the writing process for 'Celebrants' and used 'SMiLE' as a springboard…' Wilson was a Kennedy Center honoree and a Rock & Roll Hall of Fame inductee. His life was chronicled in the 2015 biopic, 'Love & Mercy,' in which two actors — Paul Dano and John Cusack — portrayed him. Wilson was pleased with the casting, he told me, but not with the depictions of some of his drug use. 'The actors were cast very well,' Wilson said. 'They hung out with me to get to know me. I can't wait to see how the movie does (with audiences). I didn't give (the actors) any advice, (but) John Cusack did (get) my sense of humor pretty good. It's a fun movie. I had a really good time watching it. 'The dark parts, where I took drugs, that was hard to watch.' 'A little intimidating' The Beach Boys' first headlining concert in San Diego was in 1964 at Russ Auditorium. Wilson's most recent area show with the band was at Cricket Wireless Amphitheatre in Chula Vista for the group's short-lived 50th anniversary tour in 2012. As a solo artist, he performed here at an array of venues, including Humphreys, the San Diego County Fair Grandstand Stage and the Rady Shell, where his final San Diego show took place Aug. 31, 2021. Wilson looked frail and often sounded ragged at his Shell concert which saw him in the motorized wheelchair he had started using a few years earlier. His final concert was in 2022. Last year, following the death of his wife, Melinda, he was placed into a conservatorship. Between 1991 and 2016, I was fortunate to do six interviews with Wilson, three in person and three by phone. As the years progressed, he went from being open and talkative — if sometimes paranoid and unsure of himself — to being terse and withdrawn. His eyes still sparkled at times, even as his inner light seemed to be fading. But he would suddenly come alive when he connected with a question, just as he still could briefly come alive on stage when he connected with one of his timeless songs. Our first interview, 34 years ago, took place at Wilson's Malibu home and in a limousine taking him to the UCLA campus. Our most recent interview was on the ninth floor of the Capitol Records Tower in Hollywood. It was the same Capitol Tower that the Beach Boys first visited in 1962 to sign their contract with Capitol Records. When I asked Wilson to recall his first time at there, he replied: 'It was a little intimidating. All my heroes had recorded here, Nat 'King' Cole, the Four Freshmen …' Wilson was just 20 at the time. His goals, beyond making records, were undefined. 'I didn't have any notion. I had no idea,' he admitted. 'The goal was to take it one year at a time. (After 1963) I wanted to do rock 'n' roll music. … I didn't take my fame very seriously, you know. But (success) did put pressure on me to record good music. And, yeah, it became difficult. After 'Pet Sounds,' I wanted to try and do something that would be just as good, or better. 'I want to do the best I can.' Happily, when he was at the peak of his powers, Wilson's best was often better than nearly anyone else's. His earthly travails were soul-sapping and then some. But, like millions of listeners, Wilson found salvation in his music and he shared it with the world. Or, as he told me in 1991: 'Music does wash away the dust of everyday life; it cleanses the soul, too. It also does subliminal things to people.' ___ © 2025 The San Diego Union-Tribune. Distributed by Tribune Content Agency, LLC.

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