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    GAY BOYS AT A NUDE BEACH Consultado el 2 de marzo de Janice griffith sex gif criticon. Good Vibrations Live Consultado el 29 de Porno cratis de However, his brief return to the spotlight ended with two dismal efforts, L. Oxford University Press Inc. From their debut with the regional hit "Surfin'," the three Wilson brothers -- Brian, Dennis, and Carl -- plus cousin Mike Ebony flame porn and friend Mofos massage Jardine constructed the most intricate, gorgeous harmonies ever heard Wonder pussy a pop band. El Mundo.

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    The band's post material is often maligned if it's recognized at all , but the truth is the Beach Boys continued to make great music well into the '70s.

    Displayed best on 's Sunflower, each member revealed individual talents never fully developed during the mid-'60s -- Carl became a solid, distinctive producer and Brian's replacement as nominal bandleader, Mike continued to provide a visual focus as the frontman for live shows, and Dennis developed his own notable songwriting talents.

    Though legal wranglings and marginal oldies tours during the '90s often obscured what made the Beach Boys great, the band's unerring ability to surf the waves of commercial success and artistic development during the '60s made them America's first, best rock band.

    The origins of the group lie in Hawthorne, California, a southern suburb of Los Angeles situated close to the Pacific coast.

    The three sons of a part-time song plugger and occasionally abusive father, Brian, Dennis, and Carl grew up a just few miles from the ocean -- though only Dennis had any interest in surfing itself.

    The three often harmonized together as youths, spurred on by Brian's fascination with '50s vocal acts like the Four Freshmen and the Hi-Lo's.

    Their cousin Mike Love often joined in on the impromptu sessions, and the group gained a fifth with the addition of Brian's high-school football teammate Al Jardine.

    His parents helped rent instruments with Brian on bass, Carl on guitar, and Dennis on drums and studio time to record "Surfin'," a novelty number written by Brian and Mike.

    The single, initially released in on Candix and billed to "the Pendletones" a musical paraphrase of the popular Pendleton shirt , prompted a little national chart action and gained the renamed Beach Boys a contract with Capitol.

    The group's negotiator with the label, the Wilsons' father, Murray, also took over as manager for the band. Before the release of any material for Capitol, however, Jardine left the band to attend college in the Midwest.

    A friend of the Wilsons, David Marks, replaced him. Finally, in mid the Beach Boys released their major-label debut, Surfin' Safari.

    A similarly themed follow-up, Surfin' U. By that time, the Beach Boys had recorded their first two albums, a pair of track collections that added a few novelty songs to the hits they were packaged around.

    Though Capitol policy required the group to work with a studio producer, Brian quickly took over the sessions and began expanding the group's range beyond simple surf rock.

    By the end of , the Beach Boys had recorded three full LPs, hit the Top Ten as many times, and toured incessantly. Though surf songs still dominated the album, "Catch a Wave," the title track, and especially "In My Room" presented a giant leap in songwriting, production, and group harmony -- especially astonishing considering the band had been recording for barely two years.

    Brian's intense scrutiny of Phil Spector's famous Wall of Sound productions was paying quick dividends and revealed his intuitive, unerring depths of musical knowledge.

    Riding a crest of popularity, the late LP Beach Boys Concert spent four weeks at the top of the album charts, just one of five Beach Boys LPs simultaneously on the charts.

    The group also undertook promotional tours of Europe, but the pressures and time constraints proved too much for Brian.

    At the end of the year, he decided to quit the touring band and concentrate on studio productions. Glen Campbell toured with the group briefly, then friend and colleague Bruce Johnston became Brian's permanent replacement.

    With the Beach Boys as his musical messengers to the world, Brian began working full-time in the studio, writing songs and enlisting the cream of Los Angeles session players to record instrumental backing tracks before Carl, Dennis, Mike, and Al returned to add vocals.

    In the rock era's first flirtation with an extended album-length statement, side two of the record presented a series of downtempo ballads, arranged into a suite that stretched the group's lyrical concerns beyond youthful infatuation and into more adult notions of love.

    The first featured "California Girls," one of the best fusions of Brian's production mastery, infectious melodies, and gorgeous close harmonies it's still his personal favorite song.

    When Capitol asked for a Beach Boys record to sell at Christmas, the live-in-the-studio vocal jam session Beach Boys' Party resulted, and sold incredibly well after the single "Barbara Ann" became a surprise hit.

    In a larger sense though, both of these LPs were stopgaps as Brian prepared for production on what he hoped would be the Beach Boys' most effective musical statement yet.

    In late , the Beatles released Rubber Soul. Amazed at the high song quality and overall cohesiveness of the album, Brian began writing songs -- with help from lyricist Tony Asher -- and producing sessions for a song suite charting a young man's growth to emotional maturity.

    Though Capitol was resistant to an album with few obvious hits, the group spent more time working on the vocals and harmonies than any other previous project.

    The result, released in May as Pet Sounds, more than justified the effort. It's still one of the best-produced and most influential rock LPs ever released, the culmination of years of Brian's perfectionist productions and songwriting.

    Critics praised Pet Sounds, but the new direction failed to impress American audiences. Conversely, worldwide reaction was not just positive but jubilant.

    The Beach Boys' next single, "Good Vibrations," had originally been written for the Pet Sounds sessions, though Brian removed it from the song list to give himself more time for production.

    He resumed working on it after the completion of Pet Sounds, eventually devoting up to six months and three different studios to the single.

    Released in October , "Good Vibrations" capped off the year as the group's third number one single and still stands as one of the best singles of all time.

    He drafted Van Dyke Parks, an eccentric lyricist and session man, as his songwriting partner, and recorded reams of tape containing increasingly fragmented tracks that grew ever more speculative as the months wore on.

    A rift soon formed between the band and Brian; they felt his intake of marijuana and LSD had clouded his judgment, while he felt they were holding him back from the coming psychedelic era.

    For the first time in the Beach Boys' career, he appeared unsure of his direction. If SMiLE ever appeared salvageable, those hopes were dashed in May, when Brian officially canceled the project -- just a few weeks before the release of the Beatles' Sgt.

    Pepper's Lonely Hearts Club Band. In August, the group finally released a new single, "Heroes and Villains. That fall, the group convened at Brian's Bel Air mansion-turned-studio and recorded new versions of several SMiLE songs plus a few new recordings and re-emerged with Smiley Smile.

    Carl summed up the LP as "a bunt instead of a grand slam," and its near-complete lack of cohesiveness all but destroyed the group's reputation for forward-thinking pop.

    As the Beatles were ushering in the psychedelic age, the Beach Boys stalled with the all-important teen crowd, who quickly began to see the group as conservative, establishment throwbacks.

    The perfect chance to stem the tide, a headlining spot at the pioneering Monterey Pop Festival in summer , was squandered. Though the Beach Boys regrouped quickly -- the back-to-basics Wild Honey LP appeared before the end of -- their hopes of becoming the world's preeminent pop group with both hippies and critics had fizzled in a matter of months.

    All this incredible promise wasted made fans, critics, and radio programmers undeniably bitter toward future product. Predictably, both Wild Honey and 's Friends suffered with all three audiences.

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    Archivado el 20 de septiembre de en la Wayback Machine. Zona Musical. Consultado el 12 de marzo de Indie Hearts. Consultado el 15 de marzo de Consultado el 20 de abril de Efe eme.

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    El Comercio. Consultado el 28 de abril de Archivado desde el original el 25 de octubre de Consultado el 15 de junio de Archivado desde el original el 9 de mayo de Rock Vivo.

    Pueblo y Sociedad Noticias. Consultado el 18 de mayo de The Times. Consultado el 2 de marzo de Telegraph Media Group. Consultado el 5 de enero de Lite Consultado el 14 de agosto de Consultado el 11 de noviembre de Consultado el 6 de diciembre de Rock Hall.

    Consultado el 27 de enero de Consultado el 7 de enero de Recordre Search. Consultado el 12 de agosto The Lost Beach Boy.

    London: Virgin Books Ltd. Alonso, Sebas 17 de septiembre de Consultado el 1 de diciembre de Archivado desde el original el 15 de agosto de Consultado el 26 de octubre de Daily Mail.

    Consultado el 13 de abril de Rock Eras: Interpretations of Music and Society, Popular Press. New York: Random House. The Quietus. Consultado el 18 de julio de Archivado desde el original el 5 de diciembre de Consultado el 14 de octubre de The Guardian.

    Consultado el 22 de mayo de Archivado desde el original el 23 de julio de Marina Records. Consultado el 9 de septiembre de Milk It! New York, NY: Routledge.

    Todmorden, England: Babylon Books. Milwaukee, WI: Backbeat Books. Ashgate Publishing, Ltd. The Beach Boys and the California Myth. The New York Times.

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    In the rock era's first flirtation with an extended album-length statement, side two of the record presented a series of downtempo ballads, arranged into a suite that stretched the group's lyrical concerns beyond youthful infatuation and into more adult notions of love.

    The first featured "California Girls," one of the best fusions of Brian's production mastery, infectious melodies, and gorgeous close harmonies it's still his personal favorite song.

    When Capitol asked for a Beach Boys record to sell at Christmas, the live-in-the-studio vocal jam session Beach Boys' Party resulted, and sold incredibly well after the single "Barbara Ann" became a surprise hit.

    In a larger sense though, both of these LPs were stopgaps as Brian prepared for production on what he hoped would be the Beach Boys' most effective musical statement yet.

    In late , the Beatles released Rubber Soul. Amazed at the high song quality and overall cohesiveness of the album, Brian began writing songs -- with help from lyricist Tony Asher -- and producing sessions for a song suite charting a young man's growth to emotional maturity.

    Though Capitol was resistant to an album with few obvious hits, the group spent more time working on the vocals and harmonies than any other previous project.

    The result, released in May as Pet Sounds, more than justified the effort. It's still one of the best-produced and most influential rock LPs ever released, the culmination of years of Brian's perfectionist productions and songwriting.

    Critics praised Pet Sounds, but the new direction failed to impress American audiences. Conversely, worldwide reaction was not just positive but jubilant.

    The Beach Boys' next single, "Good Vibrations," had originally been written for the Pet Sounds sessions, though Brian removed it from the song list to give himself more time for production.

    He resumed working on it after the completion of Pet Sounds, eventually devoting up to six months and three different studios to the single. Released in October , "Good Vibrations" capped off the year as the group's third number one single and still stands as one of the best singles of all time.

    He drafted Van Dyke Parks, an eccentric lyricist and session man, as his songwriting partner, and recorded reams of tape containing increasingly fragmented tracks that grew ever more speculative as the months wore on.

    A rift soon formed between the band and Brian; they felt his intake of marijuana and LSD had clouded his judgment, while he felt they were holding him back from the coming psychedelic era.

    For the first time in the Beach Boys' career, he appeared unsure of his direction. If SMiLE ever appeared salvageable, those hopes were dashed in May, when Brian officially canceled the project -- just a few weeks before the release of the Beatles' Sgt.

    Pepper's Lonely Hearts Club Band. In August, the group finally released a new single, "Heroes and Villains.

    That fall, the group convened at Brian's Bel Air mansion-turned-studio and recorded new versions of several SMiLE songs plus a few new recordings and re-emerged with Smiley Smile.

    Carl summed up the LP as "a bunt instead of a grand slam," and its near-complete lack of cohesiveness all but destroyed the group's reputation for forward-thinking pop.

    As the Beatles were ushering in the psychedelic age, the Beach Boys stalled with the all-important teen crowd, who quickly began to see the group as conservative, establishment throwbacks.

    The perfect chance to stem the tide, a headlining spot at the pioneering Monterey Pop Festival in summer , was squandered.

    Though the Beach Boys regrouped quickly -- the back-to-basics Wild Honey LP appeared before the end of -- their hopes of becoming the world's preeminent pop group with both hippies and critics had fizzled in a matter of months.

