Latest news with #GoodVibrations
Daily Mail
02-05-2025
- Entertainment
- Daily Mail
Wilson Phillips singer Carnie Wilson admits her 'sexy' UNCLE from The Beach Boys gave her 'butterflies'
Singer Carnie Wilson was taking a walk down memory lane, when she admitted something interesting about a member of her family. The Hold On singer, 57, whose daughter Lola is launching a singing career, admitted to getting 'butterflies' when she was around her late uncle Dennis Wilson who was with The Beach Boys. 'He was always, like, this mysterious, sexy man, and he was my uncle,' she told Smashing Pumpkins lead singer Billy Corgan, 57, on his The Magnificent Others podcast on Wednesday. 'But like, I'd get butterflies around him,' she said of her time with Dennis who died when she was only 15, 'He's very handsome. He was very sensitive. They all three had big, big talent.' Carnie is the daughter of Beach Boys legend Brian Wilson, 82, and Dennis, like her father, struggled with drug and alcohol abuse. He was reported to have been drinking heavily before he jumped from a boat into the cold ocean waters in Marina Del Rey, CA and drowned on December 28, 1983 at age 39, leaving behind a young widow and one-year-old son, Gage, now 42. The singer was also dad to Jennifer Wilson, 58, Michael Wilson, 54, Carl Wilson, 52, and Scott Wilson from previous marriages and relationships. The Beach Boys were formed in 1961 and quickly reached fame with their song Surfin' USA. Their struggles were reported in the 2024 documentary The Beach Boys. Carnie, who reached her own fame as a singer with sister Wendy Wilson, 55, and childhood friend Chynna Phillips, 57, also praised her uncle Carl, who died from lung cancer in 1998 at age 51. 'Carl was an amazing writer, amazing singer. He really had such a great sound. He was protective,' Carnie said of the Good Vibrations artist. 'Dad just wasn't… We just weren't spending time with him,' she said of Brian, who was very reclusive due to mental health issues and is currently under a conservatorship due to major neurocognitive disorder (such as dementia,) according to court record. 'But then he said to us, "I follow you on the charts every week," so he was watching [from] behind his door. But Carl was like, "You guys just have to keep going."' Speaking of her late uncle Dennis, Carnie said, 'He was always, like, this mysterious, sexy man, and he was my uncle, but like, I'd get butterflies around him'; Pictured circa 1964 Original Beach Boy Mike Love, 84, and current members of the band will be crisscrossing the US on their Sounds of Summer Tour; Pictured in Berlin in July 2019 'I miss him very much,' the still grieving niece said of the God Only Knows singer. 'I think about him all the time, and I have pictures around my house and I feel his spirit a lot. And my dad really misses his brothers, like a lot,' she admitted. Carl provided some backup vocals for Wilson Phillips on their holiday hit Hey Santa. Wilson Phillips are still making music together and will be performing at various venues over the summer. Original Beach Boy Mike Love, 84, and current members of the band will be crisscrossing the US on their Sounds of Summer Tour.
