My thanks to Brock Perry for the heads-up.
Another booking for ARW has appeared, this one for October 10th at The Fox Theatre in Atlanta, GA - which is quite a beautiful venue, as locals know. You can check out the link below for ticket information. With this bit of info it appears the tour is actually beginning in the South and then moving up the East Coast from there.
Update: the link I was given no longer works; if you've purchased tickets then you probably also received a refund due to the venue posting the pre-sale page before they were supposed to.
Friday, May 6, 2016
Sunday, May 1, 2016
Media Watch: new Yes biography
(With apologies to Patrick Moraz: why this book has a photo of the Relayer lineup on the cover rather than the Classic lineup is one of my problems with it.)
It's been eight years since a biography of Yes has been published (as the updated version of Chris Welch's Close To The Edge: The Story of Yes was issued in 2008) and perhaps prompted by the passing of Chris Squire someone felt it was high time for another one, thus we have Martin Popoff's unauthorized bio Time And A Word: The Yes Story, released in paperback today in the US although the ebook edition has been available since February.
Popoff's book is rather at a disadvantage because Close To The Edge is as authorized as one can get, with Welch considered an expert on the subject, as well as a organizational insider and journalist who has interviewed the many members of Yes on various occasions throughout their history. So CTTE (the book) stands as much of a definitive biography as is possible. But in terms of its' inclusiveness Time And A Word expands to encompass the recent history of Yes, going beyond CTTE (the book) which stops around 2007. Popoff's book has a different structure, combining a timeline format with narrative passages, primary and secondary interview quotes, and archival images. The book ends with Chris Squire's demise last year, which is understandable, and yet I think it would have been fitting to at least acknowledge Billy Sherwood's reinstatement as a member and hand-picked bearer of Chris' musical legacy.
I understand it is de rigueur to title books about rock n'roll after songs or albums, but I'm a bit miffed that the wrong one keeps getting picked for a Yes book. What does a Yes biography need to be titled? It's obvious - Fragile - which describes the state of the band at various points in its' 48-year history. But it's not meant as a pejorative because despite the various lineup changes it has managed to survive and to thrive in different eras. I'm not sure at this point if a new book is needed, given the extensive chronicling which already exists in various books and websites as well as several documentaries. No one biography is ever going to get to "the truth" of things any more than a few candid interviews given by some of the principles and associates over the years. But as the best of those books, such as Yesstories, have been long out of print, and the comprehensive interview book Dialogue has yet to be published, those fans who have never read a history of Yes can consider TAAW (the book) a barely passable stop-gap in the interim.
I do appreciate the timeline format as it lends a sense of historical perspective to the proceedings, Popoff notes events which are outside the immediate history of the band but indicative of the cultural milieu in which Yes was working at any given time. There are a few botched details regarding the second Trevor Charles, such as incorrect years of release for some albums, and I don't particularly care for the way Popoff covers Trevor's solo work. For example, he reviews Trevor Rabin but not Face To Face or Wolf. Can't Look Away is given scant mention and no critical commentary. The interview quotes included from Trevor are all secondary sources.
I have long resigned myself to the realization that any history of Yes is going to focus far more on the Classic lineup than any other period, but I must say - barring the various inaccuracies contained therein - Chris Welch did a fairly admirable job of portraying Trevor in his own right as well as his overall role within Yes in CTTE (the book). I count myself as a fan of the Classic lineup (I was a Yes fan long before I was a YesWest fan, after all) so it's not particularly an issue for me in a general sense, but I do pay close attention to the way in which YesWest is portrayed in any composed historical narrative.
Given that Popoff has written over a dozen rock n'roll books this one has a definite assembly-line feel to it, despite the inclusion of his own commentary on various albums. Though I can appreciate he was attempting to be humorous in some spots, his critical assessments come off as a bit lazy to me. For example, in his review of 90125, Popoff states:
With Jon Anderson saucily and belatedly back in the fold, things surprisingly spring ahead, the man's hippie-regressing flightiness no match for the jaunty pop juggernautiness of South African jack-of-all-trades Trevor Rabin, who single-handedly transforms Yes in his image, basically writing and comandeering the whole thing.Popoff's penchant for neologisms aside, this statement is extremely reductionist and categorically false. Although it's true that a great many of Trevor's demos were developed further for Cinema, and despite what many have said over the years regarding the pedigree of 90125 (including Trevor himself), only half of the actual album - OoaLH, Hold On, Changes, City Of Love - consists of songs which Trevor brought into the project. The rest of the album is material which was developed by the principles once they had decided they were going to be a band (including his specific contribution to "Hearts," composed before joining up with Chris and Alan). And "Owner," as we know, wasn't even meant for Cinema to record in the first place. So the characterization of "90125 is the solo album Trevor never got to make" is not correct at all. It would be nice if somebody - say, a rock journalist - actually got these kinds of details right at the outset, but I suspect that's just asking too much. The primary negative characteristic of this book is that it is too superficial a narrative for such a landmark and legendary band.
In another section, Popoff states that the initial location for the recording of Big Generator - Lark Studios, located at Castello di Carimate in the Lombardy region of Italy - was "chosen for tax purposes" which, again, is incorrect, and some simple research could have revealed the actual reason for the selection of this site. As Trevor explained in his interview with Mike Tiano:
I've even seen it in print that Chris said... [...]Chris says we went to Italy -"It was Trevor's idea to go to Italy to save money." It was never the intention to save money, although I don't want to waste money. The intention to go to Italy was to get the band together, because some of us were living here, but then Jon was living away, and Alan was in Seattle, I think. It just wasn't together, and I thought if we all go to Italy, like Carimate, this little town in this incredible old castle, and record in this castle. What an amazing thing.And in further error, Popoff comments, regarding the song "Rhythm Of Love"
Trevor Rabin's suggestion to employ real brass on the track as well as his rude guitar work rankled the band's more traditional fans.Most who have listened to Big Generator - and may even be a fan of it - know the song which actually contains a brass section is "Almost Like Love." Has Popoff even heard this album?! But also Trevor has previously stated, in an interview with Tim Morse, that he "didn't like the idea of putting horns on it," noting Chris was behind that particular choice. Though it's true everyone has their own version of events, Popoff doesn't even cite the source which indicated that Trevor might be the culprit. But I'm certainly not inclined to take his word over Trevor's.
