In the House of Mouse

As long-time fans know, Trevor is one of the go-to film composers for Disney, and this role originated courtesy of his status as a colleague of Jerry Bruckheimer, who has produced a large number of movies for Disney, both under the auspices of Touchstone Pictures and Walt Disney Studios.

But Trevor's talents have also been utilized in a fashion which perhaps other composers cannot entirely lay claim to, and that's in regards to his music for theme parks.  And given the long-standing relationship they are of course Disney theme parks.  I find this wholly wonderful because, as a native Southern Californian, Disneyland was as much an enduring part of my childhood as any other.

If you're a completist kind of fan, here's where you can experience Trevor's music in the Disney setting.

Mission: Space
EPCOT, Walt Disney World
Orlando, Florida, USA
This ride is based on the Disneyland California attraction Mission To Mars, which was then made into a film, and then made into an attraction again.  Now that is recursion!  Gary Sinise, as fictional astronaut Jim McConnell, leads you through intensive astronaut training and a mission, whee!

I went on it twice!, or, How I Spent My Fangirl Vacation

Or if you don't plan on going to EPCOT, you can just watch this video, and hear some of Trevor's music which is broadcast outside of the attraction and during the ride.  Also, there is music playing in the gift shop at the exit.

Armageddon: Les Effects Speciaux and Front Lot
Walt Disney Studios Park
Marne-la-Vallee, Paris, France
The Armageddon attraction is not a ride, as has been previously noted, but a static effects show of the kind which is one of the primary attractions at the Disney Studios franchises   The attraction is located in the park's "Backlot" area along with a roller coaster and a stunt driving presentation.  It is a production setpiece, designed to allow an audience to witness a series of special effects much as the actors would have experienced them on the set of the film.

In this video you can hear a bit of Trevor's score, it's a "making of" short, featuring commentary in both English and French:

In the Front Lot area - the park's entrance - Trevor's "Titan's Spirit" theme, from Remember The Titans, is played as ambiance music.  I have visited the Disney's Hollywood Studios park at Walt Disney World, but I don't recall if any of Trevor's score work is played as ambiance in the Hollywood Boulevard area, which is the front entrance for that park.

I've considered how else Trevor's music could be utilized in the Disneyland setting, and since Tokyo Disneyland is a near-perfect replica of Disneyland California, and the companion park DisneySea has no parts apparently suitable for Trevor's music, I have to return to Walt Disney World...it's clear to me that Trevor needs to create some music for the Africa section of Disney's Animal Kingdom, or perhaps they could find a way to use some of his score for Whispers: An Elephant's Tale (which was also a Disney film).  Or, if Trevor would just honor my request (which I delivered as a direct plea in 2009) to score an animated feature already, then another ride might be constructed based on that for the Magic Kingdom park, and there you are...career planning, it's so simple!

something Fishy

March 4th is the birthday of Yes bassist Chris Squire, the only continuous member of the band in their 44-year history.  But given the focus of this blog, I am calling attention to this event because one of his most important roles in the ensemble - and rock n'roll history, for that matter - was asking Trevor Rabin to join with himself and Alan White in a musical venture which was at first called Cinema but then became the next incarnation of the brand name (and what fans now refer to as YesWest).

I don't intend to discuss the history, it has been chronicled in numerous sources and in fact Trevor had to recount it over and over again in interviews just last year...as if no one knew the story already.  You can surmise I believed it a waste of opportunity.  Rather, I'm going to focus on elements of their inherent chemistry, which was the greater part of what made YesWest successful in their time, and continues to underscore the value of that music for all time.  90125 is a classic of its era but is also outside of time in its enduring popularity.  The Union tour, which featured an amalgam of YesWest and the ABWH ensemble, was one of the most popular tours of any incarnation of the band.  And the merits of the 80s version of Yes versus any other lineup continues to be the subject of decades-long debate.

