Brian

Brian Setzer was on tour with the Stray Cats last year when he noticed the earliest signs of what was eventually diagnosed as an autoimmune disorder.

Now, it seems that disorder may be keeping Setzer off the road.

The Stray Cats said Tuesday they would be canceling their fall U.S. tour as Setzer, 66, battled a “serious illness.” The announcement comes months after Setzer’s diagnosis, although it’s not yet clear if this is a separate health issue.

“I know this affects so many people and I am devastated to have to deliver this news,” Setzer wrote Tuesday on X. “I’ve been trying everything I can to go on and do these shows, but it is just not possible.

“I’ve been looking forward so much to being on stage with my band mates again,” he said, “and playing for all of our amazing fans, and I’m gutted.”

The Stray Cats initially canceled the first two stops on their fall run, in Mount Pleasant, Mich., and Rockford, Ill., before scrapping the whole tour Tuesday. The band said refunds would be available at the point of purchase and did not announce any future tour dates.

Setzer first shared details about his unspecified autoimmune disease in February, writing on social media that, although the illness was not painful, it rendered him unable to play guitar.

“It feels like I am wearing a pair of gloves when I try to play,” he wrote, adding that the disease had for a time hindered his ability to accomplish everyday tasks like tying his shoes.

The artist said that he had been improving as he received care at “the best hospital in the world down the block from me,” the Mayo Clinic.

“I know I will beat this, it will just take some time,” he said. “I love you all.”

The Stray Cats, formed by Setzer, Lee Rocker and Slim Jim Phantom in 1979, have dissolved and re-formed several times over the decades. In 2019, the founding trio reunited to release a 40th anniversary album, aptly dubbed “40,” their first album in a quarter of a century.

On Friday, the band rolled out its first release since then. The pair of singles, consisting of original song “Stampede” and a cover of Eddie Cochran’s “Teenage Heaven,” were described on the band’s website as “loud, upbeat, and unmistakably The Stray Cats.”

“Jim and I cut both songs in Minneapolis at Terrarium Studios,” Setzer said in a statement posted to the site. “‘Stampede’ was an instrumental that I wrote lyrics for. I basically copied the guitar part, which was pretty ahead of its time to begin with, and ‘Teenage Heaven’ is one of the few Eddie Cochran songs that has not been covered to death.”

Rocker said “‘Stampede’ has the drive and intensity that brings me back to our first album,” and “‘Teenage Heaven’ is a classic Eddie Cochran song that we put our [Stray] Cats magic on.”

“The Cats are back and better than ever,” the bassist said.

Times staff writer Alexandra Del Rosario contributed to this report.

Louisiana State fired coach Brian Kelly during the fourth season of a 10-year contract worth about $100 million, athletic director Scott Woodward announced Sunday night.

The move comes on the heels of Saturday night’s 49-25 loss to No. 3 Texas A&M in Tiger Stadium — a second straight loss, and third in four games for LSU (5-3, 2-3 Southeastern Conference).

“When Coach Kelly arrived at LSU four years ago, we had high hopes that he would lead us to multiple SEC and national championships during his time in Baton Rouge,” Woodward said. “Ultimately, the success at the level that LSU demands simply did not materialize.”

Associate head coach Frank Wilson, who also serves as a running backs coach, has been tapped as the interim head coach for the remainder of the 2025 season.

Kelly was hired away from Notre Dame when his predecessor, Ed Orgeron, stepped down following the 2021 regular season.

He has gone 34-14 with the Tigers, even taking LSU to the 2022 SEC title game. But LSU did not qualify for the College Football Playoff in his first three seasons, and was virtually eliminated from contention with its loss to the Aggies.

The playoff was expanded from four to 12 teams for the 2024 season.

“I will not compromise in our pursuit of excellence and we will not lower our standards,” said Woodward, an LSU graduate who was hired to his current post in 2019, the same year the Tigers won their last national title under Orgeron.

Orgeron left after not posting a winning record during his final two seasons.

While Kelly did not coach LSU to a playoff berth, he oversaw quarterback Jayden Daniels’ development into a Heisman Trophy winner in 2023.

“I am confident in our ability to bring to Baton Rouge an outstanding leader, teacher and coach, who fits our culture and community and who embraces the excellence that we demand,” Woodward said.

LSU could have to pay Kelly tens of millions not to coach, but the precise figure was unclear on Sunday night.

“We will continue to negotiate his separation and will work toward a path that is better for both parties,” Woodward said.

Robertson’s absence has been a big talking point for Cardiff fans, who have been perplexed as to why a player who cost the club a seven-figure fee when he joined from Manchester City in the summer of 2024 has not been used.

He was in Australia’s squad for their friendly matches in the United States and Canada earlier this month, but did not feature in either game.

“I think it’s fine for the supporters to talk about him in whatever way they want,” said Barry-Murphy.

“Alex is somebody who I know really well from long before he was at this club [when Barry-Murphy coached Manchester City Under-21s], so all I want for all the players is to be at their best.

“My duty is then to get them into that condition where they can compete against each other. But I have to be very fair and consistent in the way that I judge all the squad once they reach that level.

“That’s the same for Alex as it is for everybody else. If he was in the shoes of the other players, he’d want the exact same thing.”

Meanwhile, centre-back Dylan Lawlor could be back for Saturday’s League One trip to Bolton Wanderers having missed last Saturday’s 2-1 win over Reading with a groin injury.

Fellow centre-back Will Fish is also managing a knee issue, which limited him to 45 minutes against the Royals last weekend.

“Will Fish has an ongoing knee issue which is getting better, particularly when he hits longer passes,” said Barry-Murphy.

“He’s had some discomfort in his knee. But the amount of discomfort is getting less and less, so he’s making good progress.

“Dylan has had a good week of training so far. I think it’s important that he can do certain things that we want from later on this afternoon [Thursday] when we train, and then hopefully he can be available for Saturday.”

Brian Callahan has the dubious distinction of being the first NFL coach to be fired this season.

The Tennessee Titans announced Monday they were parting ways with their second-year coach after starting the season at 1-5 with rookie quarterback Cam Ward, the top overall pick in April’s draft, under center. Callahan was 4-19 overall.

“While we are committed to a patient and strategic plan to build a sustainable, winning football program, we have not demonstrated sufficient growth,” Chad Brinker, Titans president of football operations, said in a statement. “Our players, fans, and community deserve a football team that achieves a standard we are not currently meeting, and we are committed to making the hard decisions necessary to reach and maintain that standard.”

Callahan, the son of former Oakland Raiders and Nebraska head coach Bill Callahan, was a backup quarterback at Concord De La Salle High School and served in the same role at UCLA from 2002 to 2005. The former walk-on earned a scholarship his senior year, when he became the Bruins’ holder on field goal and extra-point attempts.

Callahan entered the coaching ranks upon graduation, winning a Super Bowl as a Denver Broncos assistant coach in 2015. He went on to become quarterbacks coach for the Detroit Lions and Oakland Raiders, then offensive coordinator for the Cincinnati Bengals in 2019.

A hot commodity for teams in search of a head coach in 2024, Callahan was among at least nine candidates interviewed by the Chargers (that job ultimately went to former Michigan coach Jim Harbaugh) and one of 10 candidates for the Titans job.