Moving on to 1989, there's this observation regarding ABWH:
The band was positioned as an alternate version of Yes, with Jon Anderson not happy with the commercial stadium rock version of the band as commandeered by Trevor Rabin and Geoff Downes.Right there is where - if I had a physical copy of the book - it would have been thrown into the nearest garbage can. Anyone possessing even a basic knowledge of the band knows that Trevor Rabin and Geoff Downes have never been in any version of Yes at the same time. Even if he's trying to imply that Anderson did not approve of either the Drama lineup or YesWest, it's not the most facile way of expressing such a sentiment. This book doesn't appear to have been fact-checked at all after initial drafts, which is surprising given how many sources were cited and consulted.
A general rule of thumb is that you utilize as many sources as possible in your research and attempt to find the place where they intersect and agree, or failing that, select the sources which appear to be definitive. That practice has not been followed in this case and certain mistakes and misapprehensions continue to be fostered within this text. However, my primary issue with Popoff and this book is his obvious bias toward Classic Yes - which should not be a factor in how he chronicles the overall history of the band. He also lost me with his assertion that Open Your Eyes - the 1997 release which includes Billy Sherwood - is a better album than Talk. And I wholly disagree with that, for obvious reasons. That's not to say Open Your Eyes is a bad album a priori (although it contains a few clunkers in my opinion) - just one which didn't necessarily resonate with the fanbase overall (selling less than Talk and currently remains out-of-print) - but to assert it's more successful than Talk in any measure, critical or otherwise, is simply ludicrous.
I also have a problem with the images chosen for the center spread - there is only one photo of Trevor (a performance shot from 1991), no photos of YesWest as an ensemble - there's something seemingly random about the images chosen as a whole, although perhaps it had to do with licensing issues. Granted, I understand using just one image of a member each given how many people have been in Yes, but I think there could have at least been one photo each of every lineup.
My suggestion is: if you really want to know about Yes and have never read any of the books, you should read CTTE (I believe the physical edition is out-of-print but it is currently available as an ebook) and then, possibly, TAAW which would then give you a somewhat comprehensive overview on the complicated-as-their-music history of the band. But we Rabinites will have to continue to accept that Trevor's role in the Yesstory narrative is never as a central character even as most chroniclers - professional or otherwise - admit he should be, having helped to guide the destiny of the band for over a decade.
Friday, April 29, 2016
possible tour dates for ARW
Thanks to the eagle-eyed efforts of the Yesfans community, advance notice is beginning to appear for fall tour dates, and it does look like the tour is starting on the East Coast in October. No official announcement has been made but it's not necessarily unusual for information to precede validation, as it were. The existing caveat is that neither of the dates thus far advertised are listed on official websites for the venues.
The ensemble is being billed as "Anderson, Rabin & Wakeman - An Evening of YES Music & More," according to an ad in the New Jersey Star-Ledger for Borgata Casino & Spa in Atlantic City It appears their US promoter is Larry Magid Entertainment, someone with well-known ties to Live Nation - which does have a placeholder page for ARW on their official website but no dates listed at this time.
Within the past three days at least two dates have been advertised; an ad in the latest edition of The Village Voice (4/27) for the Wellmont Theatre in Montclair, New Jersey lists ARW as appearing on October 24th. The date listed for the Borgata Casino appearance is October 26th.
The ensemble is being billed as "Anderson, Rabin & Wakeman - An Evening of YES Music & More," according to an ad in the New Jersey Star-Ledger for Borgata Casino & Spa in Atlantic City It appears their US promoter is Larry Magid Entertainment, someone with well-known ties to Live Nation - which does have a placeholder page for ARW on their official website but no dates listed at this time.
Within the past three days at least two dates have been advertised; an ad in the latest edition of The Village Voice (4/27) for the Wellmont Theatre in Montclair, New Jersey lists ARW as appearing on October 24th. The date listed for the Borgata Casino appearance is October 26th.
Monday, April 25, 2016
Knowing The Score: 12 Monkeys S2 E1 "Year Of The Monkey"
Content warning: contains SPOILERS! for S2 E1 of 12 Monkeys.
First things first: I don't wanna freak you out or nothin' but I'm loving this viral video which has a great Ringu kind of mood to it. It is rather creepy, though, for those of you sensitive to such things.
Now onto the show, as they say...
Given that we fortunate viewers were afforded SyFy's largesse of a two-week lead for viewing the season premiere, I thought perhaps I could then take my time in studying it and render my impressions. But any snark is affectionate because I do like this show, overall.
PREVIOUSLY ON 12 MONKEYS:
Boy from the future - where everything is terrible - is sent back in time to attempt to avert total disaster.
Boy eats a lot of cheeseburgers and meets the Girl of his dreams.
Girl spends one year thinking she's crazy because this hot Boy from the future disappears before her eyes (like all men eventually do).
Boy returns from the future and they enact a hurt/comfort scenario.
This goes on pretty much all season.
Cole and Ramse's Epic Bromance is broken, Jennifer finds a way to make her unique worldview a corporate mandate, people in the shadows attempt to treat history like a game of chess (like they always do), and everyone has lost something which they may find again in either a dead future or a tragic past.
The great and wise Philip Larkin once wrote:
This is the first thing
I have understood:
Time is the echo of an axe
Within a wood.
The implacable nature of Time renders it a faceless, formless force and yet we all have a relationship with it which is strictly our own...to rage and to rejoice, to treasure and to mourn.
Why am I being philosophical? Well, because time travel stories are at least in part about our personal relationships with time and causality. And that will prove a sticking point in Season Two, I believe.
So we begin with a beautifully-edited dreamlike montage recap narrated by Madeline Stowe, who played Dr. Kathryn Railly in the original film. And it does sum up most of the major concerns of Season One, though with little of the actual nuance. But that's okay, because you can always return to that story in our archival streaming television-on-demand culture. We then find ourselves in Budapest upon the Széchenyi Chain bridge serenaded by the original version of "Time Is On My Side" which is one of the classiest uses of licensed music that I've ever heard, I gotta say. Kai Winding, ladies and gentleman, whose trombone manages to sound a bit like a police siren in this particular scene whereupon Ramse is making a dash from The Usual Villainy through narrow streets and dark alleys, but alas they have him cutoff mid-span on that confounded bridge. Then all the sound is sucked out of the world as Olivia comes tap-tap-tapping onto the bridge like Three Billy Goats Gruff, black-clad and smirking. They have an exchange and we see that It's a trap! while Ramse bides for time, asking, "Why y'all tryin' to punch my clock?" He is calmly informed that his services are no longer required and just as the hit squad is ready to take aim he does that modern action movie thing: NOW WOULD A GOOD TIME TO SAVE MY ASS, JUST SAYIN.'
