easycure

Thus, in Wilson, it is the approach, not the form, that is intrinsically related to classical music. In this regard, he is probably the greatest forerunner of progressive music alongside Zappa (who was likely unintentionally influenced by the Beach Boys themselves, since he explicitly parodied them more than once).

In response to Lord on the same topic: in fact, the idea of the symphony linked to pop is an invention of Wilson. Not to mention that Brian Wilson had a far more evolved idea than the Beatles regarding symphonic arrangement. In pop masterpieces like "Heroes and Villains" or "Good Vibrations" (the first contemporary, the second definitely preceding Sgt. Pepper), Wilson has a much more "holistic" approach to arrangement than the Beatles. The arrangement is not just complementary or a simple curiosity added to a piece that was born a priori (I mainly think of "Lucy in the Sky," where the sounds feel like they are embellishing a rather outdated song), but for Wilson it is always an integral part of the meaning of the piece (the beautiful evocative bridge of "Heroes and Villains," a prototype of pure psychedelia), contributing to its expression; even in "Good Vibrations," the layering of various narrative threads, with different themes interweaving at the same time or at various moments (it's a piece three and a half minutes long with at least five different moments within it), contributes directly to a psychological effect of continuous avoidance of saturation; it’s essentially a commercial piece but constructed to never tire, as the incomplete perception of its "hidden" themes keeps it always engaging. It's a type of elaboration far more advanced than anything the Beatles ever produced.

In my opinion, the merit of elevating pop music belongs much more to the Beach Boys than to the Beatles. Brian Wilson had this idea a couple of good years before the Beatles (certainly inspired by the Beach Boys but also vice versa) started to think about it. Regarding the Beach Boys, probably because there's not much desire to delve into the dozens of albums released before '66, people usually only consider Pet Sounds, but it is actually starting from "Today," the album from '65, that Wilson begins to experiment with orchestral arrangements and tracks that are anything but simply surf (for example, listen to the little masterpiece "When I Grow Up"). Not to mention that even in "Don't Worry Baby" from '64 (one of Wilson's most beautiful pieces), there are the harmonic archetypes of the "intellectual" pop that would emerge in the following years.

Overall, I agree.. but in fact, it feels a bit like a self-serving provocation :-)

that's true punisher, that old friedman was definitely outside :-)

Oh really? And what would the main elements for the accusation be?? That witness who claims that the two made everyone go "buco ritto" and literally jumped inside? (physically impossible) ..or that witness who, on the contrary, very calmly admits that the lessons were absolutely normal? Or the testimonies from some of the parents (maybe those less fanaticized) who acknowledged that their children were practically forced by the police to accuse Friedman, as they kept asking them the same thing in a leading manner until they provided the "convenient" answer? I keep saying, I don't consider them innocent at all by the end of the film, but I argue that the film itself doesn't take a side, because what it shows is above all the ambiguity. I'm analyzing the film, I'm not taking a position. Hence, I keep wondering: but what film did you watch? :-D

but where would this "almost undeniable" be? What movie did you exactly watch? :-D

but where would this "almost undeniable" be? What movie did you exactly watch? :-D

Both father and son have been convicted, but in reality, the documentary shows a hurried and sloppy investigation, with witnesses who are often quite implausible. Certainly, doubt remains: what Jarecki presents also reveals a horrifyingly narrow-minded, obtuse witch-hunt attitude from both the investigators and the alleged victims. This does not diminish the possibility of a crime, but it also does not allow for (thanks in part to Jarecki's impassive and distant gaze, already mentioned by Stronko) any certain conclusions. Especially since the two convicted participants (who are also undeniably unsettling figures) have always refused to plea bargain, fully aware that they were facing a heavier sentence in the event of a conviction, as indeed happened.

And who said they were innocent? I said that the documentary focuses on doubt, NOT on proven guilt.