Latest news with #BrianWilson
The Herald Scotland
5 days ago
- Entertainment
- The Herald Scotland
Ozzy Osbourne lived a life that feels impossible to put in rear view
He was a core part of the nucleus of something far greater than himself, while continuing to guide and mentor the monster that he had helped create. It's a testament to how much of a cultural force he was, how many people out there implicitly understood him. Osbourne was never locked into the timeframe of his successes nor reliant on the easy blessings of nostalgia like most figures in our cultural iconography – there was always a generation of teenagers in wait, ready to take the mantle and carry on all that he represented within themselves. The sheer influence, not just on music, but on people as a whole, is indescribable. Read more: I wonder if Brian Wilson ever truly knew how much his music meant to people There has been endless discussion over who or what originated heavy metal. Was it one of the early, harder-edged bands like Deep Purple or Led Zeppelin, or something less obvious like Blue Cheer's gritty 1968 single Summertime Blues? However, the whole discussion seems like a blatant distraction from the one true culprit: the debut album of Black Sabbath. Everything that could possibly be considered heavy metal is on that 1970 release. It's all there, served up helpfully in one neat package. The haunting eeriness of the cover art, the thunderous rain and bells of its opening track, the devil tones and tritones of Tony Iommi's guitar, and, of course, the nasal shrill of Osbourne projecting dark tales of wizards and nightmarish figures in black. He understood the true dramatics of rock music before any of his peers did. He knew that for a group like Black Sabbath to succeed, he had to buy in and cultivate the mythos himself. Ozzy Osbourne's contributions to Black Sabbath were part of the nucleus of the entire heavy metal genre (Image: Getty) Osbourne was never much of a singer. He was, by his own admission, not much of a musician at all. His initial opening into Black Sabbath was predicated on the simple basis of being the owner of a PA system. It made him useful for getting gigs. But he could perform, and he could forcefully bend his limited range to the will of a song. And it certainly helped that he had a knack for playing into the attention, an instinct for the theatrical, of turning a life of raucous intrigue into headlines and a long-enduring artistic persona. He was someone who could always manage to turn limitations into weapons. After being fired from Black Sabbath in 1979, Osbourne expected to burn through his remaining money holed up in a hotel room with cocaine and then return to his parents in Birmingham, ready to rejoin the dole queue as if none of his rockstar success ever happened. His manager and future wife, Sharon, pulled him from the mire and guided his career forward on a personal level, but musically, it was a young guitarist named Randy Rhoads who became his muse, providing the many iconic musical moments that drove reaction to his early solo career. Rhoads was the ingredient that gave the character of Ozzy a fresh air, a new musical dimension for him to dive in and explore. As much as Osbourne benefited from the surrounding musicians, they too saw benefit. His band was often seen as a stepping stone, a boot camp experience for future aspirations. Many now-famous heavy musicians were well-trained in the Ozzy camp. Read more: This extreme metal album blew up over a weekend – now it's accused of being AI Osbourne never lived as an island unto himself; much of the success and the drive relied on who he was surrounded by, and the relationship between himself and his guitarist was always paramount. His long solo career, which could fluctuate between tremendous highs and some garish lows, depended much on the collaborative space. His legacy well and truly stands on its own, yet it's an essential part of his story to remember the contributions of those without their names emblazoned on the marquee. Everyone already knows the mythical Prince of Darkness who bit heads off bats and inspired Satanic worship in the youth. The stories are out there, and they are endless. It was a media creation that he kept well and truly fed. It was so pervasive that he could parlay that into quite the media success of his own. His later years saw him become a big-time festival promoter, reality television star, and a general reference point in culture for everything dark and heavy. Osbourne was more than happy to play into the fantasy and mystique of his persona and all the chaos it created. After all, it was not quite the life that a factory worker from a post-industrial city could have imagined for himself. Or for anyone else.
