IN: Born and raised in Boise, Idaho, Church was the younger of the two sons of Frank (II) and Laura Bilderback Church. His father co-owned a sporting goods store and took the sons on fishing, hunting, and hiking outings in the Idaho mountains. The family was Catholic and conservative, and Frank III attended St. Joseph's School as a youngster, where he went by the nickname "Frosty." His older brother Richard became a career officer in the U.S. Marines Corps, and retired as a colonel.

Church became an active Democrat in Idaho and after an unsuccessful try for the state legislature in 1952, he ran for the U.S. Senate in 1956. After a closely contested primary election against former Senator Glen H. Taylor, Church handily defeated Republican incumbent Herman Welker in the general election. At the age of 32, Church became the fifth youngest member ever to sit in the U.S. Senate. Church was reelected three times (1962, 1968 and 1974), the only Democrat ever to win reelection to the U.S. Senate from Idaho.  Upon entering the Senate in January 1957, Church made the mistake of voting on a measure against the wishes of Democratic Majority Leader, Lyndon Johnson, and Johnson punished Church by all but ignoring him for the next six months. Church found solace from Republican Minority Leader, William Knowland. However, Church managed to find his way into Johnson's good graces by providing key assistance in getting the Civil Rights Act of 1957 passed. LBJ was so grateful he made the young Idahoan a veritable protege, rewarding him with plum assignments, such as a seat on the prestigious Senate Foreign Relations Committee, a position which allowed Church to follow in the footsteps of his idol, William Borah. Recently declassified documents show that the young veteran also challenged his mentor, behind closed doors, after the 1964 Gulf of Tonkin incident, making this prescient warning: "In a democracy you cannot expect the people, whose sons are being killed and who will be killed, to exercise their judgment if the truth is concealed from them."  In 1967, a recall campaign was waged against Church by Ron Rankin, a Republican county commissioner in Kootenai County in northern Idaho. Rankin unsuccessfully sued Idaho's secretary of state to accept recall petitions. The U.S. District Court for Idaho ruled that the state's recall laws did not apply to U.S. senators and that such a recall would violate the U.S. Constitution. Allan Shepard, Idaho's attorney general at the time, agreed with the court's decision.  "It must be pointed out that a United States senator is not a state officer but a federal officer whose position is created by Article I, Section I of the United States Constitution," Shepard wrote in a June 17, 1967, opinion for the secretary of state. "There seems to be no provision for canvassing the votes of a recall election of a United States senator." Most commentators at the time believed that the recall attempt strengthened Church politically by allowing him to play the role of political martyr and he was reelected in the next year's election over Republican Congressman George V. Hansen 60% to 40%.
QUESTION: When did he become involved in politics?
IN: Brian Douglas Wilson (born June 20, 1942) is an American musician, singer, songwriter, and record producer who co-founded the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group. In addition to his lifelong struggles with mental illness, Wilson is known for his unorthodox approaches to pop composition and mastery of recording techniques, and he is widely acknowledged as one of the most innovative and significant songwriters of the late 20th century. The Beach Boys were formed by Brian, his brothers Carl and Dennis, their cousin Mike Love, and friend Al Jardine.

Recording sessions for the band's first album took place in Capitol's basement studios in the famous tower building in August 1962, but early on Brian lobbied for a different place to cut Beach Boy tracks. The large rooms were built to record the big orchestras and ensembles of the 1950s, not small rock groups. At Brian's insistence, Capitol agreed to let the Beach Boys pay for their own outside recording sessions, to which Capitol would own all the rights, and in return the band would receive a higher royalty rate on their record sales. Additionally, during the taping of their first LP Brian fought for, and won, the right to be in charge of the production - though this fact was not acknowledged with an album liner notes production credit.  In January 1963, the Beach Boys recorded their first top-ten (cresting at number three in the United States) single, "Surfin' U.S.A.", which began their long run of highly successful recording efforts at Hollywood's United Western Recorders on Sunset Boulevard. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound. The Surfin' U.S.A. album was also a big hit in the United States, reaching number two on the national sales charts by early July 1963. The Beach Boys had become a top-rank recording and touring band.  Brian was for the first time officially credited as the Beach Boys' producer on the Surfer Girl album, recorded in June and July 1963 and released that September. This LP reached number seven on the national charts, containing singles that were top 15 hits. Feeling that surfing songs had become limiting, Brian decided to produce a set of largely car-oriented tunes for the Beach Boys' fourth album, Little Deuce Coupe, which was released in October 1963, only three weeks after the Surfer Girl LP. The departure of guitarist David Marks from the band that month meant that Brian was forced to resume touring with the Beach Boys, for a time reducing his availability in the recording studio.  For much of the decade, Brian attempted to establish himself as a record producer by working with various artists. On July 20, 1963, "Surf City", which he co-wrote with Jan Berry of Jan and Dean, was his first composition to reach the top of the US charts. The resulting success pleased Brian, but angered both Murry and Capitol Records. Murry went so far as to order his oldest son to sever any future collaborations with Jan and Dean. Brian's other non-Beach Boy work in this period included tracks by the Castells, Donna Loren, Sharon Marie, the Timers, and the Survivors. The most notable group to which Wilson would attach himself in this era would be the Honeys, which Wilson intended as the female counterpart to the Beach Boys, and as an attempt to compete with Phil Spector-led girl groups such as the Crystals and the Ronettes. He continued juggling between recording with the Beach Boys and producing records for other artists, but with less success at the latter--except for Jan and Dean.
QUESTION:
Are there any other interesting aspects about this article?