Callahan replaced former coach Mike Vrabel, who had been fired after six seasons with the Titans. This weekend, Vrabel will lead the 4-2 New England Patriots into Nashville to play his former team. It remains to be seen who will be on the Titans sideline as interim head coach.

Detroit defensive back Brian Branch thought he had been blocked in the back illegally without the officials calling a penalty during the Lions’ 30-17 loss to the Kansas City Chiefs on Sunday night.

So as soon as the game ended, Branch took matters into his own hands — or, rather, his own hand.

After the final play, Branch approached the player he later said was responsible for the illegal block, Chiefs receiver JuJu Smith-Schuster, and hit him hard on the left side of his face mask with an open hand.

Smith-Schuster fell to a knee but immediately popped up and went after Branch. The two players scuffled briefly, with Smith-Schuster losing his helmet and ending up back on the ground, as other players and coaches tried to intervene.

Talking to reporters after the game, Branch apologized and took responsibility for his actions while also attempting to explain what had set him off.

“I did a little childish thing,” the third-year player said. “But I’m tired of people doing stuff in between the play and refs don’t catch it. Like, they were trying to bully me out there and I don’t think — I shouldn’t have did it. It was childish.”

Asked to elaborate on what had happened during the game, Branch said: “I got blocked in the back illegally, and it was front of the ref. The ref didn’t do anything, and just stuff like that. And I could have got hurt off of that, but I still shouldn’t have done that.”

Branch said later in the interview that he should have taken out his frustrations within the rules of the game “between the whistles, not after the game, and I apologize for that.”

Detroit coach Dan Campbell, right, approaches Lions defensive back Brian Branch, left, in a crowd of players after a game against the Kansas City Chiefs on Oct. 12.

(Jamie Squire / Getty Images)

Branch was fined $23,186 earlier this season for face-masking and unsportsmanlike conduct penalties during a game against the Green Bay Packers. He could face another fine and possibly a suspension for his actions Sunday night, an NFL spokesperson told The Times. There is no timetable for a decision to be made on the matter.

The Chiefs offense and Lions defense were on the field for the final play. As soon as the final whistle blew, Branch appeared to walk right past Kansas City quarterback Patrick Mahomes, who had extended his hand for a postgame handshake, to confront Smith-Schuster.

“After the game, I was expecting to shake his hand and say, ‘Good game’ and move away, but he threw a punch,” Smith-Schuster told reporters in the locker room. “At the end of the day, it’s a team sport. We came out here, we did our job, we won, and that’s all that matters.”

Smith-Schuster was asked what might have led up to the incident.

“I mean, just me blocking him,” the ninth-year receiver said. “I mean, I’m just doing my job. I play between the whistles and after the game he just took advantage of what he did.”

Smith-Schuster reportedly received a bloody nose from the hit. There were no signs of blood by the time he gave his postgame interview, but Smith-Schuster confirmed that he had been bleeding.

Detroit coach Dan Campbell — who famously declared during his introductory press conference in 2021 that his team would bite off opponents’ kneecaps — told reporters that Branch’s actions were unacceptable.

“I love Brian Branch, but what he did is inexcusable and it’s not going to be accepted here,” Campbell said. “It’s not what we do. It’s not what we’re about. I apologized to Coach [Andy] Reid and the Chiefs, and Schuster. That’s not OK. That’s not what we do here. It’s not going to be OK. He knows it. Our team knows it. That’s not what we do.”

The Associated Press contributed to this report.

Scott Parker’s team have beaten Derby County in this season’s Carabao Cup after entering at the second-round stage, while Cardiff have seen off Swindon and Cheltenham to set up the trip to Lancashire.

“I am really excited to go to a Premier League team in a competition where we have produced really good performances,” Barry-Murphy added.

“It’s a good test for our players. Burnley have a super-talented squad and to test ourselves in that stadium against them will be very good for us.”

Cardiff have fitness concerns over Ronan Kpakio, who came off during the Bradford loss with a foot problem, and Dylan Lawlor, who missed the Bantams’ visit with a groin injury.

“We have a group we really believe in,” Barry-Murphy said. “We will see who is OK and then pick a team.”

“When we look at this game, it’s been a real opportunity for us just to put a mark on the World Cup.

“We made it very clear right at the start that we weren’t just coming here to compete in terms of being a number, we were here to get to the latter stages.

“We are in the latter stages and we believe that our performances have shown the progress we’re making and we want to keep progressing in this World Cup and this is a huge opportunity for us to do that.”

Scotland have made two changes to their front row from the side who beat Fiji last weekend, with hooker Lana Skeldon and tighthead Lisa Cockburn starting.

Elis Martin drops to the bench while Elliann Clarke misses out. Cockburn replaced Clarke during last weekend’s win against Fiji.

Lock Sarah Bonar will win her 50th cap, while Jade Konkel returns to the squad to take her place on a 6-2 bench.

Easson understands the scale of the challenge taking on a Canada side who have registered thumping wins over Fiji and Wales so far in the tournament.

However, he believes his side have been well prepared by their own victories over those two sides in Pool B.

“We’ve played against two sides of two different styles,” said Easson, who will step down as Scotland head coach after the tournament.

“Playing Fiji last week was actually a really good one for us because they were very physical, it was a real physical test, which Canada are as well.

“Canada also play fairly similarly in terms of, believe it or not, offloading more than Fiji, so statistically offload more than them.

“So we’ve had a fair idea of what we’re coming up against. We know the Canadians quite well, obviously a lot of the players play in PWR (Premiership Women’s Rugby) and we’ve watched a lot of their games, so it’s going to be a very, very difficult test, one however that we are very well prepared for.”

Actor Floyd Levine, whose career spanned numerous decades and a variety of projects ranging from films “The Hangover” and “Norbit” to TV shows “Melrose Place” and “Murder, She Wrote,” has died. He was 93.

Levine died Sunday, surrounded by family and “probably wishing someone would bring him a martini,” his daughter-in-law Tracy Robbins announced Tuesday on Instagram. Robbins, who is married to Levine’s son, former Paramount executive Brian Robbins, said Levine was “the best father-in-law, grandpa, and all around jokester.”

Levine began his screen career in the early 1970s and appeared in almost 100 productions. His notable credits also include films “Dog Day Afternoon,” “Bloodbrothers,” “Super Fly” and TV series “Kojak,” “Starsky & Hutch,” “Baywatch” and “Days of Our Lives.” He often played minor characters, including police officers, detectives, tailors, doctors and a crime boss.

A former taxi cab driver from New York City, Levine also collaborated with his son on Eddie Murphy starrers “Norbit,” “Meet Dave” and “A Thousand Words.” Robbins was inspired by his father to pursue an entertainment career and was also an actor, director and longtime producer before he became an industry executive. The father-son duo also both appeared in “Archie Bunker’s Place” and “Head of the Class.” They also worked together on “Good Burger,” “Kenan & Kel” and “Coach Carter.”

“Brian is basically his twin, and we will see Floyd’s grin every time we look at him,” Tracy Robbins added in her Instagram post.

“You all have made my life sugar, and I love you all so much,” he tells loved ones in a video shared by Robbins. “If I could do it, I’d hug you and kiss you all. God bless you all and keep punching.”

Levine was laid to rest on Wednesday. In addition to Brian and Tracy Robbins, survivors also include daughter Sheryl, son Marc and several grandchildren, according to the Hollywood Reporter. His wife, Rochelle, died in May 2022 at age 85.

