The 500 - #130 - Marquee Moon - Television

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #130
Album Title: Marquee Moon
Artist: Television
Genre: Art Punk, Rock, New Wave, Garage Rock
Recorded: A & R Recording Studios, New York City, New York
Released: February, 1977
My age at release: 11
How familiar was I with it before this week: Not at all
Is it on the 2020 list? Yes, at #107, rising 23 spots
Song I am putting on my Spotify Playlist: Marquee Moon

Back in January, 2019, when I committed to this long, winding blogging journey through Rolling Stone magazine's The 500 Greatest Albums of All Time, I did what any curious music lover would do: I skimmed through the entire list to see whether some of my personal favourites had earned a place, and I was especially eager to find out what cracked the Top 20.

As I made my way through the rankings, I felt a spark of excitement each time I spotted a beloved record. There was Rage Against the Machine’s explosive debut and Peter Gabriel’s visionary record, So. Then. I spotted Elton John’s lavish, autobiographical masterpiece, Captain Fantastic and the Brown Dirt Cowboy, and the genre-bending, theatrical opulence of A Night At The Opera from Queen. So eager was I to work through the list that many of these future blog posts were mapped out in my head months in advance.

Album jackets for four of my favourite records on The 500 list.

However, just as thrilling were the albums I didn’t know -- the ones that were destined to become new obsessions. These included Look-Ka Py Py by The Meters, The Magnetic Fields’ 69 Love Songs, Manu Chao’s Próxima Estación: Esperanza, and Stankonia from OutKast. These four musical revelations, as well as many others, regularly earn a spot on my weekend playlists.

Album jackets for four, of many, new records I have discovered.

And then there was Marquee Moon, the debut album from Television, legends of the 1970s New York rock scene. Its reputation loomed large, and it had been sitting on my “I really should listen to this” list for years. Somehow, I let opportunities slip by. Last week, I seized the chance, and it delivered in spades. Marquee Moon not only lived up to its towering legacy; it reminded me exactly why I started this project in the first place.

Television are (l-r) Billy Ficca, Richard Lloyd, Tom Verlaine & Fred Smith

Back in 1973, two high school chums from Delaware, Tom Verlaine and Richard Hell, landed in New York City with big dreams and a couple of guitars. Before Television, they were a proto-punk/garage rock band called The Neon Boys, featuring Verlaine on vocals and guitar, Hell on bass, and Billy Ficca pounding the drums.

Album jacket for a single's release by The Neon Boys.

In March, 1973, guitarist Richard Lloyd was added and with him came the name Television, which I've recently learned was a nifty pun on the phrase "tell a vision". The group played their first gig as Television at The Townhouse Theatre, an 88-seat venue in midtown Manhattan. By 1975, Hell was out of the group and Fred Smith replaced him on bass. The group had secured a residency at the famed Bowery dive bar, CBGB's where they performed multiple sets, several nights a week, sharing the stage with other rising acts (also on The 500 list) including Patti Smith (#44), Blondie (#140), The New York Dolls (#215) The Modern Lovers (#381).

On stage at CBGB's Club in the Bowery area of Manhattan.

It is difficult to summarize Television's sound. They are often dubbed a garage band or post punk act. However, those descriptions are limited.  Unlike the blunt-force punk sound that was exploding  around them, Television played with more precision, favouring clean tones, intricate interplay, and a touch of jazz cool. It has been described as 'punk in attitude, but not in sound'. Verlaine and Lloyd didn’t just play riffs, they wove musical phrases like a conversation. Instead of power chords and distortion, they used clean tones, intricate voicings, and melodic tension, creating something radically different.

Verlaine, Lloyd and Smith on stage creating their signature guitar sound.

Marquee Moon landed like a lightning strike and was applauded by critics and revered by musicians. It was eight tracks of angular beauty that rewrote the rules for what a guitar band could be. The ten-minute title track absolutely wowed me and I couldn't wait to share it with my wife on our weekend drive to the cottage. At a time when many bands were chasing speed and aggression on their guitars, Verlaine and Lloyd were exploring clarity and, like jazz musicians before them, the spaces in between the notes.