KABOOM!
It seems there's a lot more violence in this one episode than I remember seeing all last season, but maybe that's just me. Cole comes strolling into frame, his theme playing - pounding drums and sprightly strings - and it's so action hero, but not in a bad way - we can see that he is not the same desperate haunted man as he was in Season One. The three plot points interact, with Cole and Ramse bantering even as they deny their relationship, "Us? Naw, we ain't together." And that was one of the things which made me so mad last season, when the bromance became a casualty of the narrative superstructure. I realize it had to be done, but it hurt me bad. Olivia kinda has this Trent Reznor in 1999 thing going on, as she calmly announces their inherent doom, and sure enough there's a brigade of mad bikers bearing down on that confounded bridge. A hail of bullets, they cower on the struts, and c'mon, it's a bridge, Ramse, you can say Don't do that! all you want but what are ya gonna do? So it's into the Danube for our bromance (yeah I know, but it's still a bromance if I want it to be, damnit!). Seriously though, they have tried to kill Ramse at least three times now and they keep failing...the Army of the 12 Monkeys has terrible logistical management, I'd say.
And...title card! I really love the title theme, it's all about the metallophones, or glockenspiel, or whatever that chiming accent is.
In the present, Olivia is dealing with some of those aforementioned logistical problems, and we are treated to a daytime overhead shot of that lovely city straddling the Danube (accompanied by a very majestic sort of cue), meanwhile Cole and Ramse scuttle like cockroaches to their underground hidey-hole (during which we see Trevor and Paul's leading credit). A meta-esque discussion follows which takes care of both exposition and bromance banter and I tend to think I really do care about them more when they're together than when they're apart - Aaron and Kirk have such great chemistry. Cole is adamant about his I AM HERE TO SAVE THE FUTURE agenda which of course Ramse has to puncture with his EXCEPT FOR MY SON rejoinder. Ramse says, "You believe in the past, I believe in the future. It is what it is." Or is it what it will be? But anyway, who cares about the present is what I want to know. Cole suggests that they split up once they've managed to ditch their creepy stalkers - wait, what? Break up the bromance again?! He has a Ah-ha! moment when he realizes the Army keeps finding them no matter where they run...except the one place where they never surfaced. It's not about their prognostication, it's about hardware. Specifically whatever they put into Ramse to track him.
The theme playing in this scene reminds me a bit of the second half of "Cole On The Move" but with a lighter touch.
Meanwhile, in the era of Everything Is Terrible (aka 2043), Cassie is reliving her brainwashing and its' subsequent effects and outcomes until she wakes up to find herself with Dr. Jones, who I'm convinced at this point just wants someone to mother, but is still at the ready with her gallows humor quips. There were no scenes showing Katerina smoking in this episode, so I wonder if they've cut that out of the show bible now. Cassie's all, "So I've been here in the future for four days now and it really SUCKS." She tells Katerina about Ramse's turncoat behavior and Katerina notes of Cole: "When it comes to Mr. Ramse his judgement has always been - (dramatic pause) - unreliable."
(See, clearly a bromance! You always want the one who is bad for you.)
A bit more exposition and then Deacon comes swaggering into the room just as Jones is shooting herself up with the Splinter serum and Cassie recites its' purpose, finally understanding what Cole told her in the past. You can immediately tell by the way Cassie and Deacon look at each other that there will be UST between them. I think that's a little too obvious, although I don't necessarily object to the subtext. Deacon refers to Katerina as "Dr. Grimm" - whoa dude, harsh! I'm pretty sure that's just her resting bitchface.
So the Messengers - like any post-apocalyptic cult worth their salt - give their time-traveling cannon fodder...uh...acolytes a pep talk full of grandiose metaphors and motivatiional psychobabble and "We will meet again," which never fails to make me think of Vera Lynn. Does anybody here remember Vera Lynn?
(Whoops, wrong fandom, never mind.)
And dude is dressed like this is Carrousel from Logan's Run as he climbs into the chair (which showrunner Terry Matalas has already called dibs on when the show ends). But...the good doctor has thrown a monkeywrench into their plan and the Messengers will not be meeting this guy again, as the splintering process basically liquified him.
I like the percussion elements in this scene, very compelling.
She's laughing (See what I mean by gallows humor?) but Messengers don't play, Katerina basically taunts them to kill her, but as any effective terrorist knows, it's all about exploiting weaknesses. And then they go off on a tangent of causality and...destiny? I mean, that's how I interpret "If something is meant to Be, it shall Be." But there's already a flaw in that logic because Ramse wasn't killed in the past. Anyway, just as Cassie is about to be sacrificed to their pissing match, the Messengers' IT Support guy (seriously, dude could work for the Geek Squad) manages to bypass Jones' sabotage.
Now the guy they tried to send to whenever looked normal, then one of their hooded own is sent instead and she's not gonna pass for normal in any time, I'm thinking, but as it turns out she cleans up okay. So yeah, they cover themselves in ashes as part of their aesthetic regimen, apparently. That's not creepy at all! (Spoiler: it is.)
Cut to the present and a screed against bioengineering courtesy of Ramse's former colleague Dr. Benjamin Kalman - who, I observe, seems far more interested in hitting on students than teaching them - but Cole enters and interrupts to seek his assistance. Kalman blathers more of his Mother Jones rhetoric before they finally negotiate and then he makes what I feel is a way-too-perceptive comment about Cassie, but I did like Cole's line "She made me better."
(Awwwww!)
Cut to: said healer, who is still stuck in the Year of Wretchedness and being led away by Deacon. Cassie immediately diagnoses him with Wilson's Disease and attempts to bargain with her usefulness but as we know from Season One, Deacon is a guy who is not exactly the easiest to get along with. And he's all, "You are adorable."
(Oh he's gonna pay for that little bon mot at some point, you can bet.)
Cassie is, like, "Dude, this apocalyptic shithole you call your world? They're the ones to blame." He shuts her down and shuts her in. But Cassie is plucky, even as she's cussing in frustration.