Chris once said he believed he had to "save" Trevor from the ignominy of becoming a utility player in some other band just to get by while his newest demos continued to be rejected by the major labels.  And Trevor had to let go of some of his intensity of ambition in regards to his solo career to pursue a new opportunity which contained unknown but intriguing potential.  The two became lifelong friends, strong collaborators, and possessed a playful onstage demeanor which is referred to by many fans as...

The epic bromance of Fish and Trev

So here are some examples of what made them work so well together in the fourteen years of their musical association...

"Leave It"
(90125, 1983)
This "acapella Disneyland," as Trevor refers to the song, is one of the true collaborations of the album, as many of the tracks began life as Trevor's compositions.  What some fans might not realize is that all of those dozens of  overdubs which comprise the backing tracks are Chris and Trevor, with some help from Trevor Horn.  Jon Anderson's contributions to the song did not come until it was already completed.  All of that intricate vocalizing and glorious chorusing is just their two voices entwining and complimenting each other and the ambitious arrangement...seemingly born to sing together.  With three singers in the band, great vocal harmonies became one of the hallmarks of the YesWest oeuvre.

"I'm Running"
(Big Generator, 1987)
The most ambitious, intricate, and interesting song on an album which tends to be underrated even now; the story goes Chris drove Trevor a bit nutty during sessions by playing the bass riff which opens the song over and over again as an idea he wanted to work on.  At first Trevor wasn't sure of its' potential but then he finally relented and wrote a Latin-themed melody to go with it, as well as some of his best lyrics (then added to with a refrain by Jon).  The song shifts frequently in dynamic and mood and sounds quite unlike anything they'd done (or would do ever after) with great performances and production and lots of interesting little touches (including the hilarious use of a duck call as a transition) and I believe it's a great example of Trevor taking the foundation of Chris' idea and building a beautiful edifice on top of it, even as he used the analogy that Chris was "polishing the vase" due to his obsession with the riff while the building fell down around him!

"Lift Me Up"
(Union, 1991)
Long-time fans know Trevor originally wrote this song prior to its inclusion on the album, as he and his touring band played the opening sequence as their entrance music on the club tour of 1989.  But Trevor has recounted that he and Chris worked on the lyrics together, and the choice of words lends a sense of grandeur to the whole.  This remains an incredibly compelling song, and also a highlight of the Union tour setlist.

"Real Love"
(Talk, 1994)
For me, this song (from the eternal underdog of the YesWest discography and an album much-maligned  - some might say unfairly  - in the fandom) is the best example of their creative partnership and performance charisma.  On an album which is largely defined by the efforts of Trevor and Jon, choosing to make their own collaboration the core of the production, this is a moment in which Trevor does his best once again to take Chris' idea and expand and elaborate upon it until it is something epic in the realization.  Their harmonies on the bridge refrain before the chorus are absolutely wonderful, and the groove and growl and power with touches of a more mysterious atmosphere of the song entire is something yet again unique in their catalog while also a perfect expression of what YesWest was meant to be as an ensemble.

Aww, just when it was getting interesting!

According to this story posted Friday night in The Huffington Post, it appears Zero Hour has been cancelled from its prime time "death slot" for the 2013 midseason.  Hopefully the remaining episodes will air during the summer, or at least there will be a release of the full season on DVD/Blu-ray because despite my snark in regards to reviewing the episodes (which were a lot of fun to write), I was very happy with the prospect of watching a series scored by Trevor, and he and Paul did a wonderful job of lending the show just the right amount of dramatic impetus on a cinematic level, in my somewhat-biased opinion.

But hey ABC - here's an idea: why don't you show the remaining episodes online?  Those people who want to watch it (like me) can do so without causing an impact to your revenue stream.

Now this development lets loose the wild speculation regarding future projects.  I will predict that Trevor will score at least one film this year, and I would hope he works on another album as well, but that's just me.  Those people who find themselves emotionally invested in the AWR thing are likely continuing to wish for that as well, but I've already stated my opinion in regards to its non-relevance.  It would be interesting to see if Trevor decides to further pursue television scoring as well.