Times
19-07-2025
- Entertainment
- Times
Richard Osman and Ingrid Oliver: ‘I had an inkling we'd get together'
I've always been convinced that the right person was out there for me. I have two twentysomething children from a previous relationship, but before I met Ingrid I'd never been married. I'd spent years in therapy dealing with food addiction, feeling too tall, feeling like I couldn't see anything and feeling shame that in Brian Wilson's words, 'I wasn't made for these times.' I got to a point where I was happy in myself and my work but my therapist said, 'You won't finish your journey until you're in a relationship.' He was right. I've always wanted to be part of a team. I was aware of Ingrid from social media and thought she was very funny, but beyond a single tweet we'd never communicated. I asked our mutual friend, the comedian Lou Sanders, to check if Ingrid was available. She wasn't. Twelve months later, in 2021, Ingrid was a guest on my quiz show House of Games. This time Lou told me Ingrid was available, so I spent a long day in front of the cameras desperately trying not to flirt. I made eye contact less with her than any other guest ever. Unlike most couples, though, I do have a record of the first thing I ever said to my soulmate: 'I'm looking for two rhyming answers. A musical instrument filled with rice played by shaking, and the capital of Venezuela.' Ingrid buzzed in. 'Maracas and Caracas.' I was instantly smitten. She was beautiful, funny and clever. I got her phone number that night and we've been in each other's pockets ever since. I was writing my third novel then, The Bullet That Missed, and I dedicated it to Ingrid with the words 'I was waiting for you'. My dad walked out when I was nine, and Ingrid has a complex family history. I felt as though we'd both been through the mire and earned the right to be happy. We're both very sensitive people who grew up without a sense of emotional stability, which is why we're perfect for each other. People talk about compatibility and chemistry but it's also important to need the same thing and understand each other's foibles. You like someone because of their strengths but you fall in love with them because of their weaknesses, and if you can help with each other's, you've got it made. Ingrid moved in with me a few months after we met and we got married the following year. It was the best day of my life. I knew that the bride walking down the aisle is traditionally the big moment but I thought, that's wasting a bit of bang for your buck, so I walked in first with my children to Lose Yourself by Eminem: 'You only get one shot; do not miss your chance to blow.' Ingrid followed to the Beatles' Long and Winding Road and everyone was in floods of tears. (Ingrid and I are regularly in tears ourselves, whether it's over West Side Story, Top Gun: Maverick or Interior Design Masters.) • Richard Osman: 'I'm genuinely, proudly middlebrow' It's been joyous to see how our families have blended. Ingrid had some really bad examples of what step-parents can be and has been wary. My daughter and her boyfriend joined us in Italy recently with Ingrid's brother and they all get along really well, and now I've got incredible nieces and nephews too. My supercool brother, Mat, is the bass guitarist from Suede and the real talent of the family; they had all those No 1s in the Nineties. The Thursday Murder Club is the first thing I've created that has topped the charts, and I'm really proud of that. Ingrid has totally nailed the character of Joanna in the film of the book. I'm in awe of her acting ability. And her quizzing skills, her writing prowess and her ability to speak other languages. I've lived most of my life on the back foot but because of Ingrid I no longer have to. My parents got married eight times in total between them — including once to each other — so like Richard I experienced a lot of uncertainty growing up. I'd seen marriages not working, so I never wanted to make that commitment unless I knew for sure. When Richard first asked Lou if I was single, I was. I was aware of him from Twitter and the telly, and I thought he was a lovely, kind, clever man, but I'd decided to try IVF and thought, I can't do this if I'm dating. But even then — and I don't want to sound stalkerish — I had an inkling we'd get together later. I tried IVF three times (it was brutal) before accepting defeat. When Richard got back in touch, I'd made my peace with that process and was ready to move