Sydney Morning Herald
24-04-2025
- Entertainment
- Sydney Morning Herald
Even this modern maestro won't touch the world's weirdest instrument
Uncanny, spooky, weird. The theremin is a musical instrument with baggage. Depending on your vintage, it's the aliens landing in The Day The Earth Stood Still or the haunting waltz of Midsomer Murders. It's the whiplash shriek in the crazy breakdown of Whole Lotta Love, Miss Huang's instrument of choice during the camping trip in Severance or the trippy wobble in Good Vibrations. The fact that that last example isn't actually theremin but a soundalike synthesiser only illustrates how entrenched the high-pitched, wide-vibrato, 'woo-ooo' sound has become as a signifier of weirdness: a go-to vibe for the modern composer's quantum leap to Far Out. None of this applied, mind you, to seven-year-old Carolina Eyck, studying classical violin and piano in East Germany in the '90s. The theremin in the loungeroom was just another gizmo Dad acquired for his synth band, shelved on the grounds of difficulty. 'You need to practise,' she says with impish understatement. With its sci-fi antennae bristling left and right, Russian physicist Leon Theremin's novel invention of 1919 remains the only musical instrument you play without touching anything. 'Aerial fingering' was the technique devised by the inventor's original Lithuanian prodigy, Clara Rockmore, in the 1930s. At the age of 16, Eyck revolutionised that method and in her 20s, she literally wrote the modern manual: The Art of Playing the Theremin. Today, widely considered the instrument's most accomplished virtuoso, she's practised in explaining its mysteries. 'I came up with the eight finger positions,' she says, snapping shapes at shoulder height with her right hand. 'A closed hand is a basic note, and then open hand is the octave …' She plays the scale as if making shadow puppets in thin air. 'In my new book that I'm releasing, hopefully soon, I expanded the whole system into 40 positions. It sounds a lot,' she says with a laugh, 'but it just makes so much sense.' Eyck agrees that the sight of a human body manipulating invisible electromagnetic fields adds to the theremin's otherworldly aura. The fact that it sounds like nothing so much as an unhinged soprano – listen again to the original Star Trek theme – adds to the unsettling effect. 'You don't tune it to the A from the piano, but you tune it to your own body and to the surroundings,' she says, citing something called 'body capacitance'. In this way the instrument is unique, 'except for the voice, but that's inside you'. 'With the theremin, you are a part of the instrument because you're within the electromagnetic fields. I like to [say] that the theremin consists of four different parts: the theremin itself … then the electromagnetic fields … then you need a loudspeaker to create a sound, and the fourth part is your body; the player that plays it.' Loading Eyck has heard the theory that the instrument is somehow more attuned to female energies. She was taught by Leon Theremin's grand-niece Lydia Kavina. Notable contemporaries include Austrian sound artist Dorit Chrysler and Iceland's Hekla Magnúsdóttir. 'There is something sensual to it,' she says, 'but there are wonderful male players as well. Like with dance or, really, any musical instrument, you just need a sense of your own body and feeling the music.' In one of her many educational videos online, she comes close to invoking a spiritual dimension to her practice. The meditative stillness required to command the space amounts to 'being in harmony with yourself … It has helped me to become free,' she says. 'On the mental level ... when you study classical music … you have to go through exams; you are constantly judged. You can [get] very nervous on stage,' she says. 'With the theremin, I always experienced that I wasn't part of that. I had my own system. I can invent my own technique. And when I'm on stage, nobody knows what I'm doing … That gave me a lot of freedom mentally. 'Also socially, to connect with people around the world, because there were so few of us. I could go to England, and I would meet friends that I've never met because of that. And then also, while playing, I feel sort of free. Of course I need to hit the notes, but you are in space, and the balance between control and freedom is there. So those three aspects, for me, gave me freedom.' Airborne liberty and retro-futuristic novelty are both playfully invoked in Hovercraft, a new commission by Sydney composer Holly Harrison which will make its world premiere on Eyck's tour with Richard Tognetti and the Australian Chamber Orchestra in May. 'When I'm on stage, nobody knows what I'm doing… That gave me a lot of freedom mentally.' Carolina Eyck 'It's fairly rare, at least in this chamber classical context, to write for theremin at all, so I had to do a fair bit of investigation into how this fascinating instrument works,' Harrison says. 'There's a lot of limitations, but what I found super-fun about this commission was using those limitations to my advantage. 'The key thing is actually to treat it like voice, so I tried to weave in almost quasi-operatic elements ... but when you're writing for someone like Carolina, you're writing for a person, not just the instrument. There's not too many theremin players that have such a strong classical background.' Eyck is delighted with the new addition to what remains a somewhat limited bespoke repertoire. 'For me, it should be either a beautiful melody that I can shape beautifully with my hands, or something that's fun to play,' she says. 'Holly Harrison's piece is both, and I'm so happy about that.' The ACO's Theremin & Beyond program will also feature a piece from Eyck's Fantasias for Theremin and String Quartet suite, Oakunar Lynntuja (Strange Birds). Improvised in the studio over her own orchestration, it offers the theremin performer a rare opportunity to break the rule of perfect stillness. 'We're walking into a forest, dark green, and these golden creatures come and fly around us,' she says. 'I'm using effects with it, and I don't have to hit certain pitches, so it's more of a dance, a theatrical performance with the theremin.' As long as none of these imaginary creatures make physical contact there's no cause for alarm. On the fragile instruments scale, Eyck confirms, the theremin is strictly cabin baggage. 'Yeah, for sure. I'm taking three instruments. One is analog, my Moog Etherwave Pro, and then I have a digital one for some extra sounds for Holly's piece, and then I have a small travel theremin, just in case, to feel safe. You never know with theremins.'
