In the double meaning of running, rushing, writing fluently, outlining - it is the first word of the traveling recitative of the Kabuki piece "Death in Amijima", which was asked to be written by the Japanese author Chkamatsu - named "Shakespeare of Japan" - on the occasion of a double suicide by order of the theatre of the same town for a performance on the next day, and which he started to write down - coming from a feast - on the way home itself, still in the sedan...

I Just Wasn't Made For These Times
Brian: "It's about a guy who was crying out because he thought he was too advanced, and that he'd eventually have to leave people behind.
All my friends thought I was crazy to do PET SOUNDS."
PRODUCTION NOTE: It was on this track that Brian first experimented with the Theremin (possibly the first time it had been used on a rock record.) Shortly after this track was recorded Brian used the Theremin extensively on GOOD VIBRATIONS.
(The Beach Boys: Pet Sounds - CD-Booklet)

Über Steins Americans
Nach "On the Roadoo bedeutet "Visions of Cody" (1951), ein längeres, hervorragendes Stück Prosa, den Durchbruch für Jack Kerouacs Entfaltung, genau wie Gertrude Steins großes Prosaexperiment, "The Making of Americans", für den ihren steht. Eintausend Seiten verrücktes Bewusstseinsgeplapper. Ich weiß nicht, ob Sie diesen Text kennen. Kennt irgend jemand "The Making of Americans" von Gertrude Stein? Ich denke, es ist tatsächlich eines der großen Prosameisterwerke dieses Jahrhunderts ist. Stein hatte ähnliche Absichten wie die, die ich Kerouac zugeschrieben habe - sie war eine Studentin von William James in Harvard, eine Studentin des Bewußtseins, eine Expertin des Psychodelischen gewissermaßen, um es für Sie mit einem vertrauten Referenzpunkt zu verbinden. Sie interessierte sich für Bewusstseinszustände, und sie interessierte sich für Kunst als Ausdruck von verschiedenen Bewusstseinszuständen, und sie interessierte sich für Prosakompositionen als eine Form der Meditation, wie Yoga.

Und die Sprache interessierte sie - wie Yoga - als reine Gebetsmeditation, vielleicht sogar losgelöst von all ihren Assoziationen. Um ein Beispiel zu geben (wenn dies eine zu abstrakte und zu komplizierte Idee ist): "Alfred, Lord Tennyson, wiederholte, um sich selbst in einen hypnotischen Zustand zu versetzen, seinen Namen: ,,Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson; Alfred Lord Tennyson", bis die Laute mit keiner Vorstellung mehr verknüpft werden konnten, sondern nur noch reine Klänge in einem weiten, physikalischen Universum waren. Und so versetzte er sich in eine komische Art von ekstatischem, 'ich-freiem' Zustand.

Auch Getrude Stein interessierte ein Gebrauch von Sprache, die gleichermassen Bedeutung trägt und sich im lauten Aussprechen von jeglicher Bedeutung löst und in ihrer puren rhythmischen Struktur hervortritt. Falls sie jemals die Gelegenheit haben, sollten Sie sich eine Aufnahmen anhören, die sie auf Caedmon gemacht hat, kleine Prosastücke über Matisse und Picasso rezitierend, kleine Stücke wie: "Napoleon aß Eis Creme auf Elba. Napoleon aß Elba auf Eis Creme. Napoleon aß Eis auf Elba Creme. Napoleon aß auf Creme Elba Eis. Auf Napoleon Eis aß Creme Elba. Auf Elba aß Napoleon Eis Creme. Eis Creme aß Napoleon auf Elba." Kleine Formulierungen, die kreisen, um die Welt herum, und auf diese Weise kam sie zu ihrer berühmten Aussage, die, wie Sie alle wissen, lautet: "Eine, Rose ist eine Rose ist eine Rose". Dies ist das Ende von langen, langen Seiten kreisender Prosa, die das Wort Rose in vielen verschiedenen syntaktischen Setzungen ausschöpft.

Ihr großartiges Buch, "The Making of Americans", ist die Untersuchung des Bewußtseins einer einzigen Familie. Nur wenige Leute haben das Buch ganz gelesen, mich eingeschlossen - ich habe es nicht. Ich habe gelesen, Saite um Seite; und laut gelesen ist es wirklich hervorragend.