(I'm showing my age but I will never get over the realization that people can now say shit on TV.)
Back to the present, where Dr. Kalman is performing a less painful form of trackerectomy than Ahnuld had go through in Total Recall. He's too enamoured of the sound of his own voice - typical professor. His speechifying has another purpose, though...he's actually hatching his master plan of deceit right under their noses and dropping hints at the same time. Blah blah blah, betrayal and exposition. Guess what: it really IS the Year of the Monkey! (No seriously, it actually is. Now that is some next-level marketing strategy shit.) Because he figures Ramse will be dead soon, he tells him the master plan. And Kalman obvs has no idea that Cole is a wiley kind of guy because he's all, "Stand still so I can kill you, mmmkay?" There's some nice ambiance in this scene which I'm going to say is Paul's doing, just to heighten the tension a bit. And Cole is, like, "Your narrative of redemption means nothing!" before he shoots Kalman in the head. Because apparently he feels the same about his own arc at this point: simply heroically nihilistic.
(That could absolutely be a thing, y'all! Greater good and so forth.)
In their expository aftermath, Ramse chooses not to share said Master Plan with Cole.
In 2043, Deacon has grown a mite desperate, since Cassie informed him he was going to die without treatment and he's all, "So this is a legit thing?" And she's all, "Totally." And that "make me better" thing comes back around...do you see where this is going, people? Now I don't like it, not one bit. But anyway, he is the vehicle of her possible escape, needs must. So he says, "We're gonna take this goon out, but mostly you 'cause you gotta stab him in the neck." And she's all, "Seriously?" But Deacon says it's not enough to overpower these creeps, they must die in order to be neutralized as a threat. Cassie equivocates...oh now she equivocates? Because she told Katerina it wasn't hard at all to shoot Ramse. And Deacon informs her that "Do No Harm died 30 years ago" which I'm assuming is a reference to the plague. So they go out to take care of her guard and after the deed is done Deacon quips "Welcome to the future, Dr. Railly...WHERE YOU TOTALLY KILL PEOPLE."
Deacon's crew is at the back door, and hey, there's Whitley! Who is surprised to see the woman he only knew from research in a future where she is supposed to already be dead.
Meanwhile, it's a fond farewell to Budapest and each other...and maybe it's because Cole calls him "brother" but...Ramse decides to tell Cole what's what. Cole seems a bit confused at Jennifer's involvement (remember, she's the one who called you Otter Eyes!) and Ramse reveals that he still cares.
(Awwwww!)
People, this is what I need from 12 Monkeys. For me, it's all about the bromance.
As they walk away from that confounded bridge they reminscise about old times, it's adorable.
Cut to: Thee Beeg Apple, where we catch up with Riot Grrrl on sensory overload (and clearly off her meds), we get to eavesdrop on all that noise in her head...yeah, I feel for her. But I'm not liking that version of "White Rabbit" so much. Anyway, this is a setup for the most hilarious use of the speed dating meme I've ever seen. Terry and Travis, I give you an A+ just for that scene alone. Especially how it's a rather brutal indictment of male entitlement...because after 15 seconds I would have said: "Can you please stop the words coming out of your mouth before I dose you with this plague I happen to be carrying, OKAY?!" You ask me, Jennifer was downright tolerant of that smarmy asshole. But her speech is both funny and disturbing and I have a feeling Our Showrunners are going to walk that line throughout the entire season.
(Seriously though, dogfighting is a perfectly legitimate reason to usher in Armageddon.)
Okay so what is it with everyone asking to be killed? Although I kind of get Jennifer's request because she is so incredibly fragmented. But that self-involved nitwit wusses out and calls 9-1-1 instead, which will prove to be significant later on.
Meanwhile in the era of Everything Is Terrible, the calvary, such as it is, is going to attempt to Take Back the Machine (yeah my slogans are a little mixed, I know). They enact a cunning plan, and Cassie frantically warns Jones to OMG DUCK! when suddenly...
KABOOM!
(There are a lot of echoes in this episode, have you noticed?)
The Messengers problem is dealt with, but at what cost? Well I'll tell ya: the future ain't what it used to be because the machine is officially broken. Again. As Jones gives her WAG as to how long it's going to take to fix it, Cassie has a look of OH SHIT I REALLY AM STUCK HERE, and I totally sympathize, because as we know from Season One there are no bacon cheeseburgers in 2043. This is what plague has rendered unto civilization. But Katerina - like all the female roles in this show - is a plucky gal. WE CAN REBUILD, she proclaims.
In the present it's now February 8th, Chinese New Year, and Cole and Ramse are playing Spot the Jennifer in Chinatown...in a city of, what, 8.5 million people (and two million rats), how hard can it be?!
Ramse still believes it's a fool's errand, but they split up, wandering amongst the revelers. Cole sees someone he thinks is Jennifer, but he's mistaken and then he sees a sign which reminds him of the Army of the 12 Monkeys insignia, and then...
Jennifer seems conflicted, not wanting to encounter her Otter Eyes when she's ready to unleash Hell and all, so she runs. They end up on the roof of some random building, and she's waving the Four Tiny Horseman and humming "Twinkle, Twinkle, Little Star" for some reason.
(Well she is crazy, right?)
Anyway, she's now clearly relieved that Cole is going to stop her. All she wanted was someone to stop (her) madness. And here it is: the moment of truth, the moment that Cole has been traveling back-and-forth in time and all around the world for, and she's asking nicely and everything. But...
Well c'mon, seriously, we knew he wasn't actually going to kill her, so to me the moment is rather leeched of its' intended narrative tension. Even the Stabbing Violins of Significance cue is played for laughs. But then those aforementioned pesky meddlers show up to remind her of the mission. Cultists, what a buzzkill, am I right?! And who is really the Witness anyway then, if not Ramse?
Speaking of: he's walking down an alley when suddenly WHAM! The man has really taken a beating this episode, you know? Is the Army of the 12 Monkeys going to ineffectually attempt to kill him again?!
Back on the roof, Cassie the Killer splinters from The Year of Continuing Wretchedness 2044 and makes short work of everyone save Cole and Jennifer.
First things first: I don't wanna freak you out or nothin' but I'm loving this viral video which has a great Ringu kind of mood to it. It is rather creepy, though, for those of you sensitive to such things.