“I would like to think there’s a casting call in heaven, and you showed up early, script in hand,” Tracy Robbins added in her post. “I will miss him dearly, but i know he’s making the angels laugh already and back together with his beautiful wife Rochelle.”

Second in a series of stories profiling top high school football players by position. Today, Brian Bonner, Valencia running back.

There are many ways Brian Bonner of Valencia High impacts a football game. As a running back, using his 10.48-second speed in the 100 meters, any kind of opening creates the opportunity for a touchdown.

Ditto catching a ball out of the backfield and being allowed to improvise as he makes defenders miss. And then there’s kickoff returns, where he builds up speed like a locomotive and heads to the end zone faster than putting mustard on a hot dog.

“I think being versatile is very important,” he said. “A lot of teams in college look for a running back that can do more than run the ball. They want you to be able to catch and block.”

At 6 feet and 190 pounds, Bonner is ready to take a place among the many great Valencia backs of the past, from Manuel White to Shane Vereen to Steven Manfro, all of whom made it to the college ranks.

“It’s really cool to learn about the history of the other running backs and it would be an honor to be part of that group,” Bonner said. “I’ve learned all the great things they’ve done at Valencia.”

No one has been faster in Valencia history than Bonner, who started attracting attention when he ran 100 meters in 10.85 seconds during his last race as a freshman. A stampede of football offers started coming after his 10.48 time last year.

Brian Bonner of Valencia runs for yardage against West Ranch during his sophomore season.

(Craig Weston)

“My recruitment started to blow up,” he said. “They were really impressed by speed and my football form backed up my speed. The best way to determine how fast someone is by track times. People can see how fast you are as a player and it shows how important speed is to coaches.”

Bonner rushed for 1,493 yards and 25 touchdowns last season and also caught 40 passes for 498 yards and four touchdowns. He committed to Washington last month.

His combination of speed, size and versatility makes him a valuable offensive weapon. Add to that his patience and youth. He just turned 17 in July and was perfectly fine with playing junior varsity football as a freshman.

“I think everybody wants to play varsity as freshman,” he said. “Now that I look back, it was good. I learned things that I brought to varsity. I knew what to expect instead of being a freshman and not knowing what to expect.”

Valencia coach Larry Muir is plotting how to best use Bonner’s versatility and quickness.

“When you’re special, you have a skill set to catch the ball out of the backfield and he does that as well as anyone,” Muir said. “His speed is incredible, but when you get him in the open field and get him in open space, it’s fun to watch.”

It’s Bonner’s senior year, and he has no intention on relying what he’s done in the past or what 100-meter time he ran.

“You have to work hard, because everyone is going to get better,” he said. “You have to stand out and do things a lot of people won’t do to be the best. Putting in extra hours, learning the plays, learning defenses, becoming a student off the game.”

Thursday: St. John Bosco receiver Madden Williams.

Running backs to watch

Maliq Allen, St. John Bosco, 5-8, 180, Jr.: Showed flashes of brilliance with 1,003 yards rushing

Brian Bonner, Valencia, 6-0, 190, Sr.: Speed and hands make him explosive weapon

Justin Lewis, Mater Dei, 5-10, 195, Sr.: Thousand Oaks transfer gained 1,306 yards as junior

AJ McBean, Mira Costa, 5-11, 208, Jr.: Big back with speed and power

Sean Morris, Orange Lutheran, 5-10, 195, Sr.: Northwestern commit transfers from Loyola

Deshonne Redeaux, Oaks Christian, 6-0, 185, Sr.: USC commit has high expectations for senior season

Edward Rivera, Compton, 6-0, 185, Jr.: City Section transfer gained 1,843 yards and 21 TDs last season

Ceasar Reyes, Garfield, 5-11, 175, Jr.: Rushed for 1,520 yards, 22 TDs with relentless energy in 2024

Journee Tonga, Leuzinger, 5-8, 175, Sr.: Rushed for 2,267 yards, 29 TDs last season

Jorden Wells, Servite, 5-7, 150, So.: Let’s see what track speedster can do in first varsity season

At a time when most of their peers have retired, threatened to call it quits or died, the Beach Boys continue to perform 120 shows per year. Led by original singer Mike Love and longtime multi-instrumentalist Bruce Johnston, this version of the Beach Boys performs the sounds of Southern California to three generations of fans, something which isn’t lost on Love.

“The positivity that our music generates, and the good vibes and good feelings, is a wonderful thing to see,” Love says. “It’s an inspiration to me to see kids with their parents or their grandparents at our shows.”

This weekend, the Beach Boys return to Long Beach for the first time in nearly 15 years to the day, when they performed at Harry Bridges Memorial Park. As Love recalls, the band played one of its first shows in the city at the Long Beach Municipal Auditorium on New Year’s Eve 1961.

“That first concert we were paid for as the Beach Boys at the Long Beach Municipal Auditorium for the Ritchie Valens Memorial Dance,” he recalls. “We played three songs and got $300, but also on that show was Ike Turner and Kings of Rhythm. We got to hear Tina Turner sing this song called ‘I’m Blue.’ It was primordial and blew my mind.”

Thousands of shows later, the Beach Boys continue to have a receptive audience who will gladly see them perform the hits of yesteryear. Love has no issue leaning into the band’s 1960s heyday. In fact, he sees it as his duty to spread “peace and love” through the Beach Boys’ concerts.

Chatting hours before he departed his Lake Tahoe, Calif., home to fly to Southern California for the band’s latest string of shows, Love reflected on nearly 65 years of the Beach Boys, feeling like he finally got his due by being inducted into the Songwriters Hall of Fame, why he’s looking forward to the decidedly un-Beach Boys crowd at Riot Fest, and honoring his late cousin Brian Wilson.

Mike Love

(Udo Spreitzenbarth)

How did it feel to be inducted into the Songwriters Hall of Fame?

Better late than never, but it was a great honor. It meant a lot because I wasn’t recognized for my contribution to so many of the Beach Boys’ hits over the years. So, the recognition is a good thing. There are various reasons I wasn’t recognized for it. My uncle [Beach Boys original manager] Murry [Wilson], didn’t put my contribution of the lyrics. “I Get Around,” “Help Me, Rhonda,” “Be True to Your School,” a lot of great songs that I wasn’t credited for. We fired my uncle as manager to get even for me, and he excluded me when he handled the publishing. We didn’t know what publishing was when we started in 1961. We were unsophisticated regarding the business end of it, and we just loved creating music. We loved harmonizing. That was a family tradition that morphed into a long-lasting profession because my cousin Brian and I got together and wrote some songs that people still love to this day.

What is it about the songs that continue to bring people together at a time when people can hardly agree on anything?

The harmonies and the positivity go a long way towards eliminating the negativity. In “Good Vibrations,” I wrote every word of it. I even came up with (sings) “I’m thinking of good vibrations / She gave me excitations” with the chorus melody as well as all the lyrics. But that was written in 1966. The Vietnam War was percolating, and there were student demonstrations. There were problems with integration, and stuff like that made the news. But I wanted to write “Good Vibrations.” I wanted to write this song. I wrote a poem about a girl who loved nature. She was only into the peace, love and flower power, which was also going on at that time. The juxtaposition of the negative and the positive is pretty amazing. It turns out there’s a psychologist in Sheffield, England, who wanted to find out which songs made people feel the best. And our song “Good Vibrations” came in at No. 1, which is unbelievable. In 1966, when it went to No. 1 in England, we were voted the No. 1 group in Great Britain, with No. 2 being the Beatles. Incredible. That was a pretty amazing achievement.

