So last month I did an interview with the band Buckcherry, and the interview piece I did was considered too feature like to publish, so it was changed in accordance with the magazine’s format. This sometimes happen and is not something I can be upset about – but gives me the chance to share with you my original vision for the piece here. Enjoy.
Listen to Buckcherry for about 15 minutes and you’d probably think the world had gone to hell in a hand basket. “All music sales have gone down the sh**ter” says guitarist Stevie D. It’s an interesting start to our discussion, but one I’m more than willing to explore further; “Yep, it’s the ‘age of streaming’ and recorded music has become the loss-leader, a kind of trail of breadcrumbs to the live show.”
Yet, despite the perceived negativity of this statement, there are actually a lot of positives. Why shouldn’t more fans get the chance to see their favorite artists performing in a live environment as well as the fixed impression traditionally immortalized inside the song? And nobody quite does live performances like Buckcherry. Although the band has seen a lot of change over the years, the one constant has been founder and lead vocalist Josh Todd, who has remained firm at the helm guiding the band through uncertain waters. Stevie agrees, saying “the one constant, and probably most important [thing], is Josh’s vision and songwriting in Buckcherry… It’s no secret there’s been a few different players along the way, some integral, some not, but the fact remains Buckcherry is one of the last, successful, uncompromised rock n’ roll bands out there.. And musically, it’s the best it’s ever been.”
Formed in California in 1995 the group has toured worldwide, releasing two albums before dissolving in 2002, being ‘re-imagined’ in 2005 and releasing the biggest crossover hit to date; ‘Crazy Bitch’ from 06’s ‘15’ – a song about as crazy as they come. Todd’s distinctive vocals are unmistakable, as unique as Chris Cornell’s or Axl Rose’s belong to those artists, and he once recorded with Guns N’ Roses Slash and Duff McKagan, in what was rumored to be the forerunner to Velvet Revolver featuring the late Scott Weiland.
Personally preferring the track ‘Lit Up’ myself, there’s something for everyone in this band, with Stevie reminding me of the multifaceted layer of their own performances; “One thing’s for sure, you’ll get the hits. We’re in rehearsals now for the Warpaint record cycle, and since the musicianship in this band is at an all-time high, I’d like to stretch out musically during the segues and solos…” proving, if nothing else, you’ll get a full night’s entertainment. Before we part there’s just a little time to talk about their support for the night, which comes in the form of fellow veterans Hoobstank (remember ‘The Reason’), as Stevie explains “I met them back in ’06 and would run in to them at festivals, and eventually we would end up doing shows together in SoCal. The singer Doug Robb is a downright kickass front man with a solid machine behind him”.
We can definitely agree with that. As if you needed another reason to see this band live. Sorry
It’s fair to say that I’ve recently fallen out of touch with the latest cinema releases. Work commitments have met that I haven’t been obsessing as much as I hoped. Hearing of Bumblebee long before actually seeing it, I was aware this project existed, but given the lack of a now traditional Star Wars release at Christmas it seemed that this ideal summer blockbuster had been delayed to fill the void. Whether or not this film had actually been purposefully delayed, I’m not sure, but I did find it amusing that with the Christmas decorations all around us we went to see a movie set in the height of summer.
Charlie (Hailee Steinfeld) is a young woman working at a summer’s fair in 1987. Grieving the loss of her father and listening to The Smiths, Charlie spends her time obsessing over an old Mustang she owns in the garage, hoping that the open road will bring freedom and change from suburban life and her mother’s new boyfriend. In many respects, it’s a very atypical script, but I did find it was written with a view to this being 2018. Supporting character Memo (Jorge Lendeborg Jr) is not your typical “boy next door” and Charlie – although sometimes jealous of others – is not outwardly looking for fame or popularity.
There are several scenes in which you’d expect the typical Shia Le Beouf attitudes, and yet they’re not forthcoming, so as Tears for Fears blasts from the tape deck in the Volkswagen you remember all the fun you can have with your clothes on for a change. In an era of ‘Me Too’ it’s actually rather refreshing to see some elements adapted and incorporated into the film, but it does drag you a little out of reality, and also reminds you just how ridiculous (and possibly dated and even sexist) Shia making moves on Megan Fox was in the original film. The jury’s still out on that.
