section_path: Cultural impact and influence/Naïve art, rock/pop division, and outsider music
section_name: pop division, and outsider music
paragraph_text: pop division, and outsider music
  
  Wilson's popularity and success is attributed partly to the perceived naïveté of his work and personality. In music journalist Barney Hoskyns 's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness", alongside his band being "the very obverse of hip". Commenting on the seemingly "campy and corny" quality of the Beach Boys' first records, David Marks said that Wilson had been "dead serious about them all", elaborating, "It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them."
  
  The most culturally significant "tragedy" in 1960s rock, according to journalist Richard Goldstein, was Wilson's failure to overcome his insecurities and realize "his full potential as a composer" after having anticipated developments such as electronica and minimalism. Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since".
  
  Speaking in a 1997 interview, musician Sean O'Hagan felt that rock music's domination of mass culture following the mid-1960s had the effect of artistically stifling contemporary pop composers who, until then, had been guided by Wilson's increasingly ambitious creative advancements. In her article which dubbed him "the godfather of sensitive pop", music journalist Patricia Cárdenas credits Wilson with ultimately inspiring many musicians to value the craft of pop songwriting as much as "the primal, hard-driving rock 'n' roll the world had come to know since then".
  
  " I guess I just wasn't made for these times," he had declared on Pet Sounds, and the song had become the overture for a decades-long saga that would be, in its way, just as influential as Pet Sounds had been. Ultimately, Brian's public suffering had transformed him from a musical figure into a cultural one.
  
  By the mid-1970s, Wilson had tied with ex– Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Timothy White wrote that Wilson's ensuing legend rivaled that of the California myth promoted by the Beach Boys, while Brackett characterized Wilson's "rise and fall and rise" as a "downright Shakespearean " story.
  
  Ultimately, Wilson became regarded as the most famous outsider musician. Author Irwin Chusid, who codified the term "outsider music", noted Wilson as a potentially unconvincing example of the genre due to Wilson's commercial successes, but argued that the musician should be considered an outsider due to his "tormented" background, past issues with drug dependencies, and unorthodox songwriting.
  
  Wilson's popularity and success is attributed partly to the perceived naïveté of his work and personality. In music journalist Barney Hoskyns 's description, the "particular appeal of Wilson's genius" can be traced to his "singular naivety" and "ingenuousness", alongside his band being "the very obverse of hip". Commenting on the seemingly "campy and corny" quality of the Beach Boys' first records, David Marks said that Wilson had been "dead serious about them all", elaborating, "It's hard to believe that anyone could be that naive and honest, but he was. That's what made those records so successful. You could feel the sincerity in them."
  
  The most culturally significant "tragedy" in 1960s rock, according to journalist Richard Goldstein, was Wilson's failure to overcome his insecurities and realize "his full potential as a composer" after having anticipated developments such as electronica and minimalism. Writing in 1981, sociomusicologist Simon Frith identified Wilson's withdrawal in 1967, along with Phil Spector's self-imposed retirement in 1966, as the catalysts for the "rock/pop split that has afflicted American music ever since".
  
  Speaking in a 1997 interview, musician Sean O'Hagan felt that rock music's domination of mass culture following the mid-1960s had the effect of artistically stifling contemporary pop composers who, until then, had been guided by Wilson's increasingly ambitious creative advancements. In her article which dubbed him "the godfather of sensitive pop", music journalist Patricia Cárdenas credits Wilson with ultimately inspiring many musicians to value the craft of pop songwriting as much as "the primal, hard-driving rock 'n' roll the world had come to know since then".
  
  " I guess I just wasn't made for these times," he had declared on Pet Sounds, and the song had become the overture for a decades-long saga that would be, in its way, just as influential as Pet Sounds had been. Ultimately, Brian's public suffering had transformed him from a musical figure into a cultural one.
  
  By the mid-1970s, Wilson had tied with ex– Pink Floyd member Syd Barrett for rock music's foremost "mythical casualty". Timothy White wrote that Wilson's ensuing legend rivaled that of the California myth promoted by the Beach Boys, while Brackett characterized Wilson's "rise and fall and rise" as a "downright Shakespearean " story.
  
  Ultimately, Wilson became regarded as the most famous outsider musician. Author Irwin Chusid, who codified the term "outsider music", noted Wilson as a potentially unconvincing example of the genre due to Wilson's commercial successes, but argued that the musician should be considered an outsider due to his "tormented" background, past issues with drug dependencies, and unorthodox songwriting.