You’ve been joined on stage by the likes of Mark McGrath and Dexter Holland from the Offspring. What does that say to you about the longevity of what the songs have meant?

Dexter sounded amazing on it! He is a really good singer, obviously, but he wanted to do “Wouldn’t It Be Nice,” and so we rehearsed backstage [at Oceans Calling Festival in Maryland last September], ran through it about once or twice, and came out on stage in front of 40,000 people, and it was pretty amazing! Mark McGrath is just the most positive and fun guy ever. We have the same birthday, so he’s a few years younger than I am (laughs).

And of course, John Stamos, who inducted you into the Songwriters Hall of Fame.

He’s been with us since he was Blackie on “General Hospital.” At this point, he is pretty much an honorary Beach Boy and family.

In the days after Brian’s death, the clip of the band appearing on “Full House” made the rounds on Instagram. What’s it like to remember that when both Brian and Carl were there and you appeared on that show?

John Stamos likes to say that we need this music more than ever now because of so much negativity in the world, and I agree. When I was writing, I accentuated the positive with the harmonies, giving that warm feeling, and the subject matter being fun at times. We’d maybe been a little introspective on “God Only Knows,” maybe “In My Room,” and “The Warmth of the Sun.” The upbeat songs are all fun, positive, and make people feel good. We were just in Spain, and we had standing ovations every night. It was amazing.

What’s wild is seeing the Beach Boys appear on the historically punk festival Riot Fest. Are you familiar with it?

Yeah! We were invited to do it a year ago, but we are doing it this year. Our songs go over well with every demographic and all kinds of people. It doesn’t matter what the format of this is. We’ve done very well with some country festivals, enormously well. It doesn’t matter what the genre of the festival appeals to. We played Stagecoach last year, and there were 70 or 80,000 people at our set. Singing along and dancing around, so we had a great time at that one.

Who are you looking forward to seeing at Riot Fest?

Who is on it other than us?

On your day, it is Weezer performing the Blue Album, Jack White, a reconfigured version of the Sex Pistols, Dropkick Murphys, All Time Low, James …

Weezer! They did “California Girls” on a tribute show that aired on Easter Sunday a few years ago. There’s a lot more guitar in that particular version (laughs). Maybe one of those guys will come and sing with us. What happens at those things is that you’re with a lot of people you don’t ordinarily see, and people like to do unique things.

Do you think the Beach Boys would be considered a punk band, if that was a term, in 1961?

If you listen to some of our songs, like “Surfin’ Safari,” “Catch a Wave” and “Hawaii,” there’s a lot of tempo there. I think those songs appeal to all kinds of genres.

Does returning to Long Beach, near where you all grew up, carry more weight with the loss of Brian?

Well, we have a tribute song called “Brian’s Back” that I wrote many, many years ago. So, back when that was released (in 1976 as part of “15 Big Ones”), we did a video tribute to Brian that we play every night at our concerts, which people love and appreciate. He may have passed on, but he’s always with us every night in the music.

Elton John said that the “Pet Sounds” album would be the one album that would be played forever, which is an amazing accolade,” Love said. “So those songs are pretty much immortal to some degree. So if somebody is capable of replicating them as closely as possible for the record, then great.”

(Udo Spreitzenbarth)

Do you see the Beach Boys continuing to tour in name after you and Bruce are done?

I’m not sure. We haven’t given that a whole lot of thought because we’re very active these days with this configuration. Elton John said that the “Pet Sounds” album would be the one album that would be played forever, which is an amazing accolade. So those songs are pretty much immortal to some degree. So if somebody is capable of replicating them as closely as possible for the record, then great.

But the problem is that mortality is an issue, of course. So, at some point in time, nature will take over and say, “OK, you’re out of here, huh?” But in the meantime, I think we’ve got a good several years to go.

What do people misunderstand about your and Brian’s relationship?

Well, there’s a lot of misinformation given out over this early part of our careers that says I didn’t like the “Pet Sounds” album, which is bull—, because I actually named it and Brian brought it to Capitol Records, who didn’t know what to do with it. If you listen to the tracks of “Pet Sounds,” you say, “How the heck did he ever do that with the greatest musicians in L.A., the Wrecking Crew?” My cousin Brian did some amazing stuff that’ll stand the test of time, if Elton John is right, forever. It’s a true blessing to be able to do what started as a family hobby and became a long-lasting profession.

Is “That’s Why God Made the Radio” the last Beach Boys album, or do you all have one more left in you?

Anything’s possible. We don’t have immediate plans, but I do think of that kind of thing from time to time.

West Indies have been battling with “systemic issues” for 25 years that have left them with players “ill-equipped” to deal with the challenges they faced against Australia, according to Trinidadian commentator Fazeer Mohammed.

“It was almost the perfect storm,” he told BBC Sport.

“You’ve got Mitchell Starc, a world class bowler, deadly in any sort of situation and even deadlier with the pink ball, coming up against players really ill-equipped to deal with those sorts of challenges.

“Everything was set up for something like this to happen. You never really factor in 27 all out but, in the general context of West Indies cricket, this was an accident waiting to happen.”

While Lara has been drafted in to help find a solution to the problems facing the current side, Mohammed believes the iconic left-hander’s heroics were part of the reason a lot of the issues were masked for so long.

“What lies behind it is the failure to address the fundamental challenges in our domestic game – in our regional game,” he added.

“We have many different challenges. Fundamental to those would be costs because we have many different territories – it’s very costly to travel around the Caribbean, to host tournaments.

“There’s an air of resignation about it. People will this morning be arguing amongst themselves and debating about how this can happen, who needs to be fired, who needs to be dropped, who needs to be got rid of.

“It’s the same sort of knee-jerk reaction and then they’ll shrug their shoulders and say ‘well this is how it is now’.”

It is almost two and a half years since West Indies last won a Test series – 1-0 in Zimbabwe – and three years since their last home series victory, 2-0 against Bangladesh.

“I don’t think all is lost by any stretch of the imagination,” Mohammed said.

“It requires at a very fundamental level at the schools, at the under-19, under-23 levels a serious financial investment in growing the quality of the game – male and female.

“But also there has to be, first and foremost, that recognition that Test cricket still means something to us in the Caribbean.”

South Africa’s Wiann Mulder declared on himself, passing up the opportunity to break Brian Lara’s record for the highest individual score in a Test innings.

Mulder, captaining South Africa for the first time, was 367 not out at lunch on the second day of the second Test against Zimbabwe in Bulawayo.

He was 33 runs behind the 400 not out West Indies legend Lara made against England in Antigua in 2004.

The 27-year-old opted against his shot at one of Test cricket’s most iconic records, instead declaring South Africa’s first innings on 626-5.

Vin Diesel says the planned finale of the long-running “Fast & Furious” franchise will come with an unexpected passenger.

Speaking at Fuel Fest, an automotive event in Pomona over the weekend, Diesel told fans that the final “Fast & Furious” film will bring back one of the series’ most beloved characters: Paul Walker’s Brian O’Conner. The longtime on-screen partner to Diesel’s Dominic Toretto, O’Conner last appeared in 2015’s “Furious 7,” which was completed after Walker’s death in a car accident in 2013 at age 40.