on. I love House of Games, so I was excited to appear on the show. We knew we liked each other by that point so it was sort of, 'Oh my God, this is actually happening.' I remember feeling slightly sick and trying not to flirt; no one wants to see that. I was trying to impress him with my quizzing, and because he's such a pro I couldn't tell if he was making eyes at me or not, but we swapped numbers after the show. I just knew immediately. We were both beyond game-playing, and simply started a conversation that has never stopped. Our wedding was amazing. His son did a quiz, and what's happened with our families since has been wonderful. Before we met, I'd discussed not being able to have children with my therapist; they said, 'Families can come in many forms.' Now I feel so lucky. There are moments when our families are together I could weep. I love Richard's height, his humour and that we can talk about anything. He's incredibly relaxed, whereas I'm a catastrophiser and still think, this won't last — maybe he'll get hit by a car or I'll get cancer. I'm trying to manage it and he's helping me with it, bless him. • Richard Osman and his pop star brother: Mum is finally proud Working on The Thursday Murder Club film was surreal. He had no idea I'd been cast — there was certainly no phone call to get me the part. It's been such fun and when I got home after filming with Chris Columbus, who wrote the screenplay for one of my favourite movies of all time, The Goonies, I just cried. I came up with the title The Bullet That Missed but otherwise Richard gets on with his writing. Often he wakes up at 5am with ideas whirring round his head. I wake up thinking, he's still here. Not that I'm worried he'll leave, I'm just genuinely excited to see him every morning — I know that's so lame. I've always been very independent and happy to eat out or holiday alone, but my life is 100 per cent more fulfilling now with Richard. I've no idea what the future holds. We're always looking at Rightmove — maybe we'll move to Italy in the middle of nowhere. It doesn't matter what happens as long as we're Thursday Murder Club is out on August 22. Oliver is a judge of the Comedy Women in Print prize ( Richard on IngridHer go-to karaoke song, Rock Me Amadeus, in full German, is an absolute barnstormer Ingrid on RichardBecause of his eye condition, nystagmus, I drive. I use the satnav but he'll spend the whole journey checking the route on his phone
Otago Daily Times
18-07-2025
- Entertainment
- Otago Daily Times
Obituary: How Beach Boys visionary Brian Wilson changed music
Brian Wilson, leader, songwriter and producer of The Beach Boys, has left behind a legacy of beautiful, joyous, bittersweet and enduring music, crafted over a career spanning six decades. While news of his death on June 11 aged 82 was not unexpected – Wilson was diagnosed with dementia last year and entered a conservatorship after the loss of his wife, Melinda – his death marks the end of a long and extraordinary chapter in musical history. Formed in the early 1960s in Hawthorne California, The Beach Boys were built on a foundation of family and community: brothers Brian, Dennis and Carl Wilson, their cousin Mike Love, and school friend Al Jardine. Growing up, the Wilson family's Californian household was a turbulent place; their father, Murry Wilson, was strict and at times violent. Music was the one way in which the family could connect. During these early years Brian discovered the sounds that would shape his musical identity: Gershwin, doo wop groups, early rock'n'roll, and, a particular favourite, the vocal group the Four Freshmen, whose tight-harmony singing style Wilson studied meticulously. It was an unexpected combination of influences for a pop band. Even from The Beach Boys' earliest recordings – the surf, the cars, the girls – the stirrings of the complexity and musical adventurousness Wilson is known for is audible. Listen to the unexpected structure of The Lonely Sea (1962), the complex chords of The Warmth of the Sun (1963), or the subtle modulation in Don't Worry Baby (1964). These early innovations hinted at a growing creativity that would continue to evolve over the rest of the 1960s, and beyond. In later years, Brian Wilson often appeared publicly as a fragile figure, but what stands out most in his story is resilience. His ability to produce such an expansive and diverse catalogue of work while navigating difficult family relationships, intense record label pressures, misdiagnosed