— 12 Monkeys (@12MonkeysSyfy) April 22, 2016
Now onto the show, as they say...
Given that we fortunate viewers were afforded SyFy's largesse of a two-week lead for viewing the season premiere, I thought perhaps I could then take my time in studying it and render my impressions. But any snark is affectionate because I do like this show, overall.
PREVIOUSLY ON 12 MONKEYS:
Boy from the future - where everything is terrible - is sent back in time to attempt to avert total disaster.
Boy eats a lot of cheeseburgers and meets the Girl of his dreams.
Girl spends one year thinking she's crazy because this hot Boy from the future disappears before her eyes (like all men eventually do).
Boy returns from the future and they enact a hurt/comfort scenario.
This goes on pretty much all season.
Cole and Ramse's Epic Bromance is broken, Jennifer finds a way to make her unique worldview a corporate mandate, people in the shadows attempt to treat history like a game of chess (like they always do), and everyone has lost something which they may find again in either a dead future or a tragic past.
The great and wise Philip Larkin once wrote:
This is the first thing
I have understood:
Time is the echo of an axe
Within a wood.
The implacable nature of Time renders it a faceless, formless force and yet we all have a relationship with it which is strictly our own...to rage and to rejoice, to treasure and to mourn.
Why am I being philosophical? Well, because time travel stories are at least in part about our personal relationships with time and causality. And that will prove a sticking point in Season Two, I believe.
So we begin with a beautifully-edited dreamlike montage recap narrated by Madeline Stowe, who played Dr. Kathryn Railly in the original film. And it does sum up most of the major concerns of Season One, though with little of the actual nuance. But that's okay, because you can always return to that story in our archival streaming television-on-demand culture. We then find ourselves in Budapest upon the Széchenyi Chain bridge serenaded by the original version of "Time Is On My Side" which is one of the classiest uses of licensed music that I've ever heard, I gotta say. Kai Winding, ladies and gentleman, whose trombone manages to sound a bit like a police siren in this particular scene whereupon Ramse is making a dash from The Usual Villainy through narrow streets and dark alleys, but alas they have him cutoff mid-span on that confounded bridge. Then all the sound is sucked out of the world as Olivia comes tap-tap-tapping onto the bridge like Three Billy Goats Gruff, black-clad and smirking. They have an exchange and we see that It's a trap! while Ramse bides for time, asking, "Why y'all tryin' to punch my clock?" He is calmly informed that his services are no longer required and just as the hit squad is ready to take aim he does that modern action movie thing: NOW WOULD A GOOD TIME TO SAVE MY ASS, JUST SAYIN.'
KABOOM!
It seems there's a lot more violence in this one episode than I remember seeing all last season, but maybe that's just me. Cole comes strolling into frame, his theme playing - pounding drums and sprightly strings - and it's so action hero, but not in a bad way - we can see that he is not the same desperate haunted man as he was in Season One. The three plot points interact, with Cole and Ramse bantering even as they deny their relationship, "Us? Naw, we ain't together." And that was one of the things which made me so mad last season, when the bromance became a casualty of the narrative superstructure. I realize it had to be done, but it hurt me bad. Olivia kinda has this Trent Reznor in 1999 thing going on, as she calmly announces their inherent doom, and sure enough there's a brigade of mad bikers bearing down on that confounded bridge. A hail of bullets, they cower on the struts, and c'mon, it's a bridge, Ramse, you can say Don't do that! all you want but what are ya gonna do? So it's into the Danube for our bromance (yeah I know, but it's still a bromance if I want it to be, damnit!). Seriously though, they have tried to kill Ramse at least three times now and they keep failing...the Army of the 12 Monkeys has terrible logistical management, I'd say.
And...title card! I really love the title theme, it's all about the metallophones, or glockenspiel, or whatever that chiming accent is.
In the present, Olivia is dealing with some of those aforementioned logistical problems, and we are treated to a daytime overhead shot of that lovely city straddling the Danube (accompanied by a very majestic sort of cue), meanwhile Cole and Ramse scuttle like cockroaches to their underground hidey-hole (during which we see Trevor and Paul's leading credit). A meta-esque discussion follows which takes care of both exposition and bromance banter and I tend to think I really do care about them more when they're together than when they're apart - Aaron and Kirk have such great chemistry. Cole is adamant about his I AM HERE TO SAVE THE FUTURE agenda which of course Ramse has to puncture with his EXCEPT FOR MY SON rejoinder. Ramse says, "You believe in the past, I believe in the future. It is what it is." Or is it what it will be? But anyway, who cares about the present is what I want to know. Cole suggests that they split up once they've managed to ditch their creepy stalkers - wait, what? Break up the bromance again?! He has a Ah-ha! moment when he realizes the Army keeps finding them no matter where they run...except the one place where they never surfaced. It's not about their prognostication, it's about hardware. Specifically whatever they put into Ramse to track him.
The theme playing in this scene reminds me a bit of the second half of "Cole On The Move" but with a lighter touch.
Meanwhile, in the era of Everything Is Terrible (aka 2043), Cassie is reliving her brainwashing and its' subsequent effects and outcomes until she wakes up to find herself with Dr. Jones, who I'm convinced at this point just wants someone to mother, but is still at the ready with her gallows humor quips. There were no scenes showing Katerina smoking in this episode, so I wonder if they've cut that out of the show bible now. Cassie's all, "So I've been here in the future for four days now and it really SUCKS." She tells Katerina about Ramse's turncoat behavior and Katerina notes of Cole: "When it comes to Mr. Ramse his judgement has always been - (dramatic pause) - unreliable."
(See, clearly a bromance! You always want the one who is bad for you.)
A bit more exposition and then Deacon comes swaggering into the room just as Jones is shooting herself up with the Splinter serum and Cassie recites its' purpose, finally understanding what Cole told her in the past. You can immediately tell by the way Cassie and Deacon look at each other that there will be UST between them. I think that's a little too obvious, although I don't necessarily object to the subtext. Deacon refers to Katerina as "Dr. Grimm" - whoa dude, harsh! I'm pretty sure that's just her resting bitchface.
So the Messengers - like any post-apocalyptic cult worth their salt - give their time-traveling cannon fodder...uh...acolytes a pep talk full of grandiose metaphors and motivatiional psychobabble and "We will meet again," which never fails to make me think of Vera Lynn. Does anybody here remember Vera Lynn?