The franchise — known for its blend of street racing, elaborate heists and outsized action — has grown into one of the most successful of all time, with more than $7 billion at the global box office.

“Just yesterday I was with Universal Studios,” Diesel said in a video from the event. “The studio said to me, ‘Vin, can we please have the finale of ‘Fast & Furious’ [in] April 2027?’ I said, ‘Under three conditions’ — because I’ve been listening to my fanbase.”

Those conditions, he said, were to bring the franchise back to L.A., return to its street-racing roots and reunite Dom and Brian.

“That is what you’re going to get in the finale,” Diesel promised.

How the production might accomplish that reunion remains unclear. When Walker died during the making of “Furious 7,” the filmmakers turned to a mix of archived footage, digital effects and performances by Walker’s brothers, Caleb and Cody, who served as stand-ins for unfinished scenes. Artists at Weta Digital created more than 300 visual-effects shots to map Walker’s likeness onto his brothers’ bodies, often piecing together dialogue from existing recordings. The film’s farewell — showing Brian and Dom driving side by side before splitting onto separate roads — became one of the franchise’s most memorable and emotional moments, widely seen as a tribute to Walker’s legacy.

A return for Brian O’Conner would join a growing list of posthumous digital performances in major franchises — a practice that continues to stir debate over where the line should be drawn. In 2016’s “Rogue One: A Star Wars Story,” Peter Cushing’s Grand Moff Tarkin was recreated through a mix of motion capture, CGI and archival material, decades after Cushing’s death. In 2019, “The Rise of Skywalker” relied on previously unused footage and digital stitching to return Carrie Fisher’s Leia to the screen three years after the actress’ passing.

And in last year’s “Alien: Romulus,” the late Ian Holm’s likeness was recreated as an android using AI and digital effects, with the approval of his estate — a choice that sparked controversy and led to more practical effects being used in the film’s home release.

Northern Ireland’s McIlroy will return to the Travelers Championship after skipping the 2024 event to “lick my wounds” after just missing out on the US Open at Pinehurst.

McIlroy arrives in Connecticut off the back off a difficult week at this year’s major at Oakmont, where he was visibly frustrated by his game as he narrowly made the cut and told reporters he had earned the right “to do what I want” after skipping media sessions.

After the tournament he admitted he had climbed his “Everest” by completing a career Grand Slam by winning the Masters in April and he was looking forward to scaling “another mountain”.

“The weeks after major championships, sometimes when you’re in contention and trying to win them it can feel quite difficult to go and play the next week,” the 36-year-old said.

“But after a week like I had at Oakmont, where you aren’t quite in the mix but you think you might have found something in your game, you are excited to play again.

“This is the perfect chaser from last week and it’s nice to get out on a golf course where you feel like you can make quite a few brides.”

When asked if one particular shot at the US Open had made him feel more positive about his game, McIlroy said consistency was key and pointed to the fact he made the most shots off the tee in the field at Oakmont.

“f I can see something, or have a feeling, that is very repeatable – on the range is one thing but on the course is another – the proof is in the pudding,” he added.

“Last week I felt I found a feeling, especially off the tee that was repeatable and working well.

“I led strokes off the tee last week which was a big thing for me. I thought I drove the ball well all week.”

PGA Tour commissioner Jay Monahan will step down after nine years in the role when his contract ends in 2026.

Brian Rolapp has been appointed as the tour’s first chief executive and will gradually take over Monahan’s day-to-day responsibilities.

Rolapp has spent more than 20 years with the National Football League (NFL), most recently as chief media and business officer.

“A year ago, I informed our boards that upon completing a decade as commissioner, I would step down from my role at the end of 2026,” Monahan said.

“Since then, we’ve worked together to identify a leader who can build on our momentum and develop a process that ensures a smooth transition.

“We’ve found exactly the right leader in Brian Rolapp, and I’m excited to support him as he transitions from the NFL into his new role leading the PGA Tour.”

Monahan’s last few years as commissioner have been dominated by the ructions in golf caused by the rise of the Saudi-backed LIV Golf circuit.

The 55-year-old was a vocal critic of LIV, but then played a key role in the negotiations that led to an agreement to form a partnership with Saudi Arabia’s Public Investment Fund (PIF), which bankrolls LIV.

The secretive nature of the talks with LIV angered a number of players.

Negotiations aimed at a final agreement between the PGA Tour and LIV are ongoing, and Rolapp is hoping to unify the sport.

“I think the fans have been pretty clear,” Rolapp said. “They want to see the best golfers competing against each other. I agree with that.

“When it comes to the situation with LIV, I think that’s a complex situation that’s probably something I should learn more about before I speak.

“But I will say my focus is on growing the tour, making it better, and really moving on from the position of strength that it has.”

Tiger Woods was part of the PGA Tour CEO search committee which unanimously recommended Rolapp for the role.

“Brian’s appointment is a win for players and fans,” said Woods. “He has a clear respect for the game and our players, and brings a fresh perspective from his experience in the NFL.

“I’m excited about what’s ahead, and confident that with Brian’s leadership we’ll continue to grow the tour in ways that benefit everyone who loves this sport.”

Brian Wilson, the musical savant who scripted a defining Southern California soundtrack with the Beach Boys before being pulled down by despair and depression in full public view, has died. He was 82.

Wilson’s family announced his death Wednesday morning on Facebook. “We are at a loss for words right now,” the post said.

“Please respect our privacy at this time as our family is grieving. We realize we are sharing our grief with the world,” said the statement, which was also shared on Instagram and the musician’s website.

The statement didn’t reveal a cause of death. Wilson died more than a year after it was revealed he was diagnosed with dementia and placed under a conservatorship in May 2024. For decades, Wilson battled mental health issues and drug addiction.

“The world mourns a genius today, and we grieve for the loss of our cousin, our friend, and our partner in a great musical adventure,” the Beach Boys said in a statement on Wednesday. “Brian Wilson wasn’t just the heart of The Beach Boys — he was the soul of our sound. The melodies he dreamed up and the emotions he poured into every note changed the course of music forever. “

The group added: “Together, we gave the world the American dream of optimism, joy, and a sense of freedom — music that made people feel good, made them believe in summer and endless possibilities. We are heartbroken by his passing.”

Elton John, the Rolling Stones’ Keith Richards and Ronnie Wood, Mick Fleetwood and Nancy Sinatra were among the artists who remembered Wilson on social media. Universal Music Group chairman and CEO Lucian Grainge and California Gov. Gavin Newsom also paid tribute to Wilson and his contributions to music.

“Wilson fundamentally changed modern music, helping make the Beach Boys not only the defining American band of their era, but also the California band to this day,” Newsom said in a statement. “He captured the mystique and magic of California, carrying it around the world and across generations.”

Roundly regarded as a genius in the music studio, Wilson wrote more than three dozen Top 40 hits, bright summertime singalongs that were radio candy in the early 1960s, anthems to the surf, sun and souped-up cars.

In an era when rock groups were typically force-fed material written by established musicians and seasoned songwriters, Wilson broke the mold by writing, arranging and producing a stream of hits that seemed to flow effortlessly from the studio.