and mistreated mental health conditions, addiction and much more, is extraordinary. Wilson not only survived, but continued to create music. He eventually did something few Beach Boys' fans would have imagined – he returned to the stage. Wilson's unexpected return to the stage during the Pet Sounds and SMiLE tours in the early 2000s began a revival interest in The Beach Boys, and a critical reconsideration of their musical legacy. This continues with a consistent release of books, documentaries, movies and podcasts about Wilson and the legacy of The Beach Boys' music. I grew up near Surfers Paradise on the Gold Coast in Queensland. Their early songs about an endless summer had a particular resonance to my hometown, even if, like Brian Wilson, I only admired the beach from afar. I chose to study The Beach Boys' music for my PhD thesis and spent the next few years charting the course of their musical development from their early days in the garage to creating Pet Sounds — widely regarded as one of the greatest records ever made — just five years later. I was fascinated by how a band could create such a groundbreaking volume of work and progress so quickly from the delightful, yet wobbly Surfin' to the complex arrangements of God Only Knows. To understand their music, I spent years listening to Beach Boys' tracking sessions, take after take, to hear how their songs were so cleverly and delicately put together. What struck me just as powerfully as the music itself was the sound of Brian Wilson's voice in those recordings. Listening to Wilson leading hours of tracking sessions was to hear an artist at the top of their game – decisive, confident, funny, collaborative and deeply driven to make music that would express the magic he heard in his mind, and connect with an audience. One of the more unexpected discoveries in my analysis of The Beach Boys' music came from their lyrics. Using a word frequency tool to examine all 117 songs in my study, I found that the most common word was 'now'. In many cases, it appears in a conversational sense – "Well, she got her Daddy's car, and she cruised through the hamburger stand now"– but on a broader level, it perfectly encapsulates what Brian Wilson's music offered so many listeners. He created an endless present: a world where the sun could always be shining, where you could feel young forever, and you could visit that world any time you needed to. In 2010, I had the remarkable experience of meeting Brian Wilson in his dressing room before his performance at the Enmore Theatre in Sydney. He was funny and kind. He sat at a small keyboard, taught me a harmony and for a moment, we sang Love and Mercy together. It was one of the most magical moments of my life. It is also one of Wilson's most enduring sentiments: 'love and mercy, that's what we need tonight'. Farewell and thank you, Brian. Surf's up. ■Jadey O'Regan is a senior lecturer in contemporary music, Sydney Conservatorium of Music, University of Sydney.
Daily Mail
17-07-2025
- Entertainment
- Daily Mail
Chynna Phillips, 57, poses for very rare photo with sister Mackenzie Phillips, 65, at Brian Wilson's memorial
Chynna Phillips posed for very rare photo with her half-sister Mackenzie Phillips at Brian Wilson's memorial. Mackenzie, 65, is best known for her role as Julie Cooper Horvath on the sitcom One Day At A Time with Valerie Bertinelli. She was also on Orange Is The New Black. The images were shared to Chynna's Instagram account this week with a sweet caption. 'Brian Wilson's memorial was staggeringly beautiful. Wonderful to spend time with good friends and loved ones,' wrote the blonde beauty. The 57-year-old added hashtags for 'family' and 'in loving memory.' Also seen was Chyna's mother Michelle Phillips of the 1960s band The Mamas and the Papas. She posed with Brian's daughter Carnie Wilson at the intimate event. Chynna is a singer and actress who is married to Alec Baldwin 's brother, Sliver actor Billy Baldwin. She came to fame as a member of the pop vocal trio Wilson Phillips with Carnie and Wendy Wilson, the daughters of Brian Wilson of The Beach Boys. Chynna has another half-sister: Bijou Phillips, an actress who used to be wed to Danny Masterson. Brian died in June at age 82, after a long battle with dementia. Wilson struggled for decades with mental health issues and substance abuse, which led to fractured family bonds and limited contact with his daughters Carnie and Wendy. Carnie, now 57, and Wendy, 55, were born to Brian and his first wife, singer Marilyn Wilson of The Honeys. Their 1979 divorce came after years of turmoil, and Brian later remarried in 1995, tying the knot with Melinda Ledbetter, with whom he adopted five children: Dakota Rose, Daria Rose, Delanie Rose, Dylan and Dash. While his younger children have largely stayed out of the spotlight, Carnie and Wendy stepped directly into it—forming the hit-making pop trio Wilson Phillips in 1989 alongside Chynna. The group quickly shot to fame with early '90s smashes like Hold On, Release Me, and You're in Love. But behind the scenes, their relationship with their father remained strained. 