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    Paul McCartney, Carole King and Others Pay Tribute to Brian Wilson

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    Wilson, whose death was announced on Wednesday, leaves behind an immense musical legacy that spans several decades. King and others share how his music shaped them.Brian Wilson, the leader of the Beach Boys who death at 82 was announced on Wednesday, provided a joyous soundtrack for beach vacations and summer road trips for generations of people.Among pop and rock musicians he will also be remembered as a talented songwriter and studio pioneer whose music has had an immense influence for decades on those who followed him.The Beach Boys had 13 singles in the Billboard Top 10, with three of them reaching No. 1. Their influence on the surf rock genre and on popular music generally was recognized by the variety of people who paid respects on social media to Wilson on Wednesday.Here’s what some of Wilson’s friends had to say about his death and legacy.Paul McCartney, a Wilson contemporary, noted that there was a chorus of tributes from other musicians, saying Wilson had a “mysterious sense of musical genius” that made his songs special. “The notes he heard in his head and passed to us were simple and brilliant at the same time,” McCartney said. “I loved him, and was privileged to be around his bright shining light for a little while. How we will continue without Brian Wilson, ‘God Only Knows.’”Carole King, also a contemporary, wrote on Facebook that Wilson was her friend and brother in songwriting. “We shared a similar sensibility, as evidenced by his 4 over 5 chord under ‘Aaaah!’ in ‘Good Vibrations’ and mine under ‘I’m Into Something Good,’” she said. “We once discussed who used it first, and in the end we decided it didn’t matter.”In 2015, “Love & Mercy,” a biopic about Wilson’s life starring John Cusack was released. On Wednesday, Cusack said that the “maestro” had died, adding that the hitmaker was an open heart with two legs “with an ear that heard the angels.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How “Pet Sounds” Became the Beach Boys Masterpiece

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      Brian Wilson’s 1966 masterpiece is now considered a crowning achievement of music. The album’s reputation grew over time.Making a list of the best rock albums ever is easy: Something old (the Beatles), something new (or newer; perhaps Radiohead), something borrowed (the Rolling Stones’ blues or disco pastiches) and Joni Mitchell’s “Blue.”And, of course, bursting into the top 10 — and often higher — of any respectable list: “Pet Sounds.”The overwhelming brainchild of Brian Wilson, the Beach Boys’ chief songwriter whose death at 82 was announced on Wednesday, “Pet Sounds” is beautiful — with gorgeous vocal harmonies, haunting timbres and wistful lyrics of adolescent longing and estrangement. It was a landmark in studio experimentation that changed the idea of how albums could be made. But one thing that stands out about the Beach Boys’ masterpiece is how gradually it came to be widely celebrated, compared with many of its peers.“When it was released in the United States,” said Jan Butler, a senior lecturer in popular music at Oxford Brookes University in the United Kingdom, “it did pretty well, but for the Beach Boys, it was considered a flop.”Released in the spring of 1966, “Pet Sounds” represented a break from the catchy tunes about surfing, cars and girls that the group had consistently rode to the top of the charts. The opening track is called “Wouldn’t It Be Nice,” but previous Beach Boys songs had described how nice it was.The album peaked at No. 10 — low for one of the most popular acts at the time — and was the first Beach Boys album in three years not to reach gold status, Butler wrote in a chapter of an academic book. The Beach Boys’ record company, Capitol, rushed out a greatest-hits that outsold the album of original music.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Roger Nichols, Songwriter Behind Carpenters Hits, Dies at 84

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      With Paul Williams, he wrote enduring 1970s soft-rock classics like “We’ve Only Just Begun” and “Rainy Days and Mondays.”Roger Nichols, a California songwriter and musician who, with his pop-alchemist partner Paul Williams, wrote an advertising jingle for a bank that turned into “We’ve Only Just Begun,” a milestone hit for the Carpenters and a timeless wedding weeper, died on May 17 at his home in Bend, Ore. He was 84.His death, from pneumonia, was confirmed by his daughter Caroline Nichols.Mr. Nichols was best known for his collaborations with Paul Williams, the songwriter, lyricist and all-around celebrity known for songs like “Rainbow Connection,” Kermit the Frog’s forlorn anthem from “The Muppet Movie” (1979).With Mr. Nichols focusing on the music and Mr. Williams conjuring up the words, the duo churned out silky pop nuggets like Three Dog Night’s “Out in the Country” (1970), which rose to No. 15 on the Billboard Hot 100; “Traveling Boy,” which Art Garfunkel released in 1973; and “I Never Had It So Good,” recorded by Barbra Streisand in 1975.But it was with their work for the Carpenters, the hit-machine sibling duo Karen and Richard Carpenter, that Mr. Nichols and Mr. Williams scaled the heights of pop success.“We’ve Only Just Begun” peaked at No. 2 in 1970, sold more than a million copies of sheet music and served as a timeless showcase for Ms. Carpenter’s spellbinding contralto vocal stylings.The single “We’ve Only Just Begun,” by Mr. Nichols and Paul Williams, rose to No. 2 on he music charts and became a staple of weddings. A&M RecordsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Billy Joel Documentary ‘And So It Goes’ Traces His Early Days

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      The first half of the HBO documentary premiered at the Tribeca Festival on Wednesday night. Joel, who is fighting a brain disorder, sent a message via its directors.The Tribeca Festival’s opening-night premiere of the upcoming HBO documentary “Billy Joel: And So It Goes” was marked, in part, by the absence of Billy Joel himself. Late last month, the musician announced that he was canceling all of his upcoming concerts because of a brain disorder called normal pressure hydrocephalus, which has led to problems with his hearing, vision and balance.After Robert De Niro called Joel “the poet laureate of New York” and helped introduce the film with a dramatic reading of some of his lyrics (“He works at Mr. Cacciatore’s down on Sullivan Street,” he intoned), one of the film’s co-directors, Susan Lacy, told the Beacon Theater audience that Joel sent his greetings — with typical wry humor: “In fact, he said, ‘Getting old sucks, but it’s still preferable to getting cremated.’” The audience roared with laughter. On a note of encouragement, Lacy said Joel “will be back.”The crowd broke out into applause throughout the screening, which included just the first part of the two-part film. It still ran nearly two and a half hours as it covered Joel’s childhood and rise to fame through his infamous 1982 motorcycle accident. (To put that in perspective: It doesn’t get to the writing of “Uptown Girl.” No Christie Brinkley yet.)There are pictures and footage of early Joel performances and stories about the surprisingly robust Long Island rock scene of the 1960s. But “Part One” is largely an intimate portrait of Joel’s relationship with his first wife, Elizabeth Weber, who would eventually become his manager, and it elevates her to a starring role in his life. It also features a host of stories about the making of some of his best-known songs, and tidbits about his Long Island obstinance. Here’s some of what we learned.As Joel’s relationship with Weber first foundered, he attempted suicide twice.Joel and Weber’s relationship began in dramatic fashion: She was married to Jon Small, Joel’s early bandmate, and had a son with him. Joel and Small first played together in a group named the Hassles, then broke off to start a Led Zeppelin-inspired metal outfit called Attila. (An album cover shoot featuring a longhaired Joel standing amid sides of raw beef, wearing fur, is something to behold.) Eventually, Joel fell in love with Weber, but when a guilt-ridden Joel shared his feelings with Small, he got punched in the nose and Weber left.Despondent, Joel overdosed on pills and was in a coma for days. His sister, Judy Molinari, who had provided the pills to help him sleep, recounts her guilt onscreen. “I felt that I killed him,” she says. Joel drank a bottle of furniture polish in another attempt on his life. After moving back into his mother’s house, he checked into an observation ward where his own struggles were put into perspective. From there he started to channel his feelings into music, and the songs that he wrote as a result of the experience would become his first solo album, “Cold Spring Harbor.” After about a year, Weber re-entered his life.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rick Derringer, 77, Who Sang ‘Hang On Sloopy’ and ‘Rock and Roll, Hoochie Koo,’ Dies

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      A Zelig-like rocker, the guitarist, singer and songwriter collaborated with the likes of Barbra Streisand and Peter Frampton and composed Hulk Hogan’s “Real American” theme.Rick Derringer, the ubiquitous rocker who sang the hit songs “Hang On Sloopy” and “Rock and Roll, Hoochie Koo” in a music career that spanned several decades and also included collaborations with Hulk Hogan and Weird Al Yankovic, died on Monday in Ormond Beach, Fla. He was 77.His longtime caretaker and friend, Tony Wilson, announced his death in statement on Tuesday. No cause was given.From his early garage rock success to his many contributions to albums or tours by music royalty — Barbra Streisand, Cyndi Lauper and Peter Frampton all enlisted him — Mr. Derringer introduced himself to audiences across several generations.One of his better-known and enduring collaborations was with the Edgar Winter Group, for which he produced the instrumental chart-topper “Frankenstein,” which the band released in 1972.Early on, Mr. Derringer was the shaggy-haired guitar impresario who was the frontman for the band the McCoys, who rose to the top of the Billboard singles chart in October 1965 with their catchy rendition of “Hang On Sloopy.”The song, about a girl known as Sloopy from a rough part of town, has become synonymous with Ohio State University, where the marching band first played it during a Buckeyes football game in 1965. In 1985, the Ohio Legislature adopted it as the official state rock song.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Bruce Springsteen Will Never Surrender to Donald Trump

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      Since the 1980s Bruce Springsteen has been writing songs that emphasized, even romanticized, a polyglot vision of America and what it means to be an American. That vision is, broadly speaking, an updated version of New Deal America: one that recognizes not only the dignity and pride of honest labor but also the importance of respecting our differences, whether they are based on culture, gender, ethnicity or race. It’s a vision of unity summed up in the phrase that in past concert tours Mr. Springsteen has used to close out the show: “Nobody wins unless everybody wins.” And when Mr. Springsteen says “everybody,” he means everybody — including undocumented migrants and border patrol agents, unwed mothers, distant and irresponsible fathers, Black victims of police brutality and the cops who (regret) shooting them, emotionally scarred Vietnam vets and Southeast Asian war refugees trying to make America their new home.The 1980s also saw the rise of an alternative vision of America: one that sought to tear down what was left of the New Deal. Its exemplar was Donald Trump, then a tacky developer and a tabloid fixture. It was based on the idea that could be summarized as: I win only if everybody else loses. Today Mr. Trump is president, and full of petty rage at Mr. Springsteen for daring to criticize him at the opening show on his current European tour.Nothing irks Mr. Trump quite as much as the disrespect of a fellow celebrity. But it’s more than that. Mr. Springsteen, 75, and Mr. Trump, 78, are in many respects two opposing faces of modern America as it was built and performed by their generation. They offer their fan bases a promise of entirely different futures.Just as Mr. Trump’s 2024 campaign sought to make (his) America great again, Mr. Springsteen’s current Land of Hope and Dreams Tour is a nod to his idea of another, more generous vision. The lyrics to the song of the same name offer up an idealistic vision of inclusion with a train packed with “saints and sinners,” “losers and winners,” “whores and gamblers” and “lost souls.” It promises, “Dreams will not be thwarted” and “faith will be rewarded” with “bells of freedom ringing.” It may also be a reference to Joe Biden’s presidential inauguration celebration, where he sang the same tune.Introducing “Land of Hope and Dreams” as the first song on the tour’s opening night in Manchester, England, Mr. Springsteen told the crowd that the United States was “currently in the hands of a corrupt, incompetent and treasonous administration” that has “no concern or idea of what it means to be deeply American.”Mr. Trump heard this as a challenge. The president threatened an “investigation” into Mr. Springsteen’s support for Kamala Harris and blustered on Truth Social that this “Highly Overrated … not a talented guy” was “Just a pushy, obnoxious JERK.” Later he put out a fake video in which he hits Mr. Springsteen with a golf ball.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Grace Potter Lost (and Found) a Solo Album, and a New Life

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      In May 2009, Hollywood Records announced that T Bone Burnett — the producer of the Robert Plant and Alison Krauss LP “Raising Sand,” which dominated the Grammys earlier that year — had recently entered the studio with Grace Potter and the Nocturnals to produce the band’s new album. The LP, which would be the Vermont-based bluesy roots-rock group’s third, was slated to come out that fall.The label didn’t mention that the album was in fact a solo vehicle for Potter, then 25, that she recorded with a team of renowned session musicians: the drummer Jim Keltner, the guitarist Marc Ribot, the bassist Dennis Crouch and the keyboardist Keefus Ciancia. “She was like a ball of fire,” Keltner recalled of Potter in a phone call, “and she was really fun to follow.”During an interview in March at her eclectically decorated villa in Topanga, Calif., Potter — a multi-instrumentalist whose soulful voice has earned her comparisons to Bonnie Raitt, Janis Joplin and “a grittier Patty Griffin” — recounted her sense of anticipation over the release of the LP, “Medicine.”“It really felt like something exciting on the horizon,” Potter said, sitting on the couch in her living room dressed in a stylish forest-green jumpsuit. “It was like the secret that we got to keep until it all came out.” Sixteen years earlier, she had described the record as “more of a storyteller, kind of tribal, Motown, voodoo thing” than her earlier output.Then Hollywood shelved the album. The label wanted Potter and the Nocturnals to rerecord the songs with the producer Mark Batson, known for his work with Alicia Keys, the Dave Matthews Band and Dr. Dre. Potter blamed an A&R executive, whom she declined to name, for the decision.She also said that Bob Cavallo, then the chair of the Disney Music Group, which distributes the Hollywood label, was “concerned that the record would age me.” She added, “I’m a young, hot thing. He was like, ‘We don’t want her to seem like she’s 46.’” (In a phone interview, Cavallo, now 85 and retired, couldn’t recall the particulars of the label’s move, but expressed regret that he couldn’t help Potter “get a giant career, because I thought she deserved one.”)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Trump Targets Harris Campaign’s Links to Oprah Winfrey, Beyoncé and Bruce Springsteen