Riding the crest of peppy, radio-friendly songs like “Surfer Girl,” “California Girls” and “Don’t Worry Baby,” Capital Records gave Wilson almost unchecked control over the group’s output. The label came to hold Wilson in such high regard that it even allowed him to record where he wished rather than use the cavernous Capitol studios in Hollywood that the Beach Boy leader felt were suitable only for orchestras.

“There are points where he did 37 takes of the same song,” said William McKeen, who taught a rock ‘n’ roll history course at the University of Florida. “One track will be someone singing ‘doo, doo, doo’ and the next will be ‘da, da, da.’ Then you hear them all together and, my God, it’s a complex piece of music.

“And he heard it all along.”

In many ways, the studio became Wilson’s primary instrument, just as it had been Phil Spector’s. As his confidence grew, Wilson’s compositions became more majestic and complex as he pieced together a far-reaching catalog of music while his bandmates toured the world without him — just as he preferred.

When the group returned from a tour in Asia in 1966, they discovered that Wilson had created an entire album during their absence. He had written the songs — many with guest lyricist Tony Asher, used the highly regarded Wrecking Crew session musicians to record with him and regarded the product as essentially a solo album. All his bandmates needed to do, he explained, was add their voices.

Brian Wilson, second to right, performs with the Beach Boys in California circa 1964.

(Michael Ochs Archives / Getty Images)

The songs on “Pet Sounds” were achingly beautiful and introspective. Some were melancholy, wistful, and brimming with nostalgia. Gone were the waves, the sunshine and the blond-haired girls that populated his earlier work. They were replaced with interlocking songs that seemed to form a single piece of music.

His bandmates were dumbstruck. Mike Love, his cousin and lead singer of the group, told him the album would have been better had he had a bigger hand in its creation. “Stop f— with the formula,” he reportedly snapped. Other band members agreed that the songs seemed foreign compared with surefire crowd pleasers like “Surfin’ U.S.A” and “Dance, Dance, Dance.” But they relented, and the album was released.

Love, in a lengthy 2012 L.A. Times op-ed about his brittle relationship with Wilson, told the story far differently, however. He said he was an early champion of the album, wrote some of the songs, came up with the title and helped convince Capitol to get behind the record when the label dragged its feet.

Though “Pet Sounds” was the first Beach Boys recording not to go gold — at least not immediately — it was a virtual narcotic to critics and admirers. Paul McCartney said it was “the classic of the century” and, as the story goes, rallied the rest of the Beatles to record “Sgt. Pepper’s Lonely Hearts Club Band” in response. Classical composer Leonard Bernstein declared Wilson a genius and one of America’s “most important musicians.”

As the years passed, the album became a treasured gem, saluted as one of the finest of the rock era and preserved in the National Recording Registry by the Library of Congress. Fifty years after it was released, it was still ranked as the second-best album of all time by both Rolling Stone and Pitchfork, topped only by “Sgt. Pepper’s.”

“Part of Brian Wilson’s genius was his ability to express great complexity within the frame of great simplicity,” wrote Anthony DeCurtis, an author and former Rolling Stone editor.

Then things fell apart.

For months, Wilson tinkered in the studio on an album with the working title “Smile” as anticipation built for what it might be and in what direction it might take rock, already shifting quickly in the dawn of the psychedelic era — music, drugs, lifestyle and all. Wilson said the album would be a “teenage symphony to God,” a piece of music so audacious it would unlock the straitjacket he felt was keeping pop music bland and predictable.

The first window into the album was “Good Vibrations,” a 3-minute, 35-second song that featured dramatic shifts in tone and mood with Wilson’s distinctive falsetto soaring above it all. It was an immediate commercial and critical success.

But it was also a disturbing sign of the madcap world Wilson now inhabited. Recordings for “Good Vibrations” stretched over seven months, the sonic blips and beeps he was trying to stitch together consumed 90 hours of tape and costs soared to nearly $75,000 — roughly $740,000 in 2025 valuation. All the while, musicians — some bandmates, others hired guns — filed in and out of four different studios as he searched for perfection.

Not everyone thought it was worth the effort for a single song.

“You had to play it about 90 bloody times to even hear what they were singing about,” complained Pete Townshend, the guitarist and songwriter for the Who. Spector — Wilson’s idol — said it felt “overproduced.” McCartney said it lacked the magic of “Pet Sounds.”

Wilson felt otherwise. When he finished the final mix on “Good Vibrations,” he said it left him with a feeling he’d never experienced.

“It was a feeling of exaltation. Artistic beauty. It was everything.”

The band toured again as Wilson continued work on “Smile,” an increasingly troubled project. He ordered members of a studio orchestra to wear fire gear and reportedly built a fire in the studio during a recording of “Mrs. O’Leary’s Cow,” which was to be the album’s opening number. He turned to veteran recording artist Van Dyke Parks for help with the lyrics rather than wait for his bandmates to return.

When Love listened to the still-under-construction album, he dismissed it as “a whole album of Brian’s madness,” according to the Guardian. Parks, an admired lyricist with his own career to worry about, eventually walked away from the project, spooked by Wilson’s erratic behavior and what he saw as Love’s uncomfortable tendency to bully his cousin.

David Marks, from left, Al Jardine, Brian Wilson, Blondie Chaplin, Mike Love and Bruce Johnston at the 2024 world premiere of the Disney+ documentary “The Beach Boys” in Hollywood.

(Alberto E. Rodriguez / Getty Images)

Whether it was the hostile reaction from his bandmates or the hopelessness of navigating the maze of half-finished songs and sonic fragments he’d created, Wilson put the whole thing aside. It would be decades before he revisited it.

“When we didn’t finish the album, a part of me was unfinished also, you know?” Wilson wrote in his 2016 memoir “I am Brian Wilson.” “Can you imagine leaving your masterpiece locked up in a drawer for almost 40 years?”

Love, who sued Wilson repeatedly through the years to get songwriting credit for dozens of songs he claimed he helped write, bristled at the suggestion that he had upended his cousin’s masterwork.

“What did I do? Why am I the villain?” Love wondered aloud in a lengthy 2016 profile in Rolling Stone. “How did it get to this?

Wilson’s psyche had been fragile for years. He was reclusive at times, spending days alone in a bedroom at his Malibu mansion, where he had a baby grand piano installed in a sandbox and a teepee erected in the living room. He admitted that he suffered from auditory hallucinations, which caused him to hear voices.

And he took drugs by the bucketful.

He was public about his demons. He was mentally ill, he said, consumed with such depression that he couldn’t get out of bed for days at a time. He smoked pot, experimented with LSD and got through the day with a steady lineup of amphetamines, cocaine and sometimes heroin. A tall man, Wilson’s weight ballooned to more than 300 pounds, and when he did surface in public, he seemed withdrawn and distracted.

“I lost interest in writing songs,” he told The Times in a 1988 interview. “I lost the inspiration. I was too concerned with getting drugs to write songs.”

It all started in Hawthorne, where Wilson was born on June 20, 1942. The eldest of three boys, he grew up in suburban comfort not far from the beaches that would inspire so many of his early songs.

His father, Murry, was a musician and a machinist; his mother, Audree, a homemaker. Wilson went to Hawthorne High, where he played football and baseball. He earned an F for a composition he submitted in his music class, though decades later the school changed his grade to an A when administrators discovered the composition had become the Beach Boys’ first hit song, “Surfing.” School officials invited him to campus to accept their apology.