'It was chaotic,' Carnie and Wendy recalled of their childhood during a 2020 appearance on The Kelly Clarkson Show, adding that Brian's presence was often fleeting. Carnie has spoken openly about the pain of growing up without a consistent father figure. 'We can't call him up and we can't see him,' Carnie told the Los Angeles Times in 1992 of Brian, with whom she hadn't spoken in two years at the time. 'I guess we could, but we're so afraid of each other. I don't know what I would say to him.' That same year, she and Wendy wrote the deeply personal track Flesh and Blood as a musical olive branch to their father. The song was featured on Wilson Phillips' second studio album, Shadows and Light. Flesh and Blood marked a rare departure for Wilson Phillips—a group that had largely steered clear of addressing their famous family ties in their music. Until then, all three members had been careful not to lean on their musical legacies. 'We didn't want to play on (our family connections) before,' Carnie told the Los Angeles Times. 'We didn't want people to think that they were (the reasons for) our success. Because they weren't.' But Flesh and Blood proved the exception. The emotional ballad was a lyrical plea to Brian after years of estrangement. 'If you never plan to come out of your shell / You're never gonna get well . . . / For years I've been following your case / It's the only time I see your face,' the sisters sang. Carnie told the Times she hoped the song would spark a long-overdue family reunion—but she wasn't sure how he'd take it. 'He's either going to cry real hard, or else just stare at something and get (mad),' she said at the time. Two years later, the breakthrough finally came. In 1994, Brian reunited with his daughters after years of limited contact, save for the occasional holiday dinner. The reconciliation marked a turning point. The trio began making music together, and Carnie expressed hope that the collaboration would grow. 'Wendy and I are doing demo tapes for our debut album as a duo, and I hope Daddy will provide background harmonies,' Carnie told People at the time. 'I know that one day we'll all work together.' Later in life, Brian became one of Wilson Phillips' biggest cheerleaders—a full-circle moment after years of distance and emotional struggle. 'He also loves Wilson Phillips. He really does,' Carnie told UsWeekly in 2024. 'He's always asking me, 'How's Wilson Phillips?' I go, 'We're great, Dad.' He's funny. He's very proud.'
Associated Press
17-07-2025
- Entertainment
- Associated Press
NEW 'FUN FUN FUN' CHEF APRONS HONOR BRIAN WILSON'S APPEARANCE ON ROCK & ROLL KITCHEN®
NEW 'FUN FUN FUN' APRONS HONOR BEACH BOY BRIAN WILSON'S 'ROCK & ROLL KITCHEN' APPEARANCE 'I had a wonderful time.'— Brian Wilson, The Beach Boys CHICAGO, IL, UNITED STATES, July 17, 2025 / / -- The Rock & Roll Kitchen® today announced the release of its first limited-edition leather chef apron, starting with 'FUN FUN FUN' — a tribute to Beach Boy Brian Wilson and his virtually unknown appearance on an episode of the unique cooking/music show, The Rock & Roll Kitchen®. Created by The Rock & Roll Chef® (Marty Larkin, a professional chef, musician and creative director), the apron has far more meaning than just some nice merchandise; its backstory involves not only Brian, but also world-class musicians, creative differences, and Brian likely defying his controversial therapist (Eugene Landy) to film the show. BRIAN'S EPISODE ALMOST DIDN'T HAPPEN Originally launched as a fast, irreverent Los Angeles public access show, The Rock & Roll Kitchen attracted industry attention quickly. Within months of its humble debut, an All-Star Band and video crew was assembled by an early guest: Pink Floyd sax player Scott Page. The amazing house band included legendary hit makers like Lee Sklar (bass), Jim Keltner (drums), Tower of Power horns, Mike Finnigan (keys & vocals), and Lawrence Juber (guitar). Ginger Baker of Cream even popped in to make English pancakes. But the biggest surprise was Wilson, whose organization initially passed on the invite to appear. Chef Larkin believes a contentious pre-show meeting with Wilson's controversial therapist (Eugene Landy) was the reason. 