Despite this setback, I will of course continue to bring you content which I hope you will find entertaining and edifying; and this week I will endeavor to publish a new essay about one of Trevor's beloved colleagues in celebration of his birthday.

Knowing The Score: Zero Hour S1 E3 "Pendulum"

(Author's note: this essay contains spoilers for the third episode of Zero Hour, so don't say I didn't warn you!)

Thanks to Wikipedia (again), Hank's doppelganger is indeed the "new" Bartholomew.  I'm not sure why that wasn't obvious to me from the first episode, maybe because of the "shock" that he is also Hank.

Of course now I have to wonder who the "new" Judas is, but I'm sure I'm getting ahead of the narrative arc.

"Pendulum" begins in medias res with Hank and Riley doing the insertion team thang in an abandoned building wherein they discover Laila who keeps whispering "He's coming!" and then, wait for it...there is the proverbial Plague Of Locusts.

Wow.

But ah, it's the old bait-and-switch of a dream sequence, as Hank is awakened by the prepare-for-landing announcement.  Too much vindaloo, perhaps?  Dude's gonna have wicked jetlag.  After Riley tells him the only cure for getting over losing a loved one to murder is an equal and opposite reaction of vengeance, they Mulder-and-Scully some more and Hank says he doesn't care about the coming apocalypse, all he wants is Laila.  Now while I approve of such chivalrous intensity of focus, I think Hank's gonna get a smack upside his reality distortion field as to the importance of his new job.

That's right: SAVING THE WORLD!

(Whoops sorry, I was channeling Jeremy Clarkson there for a minute.  Or Movie Trailer Voiceover Guy.)

Anyway, Riley has to bring up the tough questions (because that's her job) and it's the same one we've been pondering since E1: Why?  Why Laila?

Uh...really?  Like we don't know she's just bait to lure Hank to whatever new locale is required as we progress through the new apostles like the Stations of the Cross to navigate whatever shocking (so not) twist the conspiracy takes?

Speaking of, suddenly we're in the City of Lights, and I'm wondering how much these aerial shots are costing the production company.  Where once again, WV is pressing Laila as to the strength of her clock-fu.  Because she must have some pretty wicked jetlag of her own, she looks less than enthused about the request.  And then he starts regaling her with threats of his unique brand of cutlery torture and you gotta figure she's never going to butter her bread ever again, right?  I've certainly lost the desire, ick, and I tell you there's nothing like a fresh crusty baguette slathered with some good Danish butter...uh, where was I?

Oh yeah...so WV is getting all psychotic boyfriend stalker-y by providing Laila with chic outfits and junk and Laila's all, "I'm a restorer, damnit, not an accessory!"  So apparently she has decided to embrace her clock-fu once more to rescue herself from this badly-plotted nightmare.  Way to reclaim your female agency, girlfriend!

The Scooby Gang is reunited, having an infodump moment (and Rachel is wearing a totally bitchin' jacket, btw) and they figure out that those pesky Rosicrucians are not on the side of the angels, apparently.  Then, a monkey wrench is thrown into Operation SCREW YOU FBI by their appearance at the offices of Modern Skeptic (which are pretty sweet for what has got to be a niche publication, just sayin') and a quick-on-the-draw blonde, Agent Willis.  Riley is accused of getting too emotionally involved...gee thanks Special Agent Obvious!  And we get a nice reassurance that yes, Big Brother is watching you...everywhere.

Agent Blonde joins the Cute Squad

Meanwhile at the swanky terrorist lair, Laila uses the d-word (see, I knew it!) and states Hank's former skeptic credo, not knowing of his FEELINGS!...but White Vincent knows, in that creepy supervillain impossibly omniscient way.  Laila repairs the Plot Device, and WV is all, "Pack your bags honey, jetlag be damned!"