(Whoops, wrong fandom, never mind.)
And dude is dressed like this is Carrousel from Logan's Run as he climbs into the chair (which showrunner Terry Matalas has already called dibs on when the show ends). But...the good doctor has thrown a monkeywrench into their plan and the Messengers will not be meeting this guy again, as the splintering process basically liquified him.
I like the percussion elements in this scene, very compelling.
She's laughing (See what I mean by gallows humor?) but Messengers don't play, Katerina basically taunts them to kill her, but as any effective terrorist knows, it's all about exploiting weaknesses. And then they go off on a tangent of causality and...destiny? I mean, that's how I interpret "If something is meant to Be, it shall Be." But there's already a flaw in that logic because Ramse wasn't killed in the past. Anyway, just as Cassie is about to be sacrificed to their pissing match, the Messengers' IT Support guy (seriously, dude could work for the Geek Squad) manages to bypass Jones' sabotage.
Now the guy they tried to send to whenever looked normal, then one of their hooded own is sent instead and she's not gonna pass for normal in any time, I'm thinking, but as it turns out she cleans up okay. So yeah, they cover themselves in ashes as part of their aesthetic regimen, apparently. That's not creepy at all! (Spoiler: it is.)
Cut to the present and a screed against bioengineering courtesy of Ramse's former colleague Dr. Benjamin Kalman - who, I observe, seems far more interested in hitting on students than teaching them - but Cole enters and interrupts to seek his assistance. Kalman blathers more of his Mother Jones rhetoric before they finally negotiate and then he makes what I feel is a way-too-perceptive comment about Cassie, but I did like Cole's line "She made me better."
(Awwwww!)
Cut to: said healer, who is still stuck in the Year of Wretchedness and being led away by Deacon. Cassie immediately diagnoses him with Wilson's Disease and attempts to bargain with her usefulness but as we know from Season One, Deacon is a guy who is not exactly the easiest to get along with. And he's all, "You are adorable."
(Oh he's gonna pay for that little bon mot at some point, you can bet.)
Cassie is, like, "Dude, this apocalyptic shithole you call your world? They're the ones to blame." He shuts her down and shuts her in. But Cassie is plucky, even as she's cussing in frustration.
(I'm showing my age but I will never get over the realization that people can now say shit on TV.)
Back to the present, where Dr. Kalman is performing a less painful form of trackerectomy than Ahnuld had go through in Total Recall. He's too enamoured of the sound of his own voice - typical professor. His speechifying has another purpose, though...he's actually hatching his master plan of deceit right under their noses and dropping hints at the same time. Blah blah blah, betrayal and exposition. Guess what: it really IS the Year of the Monkey! (No seriously, it actually is. Now that is some next-level marketing strategy shit.) Because he figures Ramse will be dead soon, he tells him the master plan. And Kalman obvs has no idea that Cole is a wiley kind of guy because he's all, "Stand still so I can kill you, mmmkay?" There's some nice ambiance in this scene which I'm going to say is Paul's doing, just to heighten the tension a bit. And Cole is, like, "Your narrative of redemption means nothing!" before he shoots Kalman in the head. Because apparently he feels the same about his own arc at this point: simply heroically nihilistic.
(That could absolutely be a thing, y'all! Greater good and so forth.)
In their expository aftermath, Ramse chooses not to share said Master Plan with Cole.
In 2043, Deacon has grown a mite desperate, since Cassie informed him he was going to die without treatment and he's all, "So this is a legit thing?" And she's all, "Totally." And that "make me better" thing comes back around...do you see where this is going, people? Now I don't like it, not one bit. But anyway, he is the vehicle of her possible escape, needs must. So he says, "We're gonna take this goon out, but mostly you 'cause you gotta stab him in the neck." And she's all, "Seriously?" But Deacon says it's not enough to overpower these creeps, they must die in order to be neutralized as a threat. Cassie equivocates...oh now she equivocates? Because she told Katerina it wasn't hard at all to shoot Ramse. And Deacon informs her that "Do No Harm died 30 years ago" which I'm assuming is a reference to the plague. So they go out to take care of her guard and after the deed is done Deacon quips "Welcome to the future, Dr. Railly...WHERE YOU TOTALLY KILL PEOPLE."
Deacon's crew is at the back door, and hey, there's Whitley! Who is surprised to see the woman he only knew from research in a future where she is supposed to already be dead.
Meanwhile, it's a fond farewell to Budapest and each other...and maybe it's because Cole calls him "brother" but...Ramse decides to tell Cole what's what. Cole seems a bit confused at Jennifer's involvement (remember, she's the one who called you Otter Eyes!) and Ramse reveals that he still cares.
(Awwwww!)
People, this is what I need from 12 Monkeys. For me, it's all about the bromance.
As they walk away from that confounded bridge they reminscise about old times, it's adorable.
Cut to: Thee Beeg Apple, where we catch up with Riot Grrrl on sensory overload (and clearly off her meds), we get to eavesdrop on all that noise in her head...yeah, I feel for her. But I'm not liking that version of "White Rabbit" so much. Anyway, this is a setup for the most hilarious use of the speed dating meme I've ever seen. Terry and Travis, I give you an A+ just for that scene alone. Especially how it's a rather brutal indictment of male entitlement...because after 15 seconds I would have said: "Can you please stop the words coming out of your mouth before I dose you with this plague I happen to be carrying, OKAY?!" You ask me, Jennifer was downright tolerant of that smarmy asshole. But her speech is both funny and disturbing and I have a feeling Our Showrunners are going to walk that line throughout the entire season.
(Seriously though, dogfighting is a perfectly legitimate reason to usher in Armageddon.)
Okay so what is it with everyone asking to be killed? Although I kind of get Jennifer's request because she is so incredibly fragmented. But that self-involved nitwit wusses out and calls 9-1-1 instead, which will prove to be significant later on.
Meanwhile in the era of Everything Is Terrible, the calvary, such as it is, is going to attempt to Take Back the Machine (yeah my slogans are a little mixed, I know). They enact a cunning plan, and Cassie frantically warns Jones to OMG DUCK! when suddenly...
KABOOM!
(There are a lot of echoes in this episode, have you noticed?)