Into this rather interesting mix comes Bumblebee, fresh from the war on Cybertron, which provides G1 Transformer fans like me with their greatest few minutes on film in the franchise so far. I’ll say early in my review that this film is worth watching but it’s the scenes on Cybertron – which in themselves amount to a relative sprinkling – that bring the film together. Cameos from Cliffjumper, Shockwave, Soundwave, Ravage and Arcee are just the beginning as we learn some vital clues as to B-127’s original mission.
One of the things I really enjoyed about this film was the minimal casting. Asides from Bumblebee and a few cameos, the most predominant involvement comes from two no name Decepticons. To be fair, they do have names, but I found it rather unusual that a female Decepticon would be so well positioned as to climb the ranks in the organization. I’m not being sexist, it’s just that any G1 Transformers fan will tell you that Arcee was about the only female Transformer with a back story; and she was an Autobot!
Shatter and Dropkick (don’t look them up, they don’t have any linage) are introduced as new one shot characters and, to be fair to 2018, it’s a refreshing change. My feeling is that they’re soldiers on a mission and we’re not necessarily dealing with a command line here, which makes the story far less contained then it could have been, and I actually think that’s a real bonus. The appearance of Blitzwing early in the movie is something that caught me off guard, but I was pleased that he was at least given his real name, if not that he used the colours of Jetfire – something that could have made for a really interesting plot dynamic.
The film is set in California and looks glorious, even if it limits the use of urban areas due to the timeframe of the plot, but at least one shot of the Golden Gate Bridge from the coastline is enough to put on a postcard. As I’ve mentioned before, there’s a real lack of money with this film, but I think this easily makes it my second favorite Transformer film after Michael Bay’s original – something I remember adoring so much about that first installment. There are so many glorious nuggets of 80s culture that I don’t want to ruin it for you, but look out for that moment where Sammy Hagar is playing on the radio and there’s a scene in the tunnel from Back to the Future. Also, for those film fans, it’s the same song Marty hears as he arrives in an alternative 1985 during the second installment.
Of course, as this film is a prequel, there are some serious plot holes. Sector 7 features in the film primarily through Agent Burns (John Cena) and Dr Powell (John Ortiz) but there’s no mention of either Witwicky or the All Spark and – if I remember correctly – it was Sector 7 who built the Hoover Dam around the All Spark and MBE1, that is, Lord Megatron. His complete absence from this film is unsurprising but it’s also interesting that nobody from Sector 7 – especially upon encountering the Decepticons for the first time – doesn’t believe they bear a striking resemblance to a creature that’s been in the basement since 1907.
Looking past plot holes like this, and the one in which Ratchet is still trying to fix the vocal processor Bumblebee had damaged (try ripped apart) almost 15 years after it was first lost, you actually do have a really good film. The soundtrack is nothing short of phenomenal and the first twenty minutes of the film paint a picture that between Duran Duran, Bon Jovi and The Smiths we really must be in the 80s…though I myself took a real shine to the scene in which we take a moment to appreciate that Vinyl truly is better to cassette while Bumblebee watches The Breakfast Club on VHS. Oh nostalgia, you’ve done it again.
I loved House of Cards. It was a powerful show, built from the memory of a BBC serial, it outgrew its predecessor rapidly as it focused on the political machinations of Chief Whip Frank Underwood and his wife Claire. Drawing comparison with Macbeth, Underwood is the classic politician loyal to the King, yet spurned by that King and driven by ambition he aspires to become the King himself. Setting the show in Washington DC, in the heartland of US politics led to all kinds of possibilities, as the series itself began to be mirrored in the real life political ambitions of one Donald J Trump.
And yet, as good as the show was, it’s main drawing power was actor Kevin Spacey. As Underwood, Spacey gave another phenomenal performance, proving that he is an extremely gifted actor with the skill for deception and the art of imitating life.