Hank's parents appear for moral support, and that is a nicely human moment, yay Show.  Anthony Edwards can act, he was the heart of ER, after all, and so I appreciate those moments when he's not seeming out of his depth in the whole conspiracy blah-blah-blah, which, if you think about it, should not be.  The man runs a magazine devoted to this kind of crap, you'd think he would at least know the ways in which it plays out, even if he doesn't believe it.  But he's spent at least half of his onscreen time looking all WHA?  He asks, "Uh, is there any way that I could have a doppelganger ancestor from Nazi Germany?" and of course they have no idea what he's on about.  Then the action intrudes again because reasons, and Laila signals Hank via the hotel lobby security camera and in another human moment we flashback to the history of their adorable relationship and again I am vindicated because Laila also knows how improbable it is to be Hank's hot wife.

(And I bet you thought I was just being bitter.  Shall we play male entitlement bingo later?  It's always a party!)

In further pursuit of her female agency, Laila delivers the same clue to the Scoobies and the FBI, and it's on like Donkey Kong.  Hank's dad to the rescue when their Google-fu is fail and duh people, of course it's a location!  What else would it be?

Show, you are giving me fits and making me talk to the screen.  That's never a good sign.

Laila is the ultimate plant and next stop is the weird shit vector of...New Jersey.  The Scoobies will beat WV unless the Lincoln Tunnel is backed up, which it usually is, am I right?  Fuggedaboutit!

Woo, that was a long first act!  I kept thinking are they just not going to show the title sequence?  I know, silly me.

Apparently I was totally wrong about Hank and Riley getting the jump on WV, but in another nice aerial shot I am amused to see the Princeton Public Library looks more like a church.  Laila gives clever another shot, and they abscond with the desired info.  Oh Vincent, it's vandals like you which will ensure the revoking of the Freedom of Information Act, tsk tsk tsk.  Father Mickle is all calm placatory to Hank's parents and it's like they're asking if he's doing drugs rather than riding to the rescue of his wife.  But I love the choice of Charles S. Dutton for this role, he's perfect.  But ah...apparently they have a secret of their own, which undoubtedly involves this whole mess and everything has been leading up to Hank...blah-blah-blah.  I guess this is the shocking twist of this episode.

Elsewhere, Creepy Little Boy (seriously, it's like they put out a casting call for "Damian Thorn, age five") who is identified in the credits as Messenger Boy (that's a two-ton hint if I ever saw one) stands on a busy street watching a wall of televisions all showing a manifestation of the Fourth Plague of Revelations, cunningly disguised as a forest fire.  You'll recall we saw the Eighth Plague of Egypt in Hank's dream.  Cut to Mulder and Scully muttering "Curses!  Foiled again!" at the Princeton Public Library.  But wait, Hank has found Laila's message...see, the World Book never fails to inform!  Flashback to more of their cute and why the library is their Special Place...aww, geek love!  Interestingly, we learn that Hank's biggest skepticism is How can you, hot girl with clock-fu, love me, the skeptical schlub?

Since this is TV, that kind of crisis of faith never happens but okay Show, I'll give you points for trying to assuage all the women out there muttering, "Yeah that relationship is realistic," at the screen while rolling their eyes and Tweeting their annoyance (#interrogatingthescriptfromthewrongperspective).  So the Scoobies get their Google-fu on (and Arron is wearing a gorgeous blue shirt which accents his gorgeous eyes, btw) and they pinpoint the reference as the Institute for Advanced Study...an actual brain trust...as the likely destination for the weekly showdown.  Because brain trusts are totally fronts for conspiratorial organizations (*cough*Bilderberg Group*cough*).

Now occupying the same time-space continuum, we watch WV and Laila enter the destination while Hank and Riley and the FBI engage in Have You Seen This Terrorist And His Clock-fu Consultant? with the populace.  A bit of misdirection has occurred because while WV invokes the ghost of Oppenheimer, the point of reference was actually the former office of...Albert Einstein (no really, there's even a plaque).

DUN DUN DUN
(That's not the cue, it's more the violins of This is some weird shit, right?)