Album jacket for Television's second release, Adventure.

Television lasted for only one more year, disbanding over creative differences in 1978 following the release of their second record, Adventure. They reunited in 1991 for a third, self-titled release. This reconnection was short lived, but their influence and impact were already monumental. Legendary acts scattered across The 500 list cite Television as an influence including REM, Sonic Youth, The Strokes, Echo and The Bunnymen, The Pixies, U2, Wilco, Joy Division and The Red Hot Chili Peppers. In the end, they truly "told a vision", and the world perked up and listened. I sure did.

My Top Ten in Television 2022 - Part Two

In a previous post, I listed five of my favourite television series from 2022. They were, in no particular order, The Bear, Better Call Saul, Peacemaker, White Lotus and Hacks. This follow-up completes the second half of my top ten. Once again, I am providing a trailer for each and identifying which service carries the program in Canada. Thanks for indulging me and my pop-culture opinions.

Barry (Season 3) - (HBO/Crave)

Barry is a dark comedy about a depressed former Marine named Barry (Bill Hader) who has become a hitman following his military service. Through a series of accidental encounters and miscommunications, Barry ends up in an acting class run by the eccentric Gene Cousineau (Henry Winkler). Barry decides to leave the underground world of para-military assassinations and turn to acting. However, his shadowy past is not easily escaped.

I enjoyed season one of Barry and season two was even better. After a long hiatus, due to the Covid pandemic, I was keen to see where Hader and his writing team would take the ensemble cast in season three. It did not disappoint and season three is the best so far. In many ways, the show has moved from the easy comedy created by juxtaposing the emotionally empty Barry against a comedic ensemble cast. Taking a more artistically cinematic approach that the previous seasons, the focus shifts slightly from protagonist Barry, to the people around him as they come to terms with the chaos that the ex-Marine has brought into their world. (Season 3 Trailer)

The Boys (Season 3) - (Amazon Prime)

The Boys is a subversive and irreverent take on the superhero genre. It takes place in a universe where super-powered people exist, but are owned, promoted and monetized by Vought Industries, a politically-connected, mega-corporation. Additionally, many of these “supes” have been morally corrupted by their elevated status in society, causing them to behave recklessly at best, and ruthlessly at worst – protected from consequence by their powers and Vought’s marketing and media-spin machine.

The titular “Boys” are a group of vigilantes who see Vought and the superheroes for who they truly are. Engaging in guerilla acts their goal is to expose the corruption behind Vought Industries and its army of superheroes.

It’s not for everyone. The dialogue is often coarse and the violence, although comically ridiculous, is tremendously graphic. However, the social commentary on and satirization of American jingoism is rich and thought-provoking. The show cleverly (but quite obviously) levels criticisms at corporate greed, political insincerity, the media, toxic masculinity, commercialism, consumerism and racism. Homelander, the main antagonist in the series, is played magnificently by veteran Australian actor Antony Starr. His performance in Season three is award worthy – but The Boys is niche television. And fantasy, science fiction and superhero movies are all but ignored by award selection committees. (Season 3 Trailer)

Winning Time: The Rise Of The Lakers’ Dynasty (Debut Season) - (HBO/Crave)

When I fheard HBO was going to air a ten-part mini-series on the evolution of the Los Angeles Lakers basketball team from the basement of the league to the dynasty it became in the ‘80s, I was intrigued. And when I learned one of my favourite actors, John C. Reilly was cast as the larger-than-life owner Jerry Buss, it became mandatory viewing.

My wife is not typically a fan of sports-themed television programs and she has no interest in professional basketball, leaving me to watch the first episode on my own. However, the clever directorial techniques used to tell this engaging story, are so well done I knew she would love it. She did and was equally riveted to each week’s episode.

Adam McKay, best known for his work on comedies, applies a variety of modern and antiquated camera technology to give sections of the series an authentic, late ‘70s feel. He also took advantage of Reilly’s quirky, charm in “breaking the fourth wall” to talk to the audience directly about his motivations and plans.