'Landy and I didn't exactly hit it off,' recalls Larkin. 'It turns out all the other Beach Boys had issues with him too. Brian #1 (as I called him) was also at the meeting, but barely — that was the version of him that was shut down, guarded, robotic. I was told soon after that Brian was a no-go for the show. I have no doubt Landy squashed it.' Somehow, everything changed. 'I don't know if it was the concept, the killer band, or maybe even me — it's obvious during our interview Brian liked me,' says Larkin. 'So I'm thinking Brian defied his therapist — and he did indeed fire him a few months later. So Brian #2 was the one who filmed with us — sweet, funny, accessible.' And the recipe he made? 'Surfer Chicken.' 'FUN FUN FUN' CHEF APRON AS TRIBUTE Despite production chaos — no script, no rehearsals, no shot list, all 'run and gun/improv,' a director with no cooking show experience — some footage survives, including Wilson's interview. Brian played 'Super Girl,' noodled around with some Gershwin, and did a full band number called 'Spirit Of Rock & Roll.' 'The producers and I were so far apart, they actually had the moxy to say my interview with Brian was no good?!' Larkin laughs. 'That was the last straw — trying to tell me something I knew was great, wasn't? But after I posted it online years later, everyone agreed with me: it was a terrific interview.' See the interview here: Larkin: 'The 'FUN FUN FUN' aprons honor that day, and more. I now see this as one of the world's greatest musicians giving me and my show his blessing by agreeing to film with us. When you add in the other amazing players who have been asking about doing this again, that's a great feeling.' And that was only the beginning. The 100% top grain chef aprons kick off a new line of handcrafted leather chef aprons inspired by rock legends Larkin has PERSONALLY worked for or with. Other designs include: • 'Sweet Child O' Mine' – honoring Steven Adler (Guns N' Roses) • 'Sunshine of Your Love' – a tribute to Ginger Baker (Cream) • • 'The Last In Line' – inspired by Ronnie James Dio • 'The Flame' – dedicated to Rick Nielsen (Cheap Trick) • 'Pour Some Sugar On Me' – a nod to Vivian Campbell (Def Leppard) The 'FUN FUN FUN' apron is available now at and soon on the upcoming Rock & Roll Kitchen® App, which will also feature video, audio, a podcast, behind-the-scenes content, and recipes from the intersection of food and music. AFTER THE SHOW 'There's a joke in the industry,' says Larkin. 'It goes: I've done so many pilots, I feel like a flight attendant — hah. Like most pilots, mine never went anywhere, but the name and format are very strong, so I expanded things.' Larkin now owns four intellectual properties on the brand (USPTO registered trademarks); he's appeared in national spots (Kraft Foods); multiple appearances on local & national TV (WGN, etc.); created the award-winning Totally Chipotle® Foods; designed a pumpkin carving kit for X-Acto; and worked with more rock legends like Rick Nielsen (Cheap Trick), Steven Adler (Guns N' Roses), and John Panozzo (Styx). He's done live presentations of the show (Taste Of Chicago, Ribfest, Summerfest, National Restaurant Show), and more. WHAT'S COOKING NEXT Larkin and company have been producing additional line extensions of his two brands, including: • The Rock & Roll Kitchen® App – exclusive video, audio, recipes, merch, and more • Rock & Roll Kitchen® Cooking/Music Academy – blending culinary and musical arts • The Rock & Roll Kitchen® Live – tailored for theater and casino presentations • The Rock & Roll Kitchen® Nashville – a multimedia live and film venue with production space, café/bar, and gift shop For interviews, licensing, merchandise, investment or booking inquiries: 📧 [email protected] 🌐 📞 773.769.7086 Socials: @rocknrollkitchen, @rockandrollkitchen, @rocknrollchef Marty Larkin, The Rock & Roll Chef®️ The Rock & Roll KItchen®️ +1 773-769-7086 email us here Visit us on social media: Instagram Facebook YouTube X Legal Disclaimer: EIN Presswire provides this news content 'as is' without warranty of any kind. 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