But more shockingly, he's the new apostle!  Oh get outta town, Show!  Okay I take back what I said about Hank's parents being possible Nazis or Rosicrucians as the shocking twist, way to keep me guessing!  The location of Al's clock is worked out, and then we have some priests engaging in the sanctity of traditional poker, because the Church is all about preserving traditions and stuff, am I right?  The booze is shown, but because people don't smoke on network television anymore we don't see that long-held vice too.

Seriously though, I think we're supposed to take a moment to nod and say, "I see what you're doing there with your symbolism, Show."  Father Mickle asks a question which is way too complicated for his casual conversational tone and he totally gets called on it.  As the discussion continues the Steadicam relentlessly circles the table and I feel like I suddenly wandered into a DePalma movie or something.  His colleagues deconstruct the situation and Mickle might have his own crisis of faith at some point after this, because friends don't let friends get waylaid by terrorists, doncha know.

Cut to Hank and Riley missing their rendezvous with destiny again...they've got a clock fer chrissakes, you'd think they would be punctual.  They're half an hour behind WV, who is now giving Creepy Little Boy an update and again, there's another DePalma-esque shot of steps, and even he's afraid of the tyke, who writes down the info in some kind of code or dead language.  Meanwhile the Scoobies - primarily Agent Blonde and Arron - are bonding over their love of anarchist esoteric media outlet Disinformation and Arron blurts out the best line of the episode.

It's like porn!

Ye gods that boy is adorable. But Rachel gives him a so lame, dude, so lame look and his puppy crush attempts to regain some dignity.  And then there's another bombshell: WV doesn't have the right clock!  All of this twisting is making me dizzy, Show!

Infodump, infodump, conversation of significance, more discussion of The Love That Will Never Die, and then WV makes that Goddamnit Laila, you're making me having feelings! face...oh Vincent, why so evil?  Did no one ever love you in your antiseptic upbringing?  They're both sweating, to underscore the tension of the situation, natch. I appreciate the credibility of making them look under the thumb of that wicked jetlag.

Creepy omniscience, crazy awesome science, detecting, and...breadcrumbs from Laila.  Of course I want to know how she managed to find yellow pushpins in the midst of her hostage ordeal, but whatever.  And lo-and-behold, that dream was prophetic, just not in the way we were thinking.

We have to stop meeting like this, Hank.  Seriously
Nah, he didn't say that.   Just like I figured, WV wants Hank for reasons which are probably more obvious than they should be at this stage in the game.  Ah, but there are still some surprises to be had, I gotta say, this is definitely getting more interesting.  And what, is everybody involved in a conspiracy here?

Gunplay, running, "Let me tell ya why you're not going to shoot me...'cause you ran out of bullets, fool!", penultimate bombshells away, plus two priests walk into a bar and...okay, one of them was already there, but infodump, and they keep looking around like some pesky Rosicrucian is gonna come in and get all medieval on their asses too, while Hank's parents attend mass and look all conspiratorial again.

Einstein's clock is recovered, the secret message inside decoded, and if there was mention of which apostle he was supposed to represent, I missed it.  I'm hoping Wikipedia will clear this up.  Locust symbolism ahoy! and okay, I get the destruction metaphor but how is that supposed to symbolize the destruction of God, exactly?

Despite my snark (which provides your daily allowance of alleged entertainment value), I liked this episode the most so far, the infodumps and the action merged together in a much more effective fashion.

Now to the good stuff...

There is some nicely stirring music during the on-campus scenes at the Institute, this is my favorite cue of the episode.  It has a certain majestic feel to it without being overbearing.  And the use of Laila's theme in the later scene between WV and Laila underscores a certain emotional resonance.  The theme used during what I will refer to as the "breadcrumbs" scene has some nice electronic touches which makes me wonder if it's Paul's or maybe a collaboration.   Trevor's scoring pedigree is entirely evident in the overall mood of the themes and cues, and I could be mistaken but I don't think there was any licensed music in this one, just lots of newsreel footage (faked or no it looked pretty good).

And hey, the story kept swinging...like a pendulum!  Ah Show, I may bond with you after all.