On Christmas Eve 2018, it was announced by the prosecutor that Spacey would be charged with a felony over his sexual assault allegations, a matter which had first arose in October 2017 when Spacey admitted his homosexuality publicly on Twitter and spoke about allegations made from fellow actor Anthony Rapp. This snowball effect created a public outcry against Spacey who made no further comments and retreated into a self imposed exile while a number of Spacey’s current projects where either delayed or entirely altered altogether. We’re used to seeing celebrities fall from grace, normally such allegations coming long after their prime has passed, those like Jimmy Saville posthumously or Gary Glitter. Rumors or allegations may surface but it is only once the individual is well past their prime. Not so with Spacey.
Although arguably some of his best work behind him, Kevin Spacey was still producing thought provoking and engaging drama, very present in public life and not likely to be retiring anytime soon. I had personally heard allegations from a family friend, who claimed Spacey had been auditioning for a play in Dublin in the late 90s, and had invited one of the younger cast members back to his room to discuss the role in private. It was always something that had stuck with me – even though I’d been told the story many years previously – but something I had assumed was such commonplace in certain Hollywood circles it was thought impossible to police.
When the felony charge was confirmed on Christmas Eve, it seemed like old news, considering there had been no new comment from Spacey for well over a year. In the interim the studio responsible for his House of Cards show had announced it would continue for a sixth season. It was explained that Underwood had been killed off screen, with his wife Claire now resolved to take her place in the Oval Office. The show lacked something for me, and although there were moments of sparkle, I regret to say that they were moments built on the back of Frank’s involvement. The show was legitimately the Kevin Spacey hour and without his presence it felt like Netflix had commissioned the series simply to make a point that didn’t hold much water. Without the show’s lead actor it had nowhere to move. A deeply unsatisfying end to the series came and went and we were promised a resolution but received none.
Suddenly, both Spacey’s fiction and reality were merged together, as he presented a short video from his official YouTube page. Entitled ‘Let Me Be Frank’ it showed a character, performed by Spacey, in the accent of Frank Underwood addressing the audience and asking what actually happened. The video has acquired several million hits in just a few days and that counter is far from slowing down, as many people have spent Christmas literally recording, editing and publishing their own reaction videos, analysis and feature commentary to this piece.
At the beginning of the video Spacey is seen washing his hands preparing a Christmas dinner. Dressed in a novelty apron, it would suggest that the video has either been created recently (owing to the fact it is Christmas Eve) or planned somewhat in advance. I personally believe the former, since Underwood’s character in House of Cards had grey hair and although Spacey may wish to give the impression Underwood is now living a secret life with colored hair, the lack of any grey hair is more significant I feel as a way of merging fiction and reality. Given the emphasis on Christmas, the washing of the hands is also slightly significant, considering that Jesus Christ (born on Christmas Day) was executed on the testimony of what is described as an angry mob. When attempting to deal with Jesus, and adjudicating his trial, Pontius Pilate is known to have washed his hands in gesture of relieving himself of the responsibility of this matter. My belief is that Spacey, who could have begun the video anywhere, chose to begin it at this point as he is washing his hands of previous issues and what is before him.
Spacey turns to the camera having wiped his hands, and affixes a stare, though his words are spoken with the distinctive Southern accent of Frank Underwood. He starts by berating his audience, telling them they trusted him when they shouldn’t, and how he shocked us by revealing his deepest, darkest secrets. It’s an interesting juxtaposition between life and art, immediately Spacey is creating a sense of confusion between Frank Underwood and his own personal abilities as an actor and what rumors might have been heard in his private life.
He takes a cup to drink, and does this twice in the video, which I believe in itself is significant. The cup definitely appears to be a regal – a royal design – and has a message in Italics on it. Of course, when Spacey continues and says “you and I are not done, despite what they say” it’s a chilling statement.
His defense counsel will likely argue this is Spacey in character, though prosecutors may see this as an attempt for Spacey to influence any trial, stating that he knows what the audience wants, that they were quick to judge him without evidence and that they haven’t heard the real story yet. Even the video’s title, “let me be frank” is both a play on Frank Underwood and a potential way for Spacey to address his accusers. It’s also a way for Spacey to influence any potential jurors or judge before the trial is even set. If such a thing was released during jury selection there would no doubt be uproar. Spacey has chosen an ideal time, when the Holiday’s prevent anyone from doing much of anything until the New Year.
Spacey is to be arraigned on January 7th, according to the Boston Globe, but he himself asks in the video “no, not you, you’re smarter than this…all this presumption led for such an unsatisfying ending” and this is easily believed to be a reference to the online disapproval of House of Cards Season 6. But it’s Spaceys next comment which I find the most significant in the video;
“If you and I have learned anything these past years, it’s that in life and art, nothing should be off the table”
This in itself is seen as a direct statement to anyone watching. Spacey goes on to say that if he (Frank, who knows at this point?) got away with the stuff he did do he sure as hell won’t be punished or what he didn’t. There’s a moment of pause after this statement, and you can’t deny the powerful nature of any monologue, which immediately makes you think about what is being said. Is Spacey blackmailing his accused, are we looking at the threat of further repercussions if they dare to challenge him. What does he know? Or is this just Frank talking. We are, after all, a world so heavily influenced by dialogue of fictional characters, people we’ve never met and reality television.
At the end of the segment Spacey points out that you never actually saw him die, and then puts on a ring, a ring which looks suspiciously like (but which I doubt is) the ring from House of Cards Season 6 that Frank Underwood was meant to have been buried wearing. Frank wore the ring for the entire show but it was most prominently featured in the final season in his absence. The ring itself was about as close as we got to having Underwood as a character in Season 6 and showed just how much presence an actor can have in legacy when they’re not even present on the camera.
Think about what Spacey is doing. He’s cooking a meal. He’s got his hunger back. He begins by washing his hands of the past, and he ends the video by assuming character, placing the ring off his finger and walking off screen. Those familiar with the very first season of House of Cards remember the pilot episode; Underwood eating ribs at Freddy’s the morning after Walker’s inauguration, and marking a page in the print with sauce to indicate the hunt had begun.
I believe Spacey, a clever man with a tactile mind, has just given us a very clear motive of what he intends to do. Many reporters comment that the video has backfired. I don’t believe it has at all. Just like I don’t believe he’s made a bad move here. As of last count there were 42,939 thumbs down on YouTube from 6.375 Million Views; and 138,461 thumbs up. Regardless of guilt or innocence, I believe the true winner here is entertainment and fiction.
A message seeking comment was left with Mr Spacey’s spokeswoman Laura Johnson.
As Spacey walks off screen, we remember that he is an incredibly gifted actor, and what we’ve seen is a performance we’re likely to see again. Though on whose stage?
When George Miller’s Fury Road first burst onto our screens in 2015, we were greeted with a novel concept, a truly likable post millennium film. In our cynical world we’d forgotten the beauty of a movie which doesn’t over think, looks artistically incredible and has a simple plot. Max is a drifter, captured by renegades who seek his blood, forced into servitude. A tyrannical dictator named ‘Joe’ keeps several women captive, hoping to conceive a suitable heir, their beauty and purity unmatched. Max and Joe collide, the women in both their lives suitably liberated and the pursuit is on.
At its heart, Mad Max is a road movie, everything from Max himself to the metal guitarist (now perhaps more infamous for refusing to help inaugurate Donald Trump) strapped firmly to a hood. In this new edition some 24 months later we’re treated to a picture entirely converted to black and chrome, something that creates a unique opportunity to have a revaluation of a modern blockbuster. While it’s impossible to say exactly what effect this monochrome effect has on modern film precisely, we can say that it looks incredible in its usage here, the darkness is more effective when it needs to be and there’s a sinister edge of horror comparable to the opening gambit of Mad Max 2. By removing the color from our screens the director has created a violently drawn image which we’re almost transfixed on. It’s art.
Like Alfred Hitchcock and Rod Stirling before him, Miller has purposefully chosen to avoid color, feeling that his choice of black and chrome may add that additional character the movie has been seeking. Miller calls this his superior version, and while I’m likely to agree, would remind viewers that the “original” version is just as good.