The Messengers problem is dealt with, but at what cost? Well I'll tell ya: the future ain't what it used to be because the machine is officially broken. Again. As Jones gives her WAG as to how long it's going to take to fix it, Cassie has a look of OH SHIT I REALLY AM STUCK HERE, and I totally sympathize, because as we know from Season One there are no bacon cheeseburgers in 2043. This is what plague has rendered unto civilization. But Katerina - like all the female roles in this show - is a plucky gal. WE CAN REBUILD, she proclaims.
In the present it's now February 8th, Chinese New Year, and Cole and Ramse are playing Spot the Jennifer in Chinatown...in a city of, what, 8.5 million people (and two million rats), how hard can it be?!
Ramse still believes it's a fool's errand, but they split up, wandering amongst the revelers. Cole sees someone he thinks is Jennifer, but he's mistaken and then he sees a sign which reminds him of the Army of the 12 Monkeys insignia, and then...
Jennifer seems conflicted, not wanting to encounter her Otter Eyes when she's ready to unleash Hell and all, so she runs. They end up on the roof of some random building, and she's waving the Four Tiny Horseman and humming "Twinkle, Twinkle, Little Star" for some reason.
(Well she is crazy, right?)
Anyway, she's now clearly relieved that Cole is going to stop her. All she wanted was someone to stop (her) madness. And here it is: the moment of truth, the moment that Cole has been traveling back-and-forth in time and all around the world for, and she's asking nicely and everything. But...
Well c'mon, seriously, we knew he wasn't actually going to kill her, so to me the moment is rather leeched of its' intended narrative tension. Even the Stabbing Violins of Significance cue is played for laughs. But then those aforementioned pesky meddlers show up to remind her of the mission. Cultists, what a buzzkill, am I right?! And who is really the Witness anyway then, if not Ramse?
Speaking of: he's walking down an alley when suddenly WHAM! The man has really taken a beating this episode, you know? Is the Army of the 12 Monkeys going to ineffectually attempt to kill him again?!
Back on the roof, Cassie the Killer splinters from The Year of Continuing Wretchedness 2044 and makes short work of everyone save Cole and Jennifer.
I have returned from the Future, my friends, and I want a goddamn cheeseburger!
Their reunion is bittersweet once Cole realizes Cassie means to assassinate Jennifer because Cassie and Katerina figured out she was Vector Zero, so to speak. But Cole knows there are greater forces at work - if Jennifer dies without freeing her Tiny Horseman, the Army will just find some other way to spread the virus.
Thus we end in a standoff with Cole lecturing about choices again...my former boss used to say: "We all have choices." I really hated that guy, btw.
"So what's it gonna be?"
Well lemme tell ya, Cole: while you two are bickering, Jennifer is gonna drop that vial right over the edge, is what. Duh!
Whew! Huzzah, I made it through another recap (after thinking I was officially burnt out on writing them for life) and I continue to give props to those who recap for a living - or just for the love of a show on a weekly basis - because it's a lot of work. It was a fairly propulsive episode, not overly burdened with exposition. Although there were a few cues I enjoyed I would say that overall the music was rather expected, but in an episode which tonally was meant to just keep moving along, I can understand why that was a better choice from a production standpoint.
So here we are, in the Year of the Monkey, and from most preview reactions I've read, this season is going to be weird, wild and wacky. Count me in!
Saturday, April 23, 2016
How I learned to love musical polymaths
If there's anything I mean to impart in the ongoing work of this blog it's this: it is, in fact, perfectly okay to do it all. Trevor had to struggle a bit in the early years to be take seriously as someone who could do it all, but now of course he is respected and celebrated as a man of many talents.
Which leads me to Prince, whom as we know died suddenly this past Thursday. Before I was introduced to Trevor - as most Americans were - in 1983, the first musical polymath I developed a direct relationship with was the aforementioned Prince Rogers Nelson, in January 1980 when he appeared on American Bandstand to promote his eponymous-titled sophomore release.
During the interview portion he gave one-word answers or even silence. And while some may see that as early evidence of his notorious penchant for being difficult or eccentric, to the 14-year-old me it marked him as an enigma I didn't understand but wanted to know more about - and his performance only enforced that desire. When I listened to Prince, and later on his debut album For You, I was amazed that someone so young was so talented and self-assured enough to do it all. As Brian Raftery notes in his tribute article for Wired:
But it's also important to remember that when you are gifted enough to be able to go your own way, another measure of that talent involves collaboration and the generosity which is shown as a result of working with other musicians, making the effort to find the nexus of creativity and audacity; as well as the enactment of a strict work ethic and devotion to musical expression. These are qualities I appreciate in both individuals.
The impact which the depth and breadth of Prince's artistic legacy had on his peers and the generations following after - but also the progenitors, many of whom respected him enormously - cannot be overstated. I don't necessarily mean to draw direct parallels between their careers, but without Prince's example of auteur vision and control, I'm not sure that I could have appreciated Trevor's work as regards not only his various talents, but his need to express his creativity strictly by his own hands, as it were. And someone who can make their music all on their own realizes the importance of not being restrained by labels and boundaries and perceptions. Prince - in any incarnation, any moniker - was someone who was only himself. His music was a mosaic of myriad influences and directions but containing an alchemy which was singularly solely his own. His integrity would allow no less.
There was only one Prince, and he was indeed funky. He was also so much more than that, but whatever he did, he made it joyful and reflective and sometimes raucous, sometimes sad, sometimes wild. But like all musical polymaths he was innovative and uncompromising. Prince walked his own path - and hoped we all might follow along - because there was no other way he could progress and evolve.
And Prince changed my life - and the lives of countless others - with his genius.
Because when you can do it all, what you do matters. And it endures forever.
Which leads me to Prince, whom as we know died suddenly this past Thursday. Before I was introduced to Trevor - as most Americans were - in 1983, the first musical polymath I developed a direct relationship with was the aforementioned Prince Rogers Nelson, in January 1980 when he appeared on American Bandstand to promote his eponymous-titled sophomore release.
During the interview portion he gave one-word answers or even silence. And while some may see that as early evidence of his notorious penchant for being difficult or eccentric, to the 14-year-old me it marked him as an enigma I didn't understand but wanted to know more about - and his performance only enforced that desire. When I listened to Prince, and later on his debut album For You, I was amazed that someone so young was so talented and self-assured enough to do it all. As Brian Raftery notes in his tribute article for Wired:
[...]his first truly great album, 1979’s Prince, was pure alchemy, a record that brought together dancefloor come-ons like “I Wanna Be Your Lover” and heavenly axe-shredders like “Bambi” so smoothly, it was as if those two sounds had always existed in the same space.And it began a love of his work which has encompassed the whole of my life.