(Allen Ginsberg)

That is what The Making of Americans was intended to be. I was to make a description of every kind of human being until I could know by these variations how everybody was to be known. Then I got very much interested in this thing, and I wrote about nine hundred pages, and I came to a logical conclusion that this thing could be done. Anybody who has patience enough could literally and entirely make of the whole world a history of human nature. When I found it could be done, I lost interest in it. As soon as I found definitely and clearly and completely that I could do it, I stopped writing the long book. It didn't interest me any longer.
(Gertrude Stein: How writing is written)

Ich sah mich in dieser Zeit des Partizip Präsens ganz instinktiv verwenden, in "The Making of Americans" konnte ich mich nicht vom Partizip Präsens losmachen weil ich dunkel fühlte dass ich wissen musste, was ich wusste und wusste dass Anfang und Mitte und Ende nicht das war wo ich anfing,

(Gertrude Stein: Narration) was Pet sounds that blew me out of the water. First of all, it was Brian's writing. I love the album so much...
The other thing that really made me sit up and take notice was the bass lines on Pet Sounds. If you were in the key of C, you would normally use - the root not would be, like, a C on the bass (demonstrates vocally). You'd always be on the C. I'd done a little bit of work, like on "Michelle", where you don't use the obvious bass line. And you just get a completely different effect if you play a G when the band is playing in C. Thereßs a kind of tension created.
"I donßt really understand how it happens musically, because I'm not very technical musically. But something special happens. And I noticed that throughout that Brian would be using notes that weren't the obvious notes to use. As I say, th G if you're in C --- that kind of thing. And also putting melodies in the bass line. That I think was probably the big influence that set me thinking when we recorded Pepper, it set me off on a period I had then for a couple of years of nearly always writing quite melodic bass lines."
(Paul McCartney - (Interview with David Leaf)

Every ten thousand years, you need one of these projects, 36 minutes and you're cool. When I listen to Pet Sounds, I know that 500 years from now, out of all the great Beach Boys stuff, sonically, I get to be part of a legacy. Because right now, from our classical artists, we're playing music that is a few hundred years old. With Pet Sounds, I get to be part of something that will one day be known as 20th century classical music. Maybe I'm just the oboe solo, but that's okay with me. It would take me many lifetimes to achive what Brian discarded musically."
(Bruce Johnston from The Beach Boys)

Ich begann dann wieder über die Natur des Menschen nachzudenken, ich begann mit enormen Interesse zu hören, wie alle immer und immer wieder das Gleiche sagten, bis man es schließlich, wenn man mit größter Intensität zuhörte, an- und abschwellen hören konnte und sagen konnte, was da alles in ihnen war, nicht soe sehr wegen der jeweiligen Worte, die sie benutzten oder den Gedanken, die sie hatten, sondern wegen der Bewegungsrichtung ihrer Gedanken und Worte, endlos gleich und endlos verschieden.

(Gertrude Stein: The Gradual Making of the Making of the Americans)

In December of 1966, I heard the album RUBBER SOUL by the Beatles. It was definitely a challenge for me. I saw that every cut was very artistically interesting and stimulating. I immediately went to work on the songs for PET SOUNDS.
I called in a collaborator named Tony Asher and we spent two months working on and off together. He proved to have the lyrical ability to work with me. In January, I started making the instrumental tracks for the album. I made each track a sound experience of its own. I was obsessed with explaining, musically, how I felt inside. This, I thought, could be the beginning of a new type of sophisticated-feeling music. I definitely felt the need to compete with the Beatles. After doing twelve tracks and totally exhausting some of my musical creativity, I proceeded to play the tracks to the boys, who had just gotten home from the road. They all flipped for the tracks and the songs. I did most of the singing on PET SOUNDS because I needed to directly express my feelings to people. It was a special project because the music world had heard from me through the Beach Boys, but I needed to get this one album out to my fans and the public from my heart and soul. I was in a loving mood for a few months and it found its way to recorded tape. My voice turned up sweet this time.
Caroline No was my favorite on this album. The boys filled out the album with me and we had a classic on our hands. I experimented with sounds that would make the listener feel loved. The album was artistically set out in front of other albums and was, in truth, at that time, my biggest and best production. It was the first time I used more traditional and inspired lyrics which emitted feelings from my soul and not the usual "Beach Boy" kind of an approach. PET SOUNDS was an album alone. I think Don't Talk was good for me to make, giving me peace of mind and spiritual satisfaction, knowing that man people would feel like I did...
(Brian Wilson from The Beach Boys - 1990)

Don't talk
(Put Your Head On My Shoulder)

I can hear so much in your sighs.
And I can see so much in your eyes
There are words we both could say.
But don't talk, put your head on my shoulder.
Come close, close your eyes and be still.
Don't talk, take my hand and let me hear your heart... beat

Being here with you feels so right.
We could live forever tonight.
Let's not think about tomorrow.
And don't talk, put your head on my shoulder.
Come close, close your eyes and be still.
Don't talk, take my hand and listen to myr heart... beat...

Listen. Listen. Listen.

And don't talk, put your head on my shoulder.
Come close, close your eyes and be still.


(Brian Wilson / Tony Asher, 1966)

1 January 2000