At home, he played the piano obsessively. He recalled hearing George Gershwin’s “Rhapsody in Blue” when he was 4, lying on the floor of his grandmother’s house, mesmerized that the composer had captured both a city and an entire era in a single piece of music. He took accordion lessons but set the instrument aside after six weeks. His father, though, noticed his son had the ability to quickly repeat melodies on the piano.

“He was very clever and quick. I just fell in love with him,” Murry Wilson says in Peter Carlin’s “Catch a Wave: The Rise, Fall and Redemption of the Beach Boys’ Brian Wilson.”

In 1961, with his parents on vacation, Wilson, his brothers, Love and their friend Al Jardine rented guitars, a bass, drums and an amplifier with the food money their parents had left behind and staged a concert for their friends. When Murry Wilson returned home, he was more pleased than angered and encouraged the fledgling musicians to continue. Armed with a handful of songs, the Pendletones — named for the then-popular flannel shirts — began to play at school dances and parties. When they went into the studio to record, a producer changed the group’s name to the Beach Boys and never bothered to tell them.

If it all sounded sunny and carefree, Wilson didn’t remember it that way. He said his father was abusive and seemed to delight in humiliating him, typically in public. It was possible, he said, that his hearing problems stemmed from one of the times his father smacked him in the head.

“I was constantly afraid,” he told The Times in 2002. “That’s what I remember most: being nervous and afraid.”

When the Beach Boys became successful, Murry took over as their manager and increasingly took charge of their business affairs. When money was needed, he overrode his sons’ objections and sold off the band’s publishing company, believing the group had peaked. When the group went on the road, he went with them and fined his sons if they broke his rules — no booze, no profanity, no fraternizing with women. Finally, in 1964, Wilson and his brothers essentially fired their father. Never fully reconciled with his sons, Murry died of a heart attack in 1973.

To some observers, the riddle of Brian Wilson could not be fully explained by the drugs he took, the voices he heard or the depression that smothered him like a blanket. It was more than that.

“My own theory is that he was never able, never quite allowed, to become an adult — and that this, more than anything else, has been the story of his life, and of his band,” wrote Andrew Romano in a lengthy 2012 Newsweek article.

An abusive father, a cousin he regarded as a bully and ultimately a psychologist who sought to control his every move, his every thought — all appeared to have a hand in making Wilson who he was.

And then there was Eugene Landy, a colorful character by any measurement. He wore orange sunglasses, drove a Maserati with a license plate reading “HEADDOC,” sported a Rod Stewart-style haircut and practiced a brand of pop psychology that was regarded by some as revolutionary. Others, though, saw Landy as a Svengali-like figure, a man who could make Wilson appear to be on the road to recovery while bleeding him of every resource he had.

Hired by Wilson’s first wife, Marilyn, in 1976, Landy had his first meeting with his new client in Wilson’s bedroom closet, the only place where the musician said he felt safe. Landy gradually won Wilson’s trust and, believing in 24-hour therapy, moved in with the musician.

The results were immediate. Wilson shed weight, quit taking street drugs and rejoined the Beach Boys on stage for the group’s 15th anniversary. For a man who was so paranoid that he reportedly refused to brush his teeth or shower for fear that blood would gush from the faucet, it was a night-and-day change.

But it was short-lived, and Landy was fired when the Beach Boys’ management balked at his fees, which hovered around $35,000 a month — around $345,000 in 2025 valuation.

Without Landy, Wilson quickly regressed — back on drugs, overeating, retreating to his bedroom. He separated from his wife and grew apart from his daughters, Carnie and Wendy. Then with a flourish, Landy returned and — armed with a full team of nutritionists, assistants and caregivers — doubled down on his around-the-clock therapy.

Landy concluded Wilson suffered from a schizoid personality with manic depressive features — introverted, painfully shy, unable to show emotion. Left untreated, Landy said, Wilson would inevitably swing freely between delusional highs and nearly suicidal lows. He loaded Wilson up on medications — lithium, Xanax, Halcion, among others.

So involved was Landy in Wilson’s every move that in 1988 when the musician released “Brian Wilson” — his first solo album and his best effort in years — Landy was listed as the executive producer and given co-writing credit on five of the 11 songs. Landy’s girlfriend was given co-writing credit on three other songs. Landy became Wilson’s manager, formed a business interest with the musician to share in any profits from recordings, films and books and tried to become executor of Wilson’s estate.

Landy was ousted for good when the state attorney general’s office opened an investigation into his relationship with Wilson, probing accusations that he had prescribed drugs without a medical license and had financially exploited his famous client.

Gary Usher, a songwriter who worked with Landy, told state investigators that Wilson was a virtual captive, manipulated by a man who frightened and intimidated him.

In 1989, Landy pleaded guilty to a single charge of unlawfully prescribing drugs, surrendered his license and moved to Hawaii, where he died of lung cancer in 2006.

Wilson, who rarely said anything negative about anyone, could find little kind to say about Landy in a 2015 interview with Rolling Stone. “I thought he was my friend, but he was a very f— up man.”

Despite the tumult, Wilson kept recording and performing, sometimes showing glimpses of his former self, yet always doomed to comparisons with his earlier work.

In 2017, Times rock critic Randy Lewis observed that Wilson seemed chipper and content during a leg of the “Pet Sounds Live” tour at the Pantages Theatre in Hollywood. His voice, once shriveled by years of smoking and other abuses, was “assertive and confident,” Lewis wrote.

Two years later, though, Wilson postponed a leg of his “Greatest Hits” tour to focus on his mental health.

“It is no secret that I have been living with mental illness for many decades,” he wrote in a tender apology to ticketholders. “I’ve been struggling with stuff in my head and saying things I don’t mean, and I don’t know why.”

Through it all, the unfinished concept album he had put aside hung like a cloud.

A few snippets of the album had been used on “Smiley Smile,” a hurry-up recording in 1967 that the Beach Boys recorded to meet contractual demands, and “Surf’s Up,” a 1971 album built around a song of the same name that Wilson wrote for “Smile.”

Nearly 30 years later, an L.A. musician named Darian Sahanaja asked Wilson whether he’d be interested in revisiting “Smile.” The two had come to know each other on the road when Wilson sat in with Sahanaja’s group, the Wondermints.

The master tapes were unlocked, and Sahanaja said he downloaded the tracks and unconnected song fragments, aware that he was handling the very material that had nearly driven its author mad.

As the two worked on a laptop, the harmonies and unwritten connective tissue seemed to return to Wilson, Sahanaja said. They smoothed out transitions, changed tempos to help connect songs and phoned Parks when they were unable to make out lyrics. If he couldn’t remember a passage, Parks came up with substitute language.

In February 2004, Wilson’s version of “Smile” finally premiered at London’s Royal Festival Hall. With Wilson on stage, seated at a piano, and Parks in the audience, the crowd roared thunderously as a song cycle that had become nearly mythical in its absence was finally unveiled.

“I’m at peace with it,” Wilson said later, smiling.

Wilson is survived by six children, including daughters Carnie and Wendy, who made up two-thirds of the Grammy-nominated pop vocal group Wilson Philips. He is preceded in death by his wife, Melinda, who died in January 2024. His brother Dennis drowned in 1983 while diving in Marina Del Rey, and Carl, his other brother, died of lung cancer in 1998.