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      The president claimed without evidence on Monday that Kamala Harris had violated campaign-finance law, essentially by paying superstars for endorsements “under the guise of paying for entertainment.”President Trump is calling for a “major investigation” into the celebrities Bruce Springsteen, Beyoncé, Oprah Winfrey and Bono, bringing his retribution campaign to the music industry.Mr. Trump, in a pair of posts on Truth Social on Monday, argued that Kamala Harris as the Democratic Party nominee was violating campaign-finance law, essentially by paying those figures for endorsements “under the guise of paying for entertainment.”There is no evidence that Ms. Harris paid for the endorsements, although details on celebrity engagements can be somewhat murky. Under campaign finance law, campaigns are required to pay the fair-market value for the costs of events so as to make sure that a company or individual is not donating in excess of federal contribution limits.Ms. Harris paid $1 million to Ms. Winfrey’s production company for a live-streamed town hall in Detroit, according to campaign-finance records. Ms. Winfrey has said the money paid for costs and salaries related to the event and was not a personal fee.Beyoncé headlined a rally for Ms. Harris in her hometown of Houston for an abortion-rights event, and Ms. Harris’s campaign paid the singer’s company $165,000 in November for “campaign event production,” according to campaign-finance records. Mr. Trump falsely claimed on Monday that her payment was $11 million, citing unspecified “news reports.” The artist’s mother has called that figure a “lie.”Mr. Trump’s angry posts come as his ire has been raised against Mr. Springsteen, who sharply criticized Mr. Trump during a concert in Manchester, England, last week. Mr. Trump responded with a social media post calling him a “dried out ‘prune’ of a rocker.” Mr. Springsteen performed at a rally in Atlanta in the final weeks of the presidential race, though no records available yet show any payment from Ms. Harris’s campaign.It was not clear why Mr. Trump named Bono, the Irish singer-songwriter who fronts the band U2. While he is a friend of former President Joseph R. Biden Jr. and received from him a Presidential Medal of Freedom, the country’s highest civilian award, he did not appear at any campaign events with Ms. Harris, nor did he endorse her. More

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      How Much Does It Cost to See Beyoncé? It Depends.

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      Some fans who paid top dollar for the star’s Cowboy Carter Tour are feeling miffed as prices drop. Other procrastinators are reaping the benefits.Tanaka Paschal, 43, was thrilled to be taking her son to Beyoncé’s final Southern California show on her Cowboy Carter Tour this month. They had missed the Renaissance World Tour two summers ago; tickets had sold out so fast, some fans ventured overseas to catch a gig.“I thought I was not going to be able to see her, so I jumped on it,” she said.Paschal bought a pair of floor seats for about $900 total, but like many others, she soon had a bit of buyers’ remorse. In the weeks that followed, she saw the price for similar seats drop by hundreds of dollars, then increase, then drop again.“It’s frustrating,” she said. “The next time, I’m going to wait until the day of.”When tickets for big summer tours by acts like Lady Gaga, the Weeknd and Kendrick Lamar and SZA go on sale, the prevailing wisdom is you have to move fast during one of the presales offered by artists and credit card companies or you’ll be shut out.Most, if not all, tickets are usually snatched up immediately, with prime seats popping up on resale platforms like StubHub or Ticketmaster’s own secondary market at inflated prices. (Fans hoping to see Taylor Swift’s Eras Tour famously didn’t even get a shot at the general on-sale: All the tickets were long gone.)Kendrick Lamar is also on a stadium tour this year, supporting his recent album, “GNX” and a big year.Graham Dickie/The New York TimesBut things have been different for Beyoncé’s tour this time supporting her Grammy album of the year-winning “Cowboy Carter”; tickets moved during the presales, but a glance at the seat maps on Ticketmaster’s pages later revealed not only a lot of pink dots indicating resale tickets, but plenty of blue dots representing available seats that had gone unpurchased, too. And those prices were notably changing.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More