But it's also important to remember that when you are gifted enough to be able to go your own way, another measure of that talent involves collaboration and the generosity which is shown as a result of working with other musicians, making the effort to find the nexus of creativity and audacity; as well as the enactment of a strict work ethic and devotion to musical expression. These are qualities I appreciate in both individuals.
The impact which the depth and breadth of Prince's artistic legacy had on his peers and the generations following after - but also the progenitors, many of whom respected him enormously - cannot be overstated. I don't necessarily mean to draw direct parallels between their careers, but without Prince's example of auteur vision and control, I'm not sure that I could have appreciated Trevor's work as regards not only his various talents, but his need to express his creativity strictly by his own hands, as it were. And someone who can make their music all on their own realizes the importance of not being restrained by labels and boundaries and perceptions. Prince - in any incarnation, any moniker - was someone who was only himself. His music was a mosaic of myriad influences and directions but containing an alchemy which was singularly solely his own. His integrity would allow no less.
There was only one Prince, and he was indeed funky. He was also so much more than that, but whatever he did, he made it joyful and reflective and sometimes raucous, sometimes sad, sometimes wild. But like all musical polymaths he was innovative and uncompromising. Prince walked his own path - and hoped we all might follow along - because there was no other way he could progress and evolve.
And Prince changed my life - and the lives of countless others - with his genius.
Because when you can do it all, what you do matters. And it endures forever.
Thursday, April 21, 2016
Trevor's music to be featured in Concert on the Bluffs event
It appears Trevor's Malibu connection has given him an in with the program for the first annual Concert on the Bluffs, to be held on June 12th at Malibu Bluffs Park. The City of Malibu's website describes the event - a "summer symphony by the sea" - thus:
Information on the event can be found here:
https://www.malibucity.org/civicalerts.aspx?aid=335
The Concert on the Bluffs will delight all ages with easy music from classical to film to pop, set against the sweeping views of Malibu’s stunning mountains and coastline. Featuring world-class musicians from the Malibu Chamber Orchestra, Los Angeles Philharmonic, and composers Marco Beltrami, Maria Newman, Trevor Rabin and Sting, this is not your everyday symphony experience. With a special performance by principal members of the New York City Ballet, this will be an afternoon not to be missed.
“We have an abundance of very talented artists living in our city, and we have long wanted to celebrate them. We’re famous for beautiful beaches and great surfing. It’s time we were recognized as an important arts destination,” said Mayor Laura Rosenthal.An employee at the City of Malibu confirmed to me today that all the composers listed will be appearing at the concert, and the involvement of the New York City Ballet means that Trevor's niece Indiana Woodward will also be performing, as she is one of the four dancers appearing in the program. But when I say "Malibu connection" I refer to Trevor's sister Amanda who is a long-time resident of the area, and Indiana and her brother Ilan were raised in Malibu. The other composers whose music will be performed also have ties to the area: Sting is known to be a some-time resident of the famous Malibu Colony enclave, and classical musician/composer Maria Newman - the daughter of film composer Alfred Newman (and cousin to composers Randy and Thomas Newman) - has been involved in the Malibu arts community for a number of years. One assumes film composer Marco Beltrami also resides in the Malibu environs. I was told details regarding the pieces to be performed will be released next month.
Information on the event can be found here:
https://www.malibucity.org/civicalerts.aspx?aid=335
Monday, April 18, 2016
The Man of a Thousand Credits: as heard on TV
One of a continuing series in regards to the myriad variety of Trevor’s discography.
As long-time fans are aware, since 2012 Trevor and his creative partner Paul Linford have moved into scoring for television more or less full-time, beginning with the ABC drama Zero Hour, which aired for one season in 2013 (and may have actually been created as a limited-run program from the outset). Two more series have followed thus far: 12 Monkeys for SyFy - which begins its' second season today - and Agent X for TNT, which also ran for one season.
As scoring for television is an ongoing, lucrative and demanding field, it's not surprising to consider that Trevor had made a few forays into this area prior to Zero Hour. For example, Trevor created the main theme for the NBA on TNT, which has been in use since 2002 and also serves as the theme for their Inside The NBA program. His theme for Remember The Titans - "Titans Spirit" - has also enjoyed frequent use as regards sporting events, such as coverage of the Olympics.
Trevor also composed the opening themes for military dramas Soldier of Fortune, Inc. and E-Ring as well as the music for a Mountain Dew commercial featuring iconic action hero Chuck Norris.
As long-time fans are aware, since 2012 Trevor and his creative partner Paul Linford have moved into scoring for television more or less full-time, beginning with the ABC drama Zero Hour, which aired for one season in 2013 (and may have actually been created as a limited-run program from the outset). Two more series have followed thus far: 12 Monkeys for SyFy - which begins its' second season today - and Agent X for TNT, which also ran for one season.
As scoring for television is an ongoing, lucrative and demanding field, it's not surprising to consider that Trevor had made a few forays into this area prior to Zero Hour. For example, Trevor created the main theme for the NBA on TNT, which has been in use since 2002 and also serves as the theme for their Inside The NBA program. His theme for Remember The Titans - "Titans Spirit" - has also enjoyed frequent use as regards sporting events, such as coverage of the Olympics.
Trevor also composed the opening themes for military dramas Soldier of Fortune, Inc. and E-Ring as well as the music for a Mountain Dew commercial featuring iconic action hero Chuck Norris.
In considering more ways in which we can hear Our Trev on TV, it would be interesting if, for example, a yet-to-be-heard song from him might be licensed for a commercial (GROUPLOVE took advantage of licensing their work for commericals, for example); or perhaps scoring for a miniseries or anthology type of format for premium cable. But this lateral career move has allowed us the opportunity to listen to Trevor and Paul's scoring on a weekly basis every year of late and that's such an immediate and unique type of experience which I'm thankful for - because if you had told me, even ten years ago, that I'd be able to hear music from my favorite musician on television every week, I would have said Yeah right!
Update: to promote the 12 Monkeys season two premiere, Varese Sarabande is offering the season one soundtrack for the sale price of $6.99 on iTunes.
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