Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?
Though their music was similar only in being groundbreaking, Wilson and Stone's lives followed similar, tragic narrative arcs. Both reached artistic peaks achieved by few others in pop music over periods of just a few years. Both were masters of the recording studio at a time when most artists left that part of their work to producers and focused on live performance. And both suffered from the ravages of drug abuse and mental illness for much of the remainder of their lives, making their many fans mourn for what more they could have offered.
But what they created in their primes served as inspiration for legions of artists to come.
Prince, Public Enemy and OutKast counted Sly Stone as a major influence. Wilson's lush, deceptively sophisticated harmonies and instrumentation were foundational for too many orchestral pop artists to count, and thanks to his epic rivalry with the Beatles in the mid-'60s, they pushed each other to greater heights. The Beatles' 'Rubber Soul' stirred Wilson to create his masterpiece, the Beach Boys' 'Pet Sounds,' which then inspired the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band.'
Speaking of 'Rubber Soul,' Wilson told the Tribune a little over a decade ago, 'I was so blown away by that damn album that I went and wrote ('God Only Knows.') Paul McCartney subsequently called Wilson's work of genius possibly the greatest song ever written.
Wilson set out to top the Fab Four yet again with what would have been 'Smile,' but threw in the towel on that legendary 'lost album' amid intra-band acrimony and debilitating mental health issues.
Stone and Wilson both were children of California, but we choose to remember the brief but fascinating role of west suburban St. Charles in Wilson's life. Having remarried and feeling revived, Wilson moved to the suburb in the late 1990s to live near producer Joe Thomas, who worked on Wilson's 1998 comeback album, 'Imagination.' Wilson, an iconic Southern Californian, didn't learn to love Midwestern winters and in a few years' time moved back to where he once belonged.
But we like to think our slightly less glamorous region played a significant role in Wilson's latter-years career resurgence that followed from what we'll call 'the St. Charles years,' topped by his 2004 celebrated re-creation with a stellar band of his vision for 'Smile.'
God only knows what we'd do without the immense musical legacies Wilson and Stone left us this week.
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2 hours ago
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How did you land that now-memorable shot of you inside the train in Woody Allen's "Stardust Memories"? The casting agent Riccardo Bertoni cast extras in New York. He was a guy who really saw talent. He helped Sly [Stallone] get "Rocky" made. He saw me and said, "Girl, you're a star, and I'm going to get you in front of people." I didn't have any money, so I would rollerskate to all my modeling appointments. This was back in the Studio 54 period of New York City. I went over to Riccardo's and he told me that Juliet Taylor was casting extras for this Woody Allen movie. He told me to go to this bus stop. Woody was actually sitting at the bus stop. Juliet had a podium placed in front of it, and she would look at everyone's headshots. So I rollerskated over there and had my giant modeling portfolio with me and showed it to her. She turned around and passed it to Woody in the bus stop. Then she said, "Woody would like you to sit down with him." So I skated into the bus stop and sat with Woody, and he looked at my stuff and didn't say anything, and handed it back to me, and I skated away. And I later found out I got the job. On the day of shooting, the 1st AD came out and he said, "Sharon, there was a girl who was going to play a part and she's sick, Woody's going to come out and talk to you." Woody comes over and tells me, "I want you to do this job, it's today." I was self-conscious, I was 19, and they put me in this tight dress, and I was so awkward about my body. The hair person put a real gardenia in my hair. It really meant the world to me that she did that. It made me feel important. And then Gordon Willis was the DP, the man who shot "The Godfather." It was an amazing experience. On her contentious first encounter with Michael Douglas before they co-starred in 'Basic Instinct' Did Paul Verhoeven ever bring up "Basic Instinct" to you when you two made "Total Recall"? No. And what happened was I wanted the part, but nobody would give me the script. So my manager, Chuck Binder, broke into the office by picking the lock with his credit card and stole the "Basic Instinct" script for me. I read it and I said, "I'm having this part." Everyone they went out to would turn it down. But the thing was, Michael Douglas did not want to put his bare ass out on the screen with an unknown. And I understood that. He wouldn't even test with me. But that was also for a different reason; we had an argument prior to that. This was at Cannes. A bunch of us were all sitting, and he was talking about someone and their kids. I really, really knew this person he was talking about. So I said something and he responded to me, saying, "What the fuck do you know?" It was in regard to a father/child relationship. Clearly, it triggered him. So he screams this at me across a whole group of people. And I'm not the person who goes, "Oh, excuse me, superstar." I pushed back my chair and said to him, "Let's step outside." That's how we first met. Did you two step outside? Yeah. And I explained to him what the fuck I knew about this family he was speaking about, and that I was best friends with the children and the parent. And then we parted, I wouldn't say as best friends, but amicably. So, fast forward to casting "Basic Instinct," I don't think he wanted me to be his costar. [ Laughs.] (Editor's note: Michael Douglas did not reply to a request for comment.) But I would imagine that tension between you two fueled the dynamic your characters had in the movie. It worked great, because I was not rattled if he yelled at me. That was interesting for the character, because Michael has a temper, and I didn't care. That worked very well in our dynamic. Eventually, we became the greatest of friends, to this day. I admire him tremendously. The role of Catherine Tramell made you an icon, but you had a price to pay. 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On wanting to make a Phyllis Diller biopic and learning her laugh Do you want to play Phyllis Diller one day? I do want to play Phyllis Diller very, very badly. She and I were very close friends. She cooked me dinner a lot of times. That woman could cook. I told her I wanted to play her, and she sat down and taught me her laugh. She made me practice her laugh! Phyllis made little paintings for all my kids. Are you actively trying to get a biopic off the ground? I'm trying. You know, she didn't hit it big until she was 49. She lived in a trailer park with 5 kids and her schizophrenic husband, and practiced her act on women at the laundromat. It's unbelievable. I think there are great actors who could play Bob Hope, Red Buttons, Johnny Carson. Sam Rockwell could play Johnny in his sleep. We were tight. Yes, I'm desperate to play her. This interview has been condensed and edited for clarity. "Nobody 2" hits theaters August 15. More from this series
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Yahoo
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