Sure, artistic and factual liberties are taken and some of the events are not “historically” accurate. But, this is a roller-coaster ride full of witty banter, colourful characters and clever filmmaking. Even if, like my wife, you know little about basketball or The Lakers you will be engaged throughout the ten episode series. (Trailer Season 1)

After Life (Final Season) - (Netflix)

A black comedy with heart will always win me over. Tony (Ricky Gervais) has lost his wife to cancer and is bent on ending his own life. However, he promised to take care of their dog and rationalizes that until his demise, he can behave any way he wants. His choice to live unapologetically leads to hysterical and unexpected consequences.

Season one was a viewing feast and when an unexpected followup arrived in 2020, it delivered more laughs and several lump-in-the-throat moments to give your heart a warm glow. Season three brought the series to a magnificent end, tying a bow on the lives of the engaging and interesting characters.

In typical British fashion, each season is a tight, six-episode set, with a total running time of less than six hours. An easy, quick watch for sure. Again, the language can be ghost-pepper spicy at times and some jokes are crude and offside. However, it is juxtaposed so well with themes of positivity and kindness that these black marks are easy to forgive…or just enjoy, if you share my comedic sensibilities. (Trailer Season 3)

Finally.

My tenth pick has left me in a quandary, so I am going to cop out and just list the entries I considered for this spot with a brief description. Each is excellent in its own way and, if you have the time, well worth watching.

Bad Sisters (Apple TV+)

Eva, Grace, Ursula, Bibi and Becka are sisters living in present-day Dublin. When Grace's abusive, controlling husband John Paul dies unexpectedly, the other four sisters find themselves being investigated by a struggling life insurance company run by two brothers convinced a crime has taken place. Dark comedy and plenty of twists and turns. This is a fun watch. (Trailer)

Marvelous Mrs. Maisel (Season 4) - (Amazon Prime)

The adventures of Miriam (Midge) Maisel continue as she develops her stand-up comedy craft in a 1960s America that isn’t quite ready for a female comic, especially one that is brash, outspoken and uses “colourful language”. (Trailer)

Russian Doll (Season 2) - (Netflix)

You’ll need to see Season 1 to better understand Season 2. The time loop premise used in the inaugural series is replaced by time travel. Protagonist Nadia begins to unravel a mystery that helps her better understand the generational trauma that has plagued her family for 80 years. (Trailer)

Station Eleven (Season 1) - (HBO/Crave)

Based on the novel by Canadian writer Emily St. John Mandel, Station Eleven is a captivating story told before, during and 19 years after a near-apocalytic swine flu has decimated the world’s population. Much of the story focuses on a nomadic group of actors who risk their lives for art as they roam the Great Lakes region performing Shakespeare for the scattered outposts of remaining humanity. (Trailer)

Shout Out to Yellowjackets (which has its moments and a terrific 90s soundtrack), and Star Wars: Andor (full disclosure, we started it in late December and haven’t finished it yet) As a Twitter chum recently posted - “It made me care about Star Wars again”.

Thanks for reading.

What are your favourites?

My Top 10 in Television for 2020 - Part Two

This is part two of a two-part blog. Part one, which highlight the bottom half of my ten picks, can be found here. 

5: Lovecraft Country

If someone watched three episodes of this series and then told me "it wasn't for them", I would understand. When it comes to things that will turn off viewers, this series ticks all the boxes. Reasons you might not like it include...

• It is science fiction
• It is horror
• It is fantasy
• It is violent
• It is rich with social commentary
• It is sexually graphic

However, I liked it for many of those reasons although I am not sure I fully understand it. Listening to podcast commentaries (featuring the writers, actors and production team) helped but the multi-layered program requires close attention. 

I guess I'm a sucker for grand spectacle, special effects, epic soundtracks and creepy horror. Wait until you meet Topsy and Bopsy, the stuff of nightmares! Lovecraft Country gives a nod to so many of my favourites from the world of horror, sci-fi and fantasy, and I love homage. HBO/Crave

4: I May Destroy You: If you haven't heard of Michaela Coel, expect to become familiar with her soon. Aged 33, she is already proving to be a massive talent. Her latest project, I May Destroy You, in which she plays the main character Arabella, was written, produced and co-directed by her. 