Times staff writer Alexandra Del Rosario contributed to this report.

John Stamos was by Beach Boys founding member Mike Love’s side when news of bandmate Brian Wilson’s death on Wednesday was made public. The “Full House” star was also the messenger who delivered the heartbreaking news to Love, Wilson’s cousin-turned-longtime collaborator.

“I said, ‘Mike, your cousin passed away,’ and his face went blank,” Stamos, an honorary Beach Boys member, recalled to the New York Post. “And we sat in the car for two and a half hours or so … he didn’t say one word.”

Wilson, the genius behind the Beach Boys, died Wednesday at age 82. The singer’s family announced his death on social media and his website, writing in a statement, “We are at a loss for words right now.” A cause of death was not revealed, but Wilson was diagnosed with dementia and placed under a conservatorship in May 2024. Wilson, who co-founded the Beach Boys in 1961 with brothers Dennis and Carl and cousin Love, also battled mental health issues and drug addiction for decades.

Stamos, 61, relived the somber moment on Thursday ahead of the Songwriters Hall of Fame induction ceremony in New York, where Love was among the newest group of inductees that included George Clinton, Rodney “Darkchild” Jerkins and the Doobie Brothers. Though Love remained speechless after learning of Wilson’s death, Stamos said, “I knew how he was feeling.” The actor, who has performed with the Beach Boys over several decades, also spoke to the Post about Love, 84, and Wilson’s relationship, noting “they made beautiful music together.”

During the Songwriters Hall of Fame ceremony, Stamos introduced Love, who paid tribute to Wilson, as “my brother in music.” His sentiments on Thursday added to his social media tribute to Wilson on Wednesday.

“Brian Wilson wasn’t just the heart of The Beach Boys—he was the soul of our sound,” Love wrote as he reminisced on the group’s early days and Wilson’s lasting contributions to music.

Love added in his tribute: “Our journey together was filled with moments of brilliance, heartbreak, laughter, complexity and most of all, LOVE . Like all families, we had our ups and downs. But through it all, we never stopped loving each other, and I never stopped being in awe of what he could do when he sat at a piano or his spontaneity in the studio.”

Stamos was among the high-profile figures who paid tribute to Wilson on social media. Elton John, the Rolling Stones’ Keith Richards and Ronnie Wood, Mick Fleetwood, Bruce Springsteen, Nancy Sinatra and California Gov. Gavin Newsom also honored Wilson.

“Wilson fundamentally changed modern music, helping make the Beach Boys not only the defining American band of their era, but also the California band to this day,” Newsom said in a statement. “He captured the mystique and magic of California, carrying it around the world and across generations.”

The Beach Boys established a quintessentially California sound with popular tracks including “Surfer Girl,” “California Girls” and “Wouldn’t It Be Nice.”

Wilson is survived by six children, including daughters Carnie and Wendy, who made up two-thirds of the Grammy-nominated pop vocal group Wilson Phillips with the Mamas and the Papas scion Chynna Phillips. He is preceded in death by his wife, Melinda, who died in January 2024. His brother Dennis drowned in 1983 while diving in Marina Del Rey, and Carl, his other brother, died of lung cancer in 1998.

The death of Beach Boys founder Brian Wilson is an immeasurable loss for music and for California, both the place and the dream of it that Wilson conjured with his regal and tender compositions.

Wilson was the visionary of the defining American rock band, one who competed with the Beatles to move pop music into new realms of sophistication and invention, while writing songs capturing the longing of an ascendant youth culture.

His death leaves only two surviving members of the original lineup — Mike Love and Al Jardine, Wilson’s high school friend who sang lead on early hits like “Help Me Rhonda” and wrote songs for beloved later-period albums like “Surf’s Up” and “Sunflower.”

On the day the world learned of Wilson’s death, Jardine briefly spoke to The Times to remember his lifelong friend and bandmate. The guitarist, vocalist and songwriter — now on tour with his Pet Sounds Band playing Beach Boys hits with a focus on their 1970s output — looked back on six decades of writing and performing with one of the greatest minds of popular music.

Jardine’s conversation was edited for length and clarity.

I just lost my best friend and mentor. It’s not a good feeling, but I’m going to carry on and continue to play our music and perform with the Pet Sounds Band.

Brian was a great friend. We grew up together, we went to high school together. We were both dropouts, which is not a bad thing as long as you have a vision of the future. His and mine was to make music.

We were very good friends and very successful in part because of his great talent. He had an amazing ability to compose, very simple things and very complex things, all at the same time. He was a visionary.

We all grew up together musically, but he grew exponentially. He became a leader, and formed new ways of chord construction, things no one had heard before, and we rose to the challenge with him.

It’s been said that Brian invented the state of California, the state of mind. That’s a cute way of saying it, but he really invented a new form of music in the ’60s and ’70s. It was very sophisticated, but went way beyond that. He was a humble giant, a great American composer.

I don’t think anyone else could walk in his shoes, given all that he went through. I did write some songs he liked, and did help him get through treacherous times. It must be so frightening to be left in the wilderness by yourself and not know how to get home. He said one song I wrote helped him get through that, which is quite a compliment from the great Brian Wilson, who had his own demons to deal with.

Brian Wilson’s band was a reawakening of his professional life. He never enjoyed touring, so this band was a whole new life for him, to experience his own music and an adulation that he never had before.

The Beach Boys — Dennis Wilson, left, Al Jardine, Carl Wilson, Brian Wilson, Mike Love — perform circa 1964 in California.

(Michael Ochs Archives / Getty Images)

His legacy is of course in the music, and any interpreter of that legacy has to be sharp and devoted to it. We have the most devoted people that could be there to do that, so many original members of his band. My son Matthew, he’s Brian’s voice, and the DNA is there. With his arranger, Darian, arranging all vocals, we have all the muscle and genius to pull it off.

When Carl Wilson and I were singing those parts back then, we’d abbreviate things — you can’t do everything you did in the studio with only five of us. Now we’ve got 10 people onstage and I just heard some background parts yesterday that sounded just like we used to — you can hear Carl and Dennis in there.

When we take the band out, I have a little white piano onstage, like the one he played in the past. It’s a symbolic moment, the empty piano.

While the Beach Boys tour was a hit-based performance, with this iteration, we’re more introspective, deeper cuts, performing much of the 1970s catalog. There’s quite a few numbers the public hasn’t heard, exploring the heart and soul of those albums. I was hoping Brian would have been able to join us.

But it’s wonderful, we’re hoping this music should last forever, and be felt at the deep levels that Brian experienced it.

It sure is a great responsibility to play it, but it just feels natural to me. I’ve been doing it for so long, It doesn’t feel weighty. I’m confident, especially with this band being so remarkable. I’m still learning from Brian after all these years.

“Brian Wilson wasn’t just the heart of The Beach Boys — he was the soul of our sound. The melodies he dreamed up and the emotions he poured into every note changed the course of music forever.” — The Beach Boys

In an era when rock groups were typically force-fed material written by established musicians and seasoned songwriters, Wilson broke the mold by writing more than three dozen Top 40 hits, bright summertime singalongs, while also arranging and producing a stream of music that seemed to flow effortlessly from the studio.

Here are a few of the stories the L.A. Times has written about Wilson, who died at 82, over the years.