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Brian Wilson

(Legal) Career Killers: Chuck Berry and the Mann Act

Welcome to (Legal) Career Killers — a series that looks at how the law, lawyers or lawsuits killed a band’s or artist’s careers. In other words: They fought the law and the law won.

When Chuck Berry passed away in 2017 at the age of 90, plenty of commentators, musicians and critics dubbed him the “Father of Rock & Roll.”

After all, if anyone helped form what we now know as rock & roll, it was Berry. There were better guitarists, but Berry’s flamboyant playing style and flair for creating simple yet infinitely catchy and memorable riffs established a template for countless musicians to follow, including arguably the two greatest and most influential rock bands of all time: The Beatles and The Rolling Stones.

He was a talented songwriter who created some of the best and most popular songs of all time — songs that still hold up to this day, like “Maybellene,” “Roll Over Beethoven,” “Rock and Roll Music” and “Johnny B. Goode,” among many others.

Perhaps most importantly, his appeal to audiences of all ages and races (especially as a Black man whose career peaked in the 50s) represented the ultimate ideal of rock and roll as a utopian, unifying force that transcended color and class.

And of course, his offstage debauchery and repeated run-ins with the law made him a trailblazing rock star in other ways. Berry was arrested multiple times on charges ranging from assault to tax evasion to drug possession to child abuse. He was also sued by multiple women for allegedly videotaping them using the restroom in his restaurant without their knowledge. And years before R. Kelly was accused of recording himself urinating on young girls, Berry starred in homemade porn tapes involving Golden Showers and Cleveland Steamers (look it up, but not if you’re in a public place).

But there was one arrest in December 1959 that was so controversial and generated so much outrage that it, effectively, killed his career. It also set him on the path towards establishing another rock cliché: the aging, over-the-hill star who makes a living by becoming a fixture of the oldies circuit.

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Career Killers: “Summer in Paradise” by the Beach Boys

To borrow a pro wrestling term, Mike Love has long been one of the best heels in rock ‘n roll.

Widely hated by critics, fans, media, liberals and even fellow Beach Boys (actual headline from Vice.com: “Mike Love is Kind of an Asshole”), Love is so despised that it’s arguably more rock ‘n roll to defend him rather than pile on with his many detractors. Indeed, if anyone could have an entire arena full of people chant “asshole” at him a la Vince McMahon or Roman Reigns, it’s Mike Love. A relentless self-aggrandizing self-promoter, the only thing you can say about him is that he’s not dripping with phoniness or fake sincerity like Brother Love.

In fact, like the best heels, he believes he’s justified in behaving the way he does — especially in his eternal quest for the credit he feels he deserves for the band’s success. Brian Wilson may have been the creative genius behind the band, but Love will argue that he should get as much, if not more credit than the erratic Wilson for keeping the band going and co-writing some of their best known songs. Whether it’s suing Wilson for royalties in court many times; inflating his role in the band’s great moments and minimizing his role in the less successful ones (sometimes doing both on the same thing – like criticizing Pet Sounds or Smile when they seemed like they’d be failures and then taking credit for both when they became acclaimed); or going Vince McMahon and firing Wilson and Al Jardine from the band in 2012 after what was otherwise a successful reunion tour, Love gets very little of his namesake emotion from critics, commentators and even fans of the Beach Boys. Heck, he once used the staid and formal atmosphere of the Rock & Roll Hall of Fame induction ceremony to deliver a WWE-style promo talking trash about a bunch of bands and musicians that, until then, probably had nothing but respect for his band and everything it has accomplished.

And much like how WWE treats certain non-PG segments from the past like they never happened, that’s how the band views the Love-led 1992 album Summer in Paradise. I guess that’s understandable, considering Summer in Paradise ended the band as a creative force and turned it into a full-time touring/oldies act.

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Career Killers: “Yes Please!” by The Happy Mondays

When it comes to movies, there are box office bombs and then there’s Heaven’s Gate.

The 1980 western epic went massively over-budget thanks to a disastrous and well-publicized troubled production and received infamously bad reviews upon release. The film ended up being such a box office bomb that it single-handedly killed director Michael Cimino’s Hollywood career and star Kris Kristofferson’s potential as a leading man (one particularly brutal review from Vincent Canby of The New York Times wondered if Cimino had made a deal with the devil to produce his last movie, Oscar-winning classic The Deer Hunter, and now the bill had come due).

And that was just the beginning. According to the documentary Final Cut: The Making and Unmaking of Heaven’s Gate, the movie may have also killed off United Artists, the studio that produced it. Shortly after writing off the film’s entire $44 million budget (equivalent to nearly $140 million in today’s money), UA was sold to MGM and ceased being an independent studio. The movie may have even killed the era of the all-powerful director, as runaway disasters like Heaven’s Gate, Apocalypse Now, At Long Last Love and others caused studios to step in and start asserting control.

By those standards, Yes Please! by the Happy Mondays is the Heaven’s Gate of albums.

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