    All this incredible promise wasted made fans, critics, and radio programmers undeniably bitter toward future product.

    Predictably, both Wild Honey and 's Friends suffered with all three audiences. They survive as interesting records nevertheless; deliberately under-produced, with song fragments and recording-session detritus often left in the mix; the skeletal blue-eyed soul of Wild Honey and the laid-back orchestral pop of Friends made them favorites only after fans realized the Beach Boys were a radically different group in than in Still, Capitol dropped the band soon after.

    One year later, the Beach Boys signed to Reprise. Though frequently lovable, the wide range of material on Surf's Up displayed not a band but a conglomeration of individual interests.

    During sessions for the album, Dennis put his hand through a plate glass window and was unable to play drums. Early in , the band hired drummer Ricky Fataar and guitarist Blondie Chaplin, two members of a South African rock band named the Flame Carl had produced their self-titled debut for Brother Records the previous year.

    For the first time, a Beach Boys album retained nothing of their classic sound. Brian's mental stability wavered from year to year, and he spent much time in his mansion with no wish to even contact the outside world.

    He occasionally contributed to the songwriting and session load, but was by no means a member of the band anymore he rarely even appeared on album covers or promotional shots.

    Though it's unclear why Reprise felt ready to take such a big risk, the label authorized a large recording budget for the next Beach Boys album.

    After shipping most of the group's family and entourage plus an entire studio over to Amsterdam, the Beach Boys re-emerged in with Holland.

    Still, Holland's muddy sound did nothing for the aging band, and it earned scathing reviews. Perhaps a bit gun-shy, the Beach Boys essentially retired from recording during the mid-'70s.

    Instead, the band concentrated on grooming their live act, which quickly grew to become an incredible experience.

    It was a good move, considering the Beach Boys could lay claim to more hits than any other '60s rock act on the road. The Beach Boys in Concert, their third live album in total, appeared in Then, in mid, Capitol Records went to the vaults and issued a repackaged hits collection, Endless Summer.

    Both band and label watched, dumbfounded, as the double LP hit number one, spent almost three years on the charts, and went gold.

    Rolling Stone, never the most friendly magazine to the group, named the Beach Boys its Band of the Year at the end of the year. Another collection, Spirit of America, hit the Top Ten in , and the Beach Boys were hustled into the studio to begin new recordings.

    Trumpeted by the barely true marketing campaign "Brian's Back! Brian took a much more involved position for the following year's The Beach Boys Love You it was almost titled Brian Loves You and released as a solo album.

    In marked contrast to the fatalistic early-'70s pop of "Til I Die" and others, Brian sounded positively jubilant on gruff proto-synth pop numbers like "Let Us Go on This Way" and "Mona.

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    El Comercio. Consultado el 28 de abril de Archivado desde el original el 25 de octubre de Consultado el 15 de junio de Archivado desde el original el 9 de mayo de Rock Vivo.

    Pueblo y Sociedad Noticias. Consultado el 18 de mayo de The Times. Consultado el 2 de marzo de Telegraph Media Group. Consultado el 5 de enero de Lite Consultado el 14 de agosto de Consultado el 11 de noviembre de Consultado el 6 de diciembre de Rock Hall.

    Consultado el 27 de enero de Consultado el 7 de enero de Recordre Search. Consultado el 12 de agosto The Lost Beach Boy. London: Virgin Books Ltd.

    Alonso, Sebas 17 de septiembre de Consultado el 1 de diciembre de Archivado desde el original el 15 de agosto de Consultado el 26 de octubre de Daily Mail.

    Consultado el 13 de abril de Rock Eras: Interpretations of Music and Society, Popular Press. New York: Random House.

    The Quietus. Consultado el 18 de julio de Archivado desde el original el 5 de diciembre de Consultado el 14 de octubre de The Guardian.

    Consultado el 22 de mayo de Archivado desde el original el 23 de julio de Marina Records. Consultado el 9 de septiembre de Milk It!

    New York, NY: Routledge. Todmorden, England: Babylon Books. Milwaukee, WI: Backbeat Books. Ashgate Publishing, Ltd.

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