At its core, the series could be pompously described as a modern bildungsroman (a story that follows a young person's spiritual education). 

Arabella is a Twitter star dealing with the newfound celebrity that has come with the release of her debut book, Chronicles of a Fed Up Millennial. The pressure to meet deadlines for her next book are compounded by the debt she has amassed after blithely spending her advance. 

Shirking responsibility, once again, she goes out for a few drinks with friends in London. When she wakes the next morning, she struggles to remember events from the night before. But, she feels certain she was slipped a "roofie" (Rohypnol, the date rape drug). What follows is a non-linear detective story that keeps viewers guessing...while forcing them to dismantle what "consent" means in the 21st Century. HBO/Crave

3: After Life: Season Two: A black comedy with heart. That description will always win me over. Tony (Ricky Gervais) has lost his wife to cancer and is bent on ending his own life. However, he has promised her to take care of their dog and realizes that, because of his truncated life, he can behave any way he wants. His choice to live unapologetically leads to hysterical and unexpected consequences.

Season One was a perfect story arc and I didn't think a second season was necessary. I was wrong. Season Two is equally entertaining and laugh-out-loud funny. In typical British fashion, each season is a tight, six-episode set, with a total running time of less than three hours. One could watch the series in a single sitting. Netflix

2: The Plot Against America: This one will take you by surprise, so it is tough to explain the premise without giving away the plot. It is a David Simon (The Wire, Generation Kill, The Deuce) project, which is that is all it took to convince me to give it a try. 

The sets are tremendous and so many of the performances are award-worthy, particularly the work of Zoe Kazan. Much like the aforementioned Michaela Coel, hers is a name you will be hearing more about. This series is well worth the six-episode investment of time, and the accompanying official Podcast is engaging and informative. HBO/Crave

1: Better Call Saul: Season Five: It likely comes as no surprise to those who know me that this show would top my rankings, being such fan of the show's creators, Vince Gilligan and Peter Gould. I love the complexity they build into their multi-dimensional characters and I'm always riveted by the smart dialogue and avant garde cinematography. Editor Chris McCaleb has stepped admirably in to fill the void left by Breaking Bad alumni Kelley Dixon. The montages are still spell-binding.

The show is an anomaly because it is a prequel to Breaking Bad. Consequently, fans of that series know exactly where it is heading. Regardless, it is a clever, tense drama and the inclusion of new characters Kim Wexler and Iganacio "Nacho" Varga contribute to the suspense. Rhea Seehorn, who plays Wexler, has been regrettably overlooked for a much-deserved Emmy Award. Fingers crossed, she receives it in the upcoming (but Covid-delayed) final season, maybe next year. AMC 

Honourable Mentions

• My wife and I just started The Good Lord Bird. So far, it looks like a great candidate for our 2021 top TV list.
• Documentaries were not included in my reviews, but The Last Dance was splendid. Tread. The Ripper and McMillions were also wildly entertaining for different reasons.
• Not making the Top Ten cut but worth mentioning were, Curb Your Enthusiasm - Season 10, Dead to Me, The Outsider, The Great, The Undoing and Upload. Like I've said, we watched a lot of TV during the pandemic 

How about you? What did we miss?

My Top 10 in Television for 2020 - Part One

NOTE: Just a quick diversion from my usual The 500 Blog Post series. It's my break and I have a little extra time.

Household secret from the pandemic: Lots of time to watch TV. And, being small-screen aficionados, my wife and I did just that. Throughout our lengthy quarantine, we researched programs and, after viewing, enjoyable conversations ensued including one the other day in which we debated our Top Ten television programs of 2020. 

Our tastes are eclectic and we are not easily offended, so pretty much anything goes. For my list of Top Ten series in 2020, I am focusing on new programs. Consequently, some may be 2019 releases that we watched during this calendar year.

10. The Crown: Season 4: Sure, they took some liberties with the dialogue and the facts and Netflix refused appeals to put on disclaimers to that effect. Granted, few know what was actually said behind closed and heavily guarded doors. However, despite the falsehoods portrayed and presumