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Practical Criticism No. 72: Brian Wilson (God Only Knows What We'll do Without You...)

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Manage episode 492600253 series 3561030
Content provided by Brooklyn Institute for Social Research and The Brooklyn Institute for Social Research. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Brooklyn Institute for Social Research and The Brooklyn Institute for Social Research or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://podcastplayer.com/legal.

In episode 72 of Practical Criticism, Ajay takes the somber occasion of Brian Wilson's recent death to play, for Rebecca, the Beach Boys's immortal track "God Only Knows"—a song Paul McCartney called the "greatest ever written." Is Sir Paul, for once, correct? Ajay and Rebecca ask after the song's technical perfection, noting its intermix of pop, jazz, and even Bach-esque baroque, while dwelling as well on its emotional ambiguity, barbershop polyphony, and inimitable quality of being at once light and airy yet incredibly substantial. Is "God Only Knows" the platonic ideal of pop? How can we think about "genius"—and its complicated avatar, Brian Wilson?

  continue reading

12 episodes

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Manage episode 492600253 series 3561030
Content provided by Brooklyn Institute for Social Research and The Brooklyn Institute for Social Research. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Brooklyn Institute for Social Research and The Brooklyn Institute for Social Research or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://podcastplayer.com/legal.

In episode 72 of Practical Criticism, Ajay takes the somber occasion of Brian Wilson's recent death to play, for Rebecca, the Beach Boys's immortal track "God Only Knows"—a song Paul McCartney called the "greatest ever written." Is Sir Paul, for once, correct? Ajay and Rebecca ask after the song's technical perfection, noting its intermix of pop, jazz, and even Bach-esque baroque, while dwelling as well on its emotional ambiguity, barbershop polyphony, and inimitable quality of being at once light and airy yet incredibly substantial. Is "God Only Knows" the platonic ideal of pop? How can we think about "genius"—and its complicated avatar, Brian Wilson?

  continue reading

12 episodes

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