The Age
24-04-2025
- Entertainment
- The Age
Even this modern maestro won't touch the world's weirdest instrument
Uncanny, spooky, weird. The theremin is a musical instrument with baggage. Depending on your vintage, it's the aliens landing in The Day The Earth Stood Still or the haunting waltz of Midsomer Murders. It's the whiplash shriek in the crazy breakdown of Whole Lotta Love, Miss Huang's instrument of choice during the camping trip in Severance or the trippy wobble in Good Vibrations. The fact that that last example isn't actually theremin but a soundalike synthesiser only illustrates how entrenched the high-pitched, wide-vibrato, 'woo-ooo' sound has become as a signifier of weirdness: a go-to vibe for the modern composer's quantum leap to Far Out. None of this applied, mind you, to seven-year-old Carolina Eyck, studying classical violin and piano in East Germany in the '90s. The theremin in the loungeroom was just another gizmo Dad acquired for his synth band, shelved on the grounds of difficulty. 'You need to practise,' she says with impish understatement. With its sci-fi antennae bristling left and right, Russian physicist Leon Theremin's novel invention of 1919 remains the only musical instrument you play without touching anything. 'Aerial fingering' was the technique devised by the inventor's original Lithuanian prodigy, Clara Rockmore, in the 1930s. At the age of 16, Eyck revolutionised that method and in her 20s, she literally wrote the modern manual: The Art of Playing the Theremin. Today, widely considered the instrument's most accomplished virtuoso, she's practised in explaining its mysteries. 'I came up with the eight finger positions,' she says, snapping shapes at shoulder height with her right hand. 'A closed hand is a basic note, and then open hand is the octave …' She plays the scale as if making shadow puppets in thin air. 'In my new book that I'm releasing, hopefully soon, I expanded the whole system into 40 positions. It sounds a lot,' she says with a laugh, 'but it just makes so much sense.' Eyck agrees that the sight of a human body manipulating invisible electromagnetic fields adds to the theremin's otherworldly aura. The fact that it sounds like nothing so much as an unhinged soprano – listen again to the original Star Trek theme – adds to the unsettling effect. 'You don't tune it to the A from the piano, but you tune it to your own body and to the surroundings,' she says, citing something called 'body capacitance'. In this way the instrument is unique, 'except for the voice, but that's inside you'. 'With the theremin, you are a part of the instrument because you're within the electromagnetic fields. I like to [say] that the theremin consists of four different parts: the theremin itself … then the electromagnetic fields … then you need a loudspeaker to create a sound, and the fourth part is your body; the player that plays it.' Loading Eyck has heard the theory that the instrument is somehow more attuned to female energies. She was taught by Leon Theremin's grand-niece Lydia Kavina. Notable contemporaries include Austrian sound artist Dorit Chrysler and Iceland's Hekla Magnúsdóttir. 'There is something sensual to it,' she says, 'but there are wonderful male players as well. Like with dance or, really, any musical instrument, you just need a sense of your own body and feeling the music.' In one of her many educational videos online, she comes close to invoking a spiritual dimension to her practice. The meditative stillness required to command the space amounts to 'being in harmony with yourself … It has helped me to become free,' she says. 'On the mental level ... when you study classical music … you have to go through exams; you are constantly judged. You can [get] very nervous on stage,' she says. 'With the theremin, I always experienced that I wasn't part of that. I had my own system. I can invent my own technique. And when I'm on stage, nobody knows what I'm doing … That gave me a lot of freedom mentally. 'Also socially, to connect with people around the world, because there were so few of us. I could go to England, and I would meet friends that I've never met because of that. And then also, while playing, I feel sort of free. Of course I need to hit the notes, but you are in space, and the balance between control and freedom is there. So those three aspects, for me, gave me freedom.' Airborne liberty and retro-futuristic novelty are both playfully invoked in Hovercraft, a new commission by Sydney composer Holly Harrison which will make its world premiere on Eyck's tour with Richard Tognetti and the Australian Chamber Orchestra in May. 'When I'm on stage, nobody knows what I'm doing… That gave me a lot of freedom mentally.' Carolina Eyck 'It's fairly rare, at least in this chamber classical context, to write for theremin at all, so I had to do a fair bit of investigation into how this fascinating instrument works,' Harrison says. 'There's a lot of limitations, but what I found super-fun about this commission was using those limitations to my advantage. 'The key thing is actually to treat it like voice, so I tried to weave in almost quasi-operatic elements ... but when you're writing for someone like Carolina, you're writing for a person, not just the instrument. There's not too many theremin players that have such a strong classical background.' Eyck is delighted with the new addition to what remains a somewhat limited bespoke repertoire. 'For me, it should be either a beautiful melody that I can shape beautifully with my hands, or something that's fun to play,' she says. 'Holly Harrison's piece is both, and I'm so happy about that.' The ACO's Theremin & Beyond program will also feature a piece from Eyck's Fantasias for Theremin and String Quartet suite, Oakunar Lynntuja (Strange Birds). Improvised in the studio over her own orchestration, it offers the theremin performer a rare opportunity to break the rule of perfect stillness. 'We're walking into a forest, dark green, and these golden creatures come and fly around us,' she says. 'I'm using effects with it, and I don't have to hit certain pitches, so it's more of a dance, a theatrical performance with the theremin.' As long as none of these imaginary creatures make physical contact there's no cause for alarm. On the fragile instruments scale, Eyck confirms, the theremin is strictly cabin baggage. 'Yeah, for sure. I'm taking three instruments. One is analog, my Moog Etherwave Pro, and then I have a digital one for some extra sounds for Holly's piece, and then I have a small travel theremin, just in case, to feel safe. You never know with theremins.'
Yahoo
14-04-2025
- Entertainment
- Yahoo
The Beach Boys are coming to Syracuse
This video is from an earlier appearance of the Beach Boys in Syracuse SYRACUSE, N.Y. (WSYR-TV) — Wouldn't it be nice if The Beach Boys were to perform in Syracuse? Well, you won't have to wait so long, because the group will be back this summer. The legendary rock band will return to Central New York to play at the Empower Federal Credit Union Amphitheater at Lakeview on Sunday, June 29 at 3:00 p.m. It's part of the group's 2025 'Sounds of Summer' tour. Special guest and American country music duo LOCASH will also be joining The Beach Boys. The Beach Boys are known for their hit songs, 'Good Vibrations,' 'California Girls,' and 'Kokomo.' Tickets go on sale starting Friday, April 18 at 10:00 a.m. You can visit this link for more information. Other 2025 Amphitheater concerts: ARTIST: DATE: Dave Matthews Band May 27 Avril Lavigne May 28 Coheed and Cambria May 30 Luke Bryan June 5 The Beach Boys with Locash June 29 Creed July 11 Styx with Kevin Cronin July 14 The Offspring July 22 Little Big Town Aug. 1 Outlaw Music Festival Aug. 10 Cody Jinks Aug. 17 Thomas Rhett Aug. 21 Tedeschi Trucks Band Aug. 28 Hardy Sept. 4 Papa Roach Sept. 11 Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
The Independent
11-04-2025
- Entertainment
- The Independent
Chesney Hawkes: ‘I was molested when I was 13. I carried that with me my whole life'
Pop singer and one-time teenage heartthrob Chesney Hawkes has revealed he was sexually abused as a child, in a powerful new interview with The Independent. Currently appearing on ITV's Celebrity Big Brother, the 53-year-old singer discussed the trauma on Good Vibrations, this publication's music podcast. The revelation comes as he releases a new album, Living Arrows, which features a moving track titled '13' written in collaboration with Nick Kershaw, the songwriter behind his breakout hit 'The One and Only'. 'When I was young – I was 13 years old – I was molested,' Hawkes said. 'It lasted longer than it should have done, put it that way, and I kind of carried that with me my whole life and didn't really realise how much it affected me until a little bit later on.' The singer, who did not name his abuser but clarified it was someone outside his family, said it was a moment of vulnerability with his wife of 27 years, Kristina, that led to the song's creation. 'It was very much in my mind at this one particular moment where I was going up to do a session with Nick, because I just had this kind of crying, breakthrough moment with my wife about it,' he said. 'I thought, that's it. I've dealt with that now and we can move on. So I went up to Nick's house and we had a glass of wine and we started talking and he was like, 'Are you alright?' And I just spilled it out to him. He's known me since I was a kid.' Kershaw encouraged him to write about the experience. 'It was so easy,' Hawkes said. 'It was like I had to write it… it was like vomiting.' The musician said he 'had to be brave' and that he felt as though it was 'something that people need to hear', explaining that writing the song helped him continue to be vulnerable through the rest of the album. Enjoy unlimited access to 100 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trial Sign up 'I was definitely in a state of wanting to get s*** out,' he said. 'So there are a couple of other songs on the album that tackle some deeper, more difficult topics as well.' Hawkes shot to fame as a teenager in 1991 upon the release of 'The One and Only', which topped the UK charts for five weeks and also reached the top 10 in the United States. He also starred opposite The Who's Roger Daltrey in the film Buddy's Song, which featured 'The One and Only' as its main theme. The pop-rock anthem turned him into an international sensation, a 'heartthrob' who was the subject of intense media scrutiny and attention from fans, and who was later dismissed as a 'one-hit wonder' and brutally dropped by his record label. Elsewhere in the emotional and candid interview, Hawkes spoke about the impact that fame had on him, as he splashed out on luxury cars and dabbled briefly with substance abuse. 'Being young was definitely [behind some] difficult mental health issues as a kid,' he said. 'But also there [were] other things like where you're part of the machine – I was part of the machine – so there were people in charge of my career.' When he first signed his record deal, Hawkes's heroes were artists such as The Beatles, Stevie Wonder and David Bowie, having been raised in a rock'n'roll household by his father Len 'Chip' Hawkes – the singer and bassist for the beat group The Tremoloes – and mother Carol Dilworth, a former actor and gameshow host. 'I always thought that if I was gonna make it, that was gonna be the route that I would take. That would be my thing, you know?' Hawkes said. 'So obviously the heartthrob route was kind of, not manufactured, but it was because I was that pretty boy – I get it. I understand why they went that route – but it wasn't particularly my choice. But I didn't speak up, you know, and say, 'No, this is not me.'' He also addressed how he was 'eviscerated' by the press after the fame he had achieved with 'The One and Only' began to dwindle. 'I kind of shoved it down inside myself and put the lid on and didn't pay attention to the fact that it actually was affecting me,' he said. 'But that's what you do when you are young. You don't know how to deal with those things. 'I did get into drugs and alcohol… but quickly realised that that's not the way to go – I concentrated on music, and I've always been quite a tenacious person.' Despite being dropped by his label, Hawkes has continued to tour and release music; he recently supported fellow singer-songwriter James Blunt on his European tour, and will perform a series of headline shows later this year. He is currently starring in this year's series of Celebrity Big Brother on ITV, alongside fellow guests including controversial actor Mickey Rourke, EastEnders actor Patsy Palmer, former child star and pop singer JoJo Siwa, and former Conservative MP Sir Michael Fabricant. His new album, Living Arrows, is out now. The full episode of Good Vibrations is available on all major streaming platforms. If you are a child and you need help because something has happened to you, you can call Childline free of charge on 0800 1111. You can also call the NSPCC if you are an adult and you are worried about a child, on 0808 800 5000. The National Association for People Abused in Childhood (Napac) offers support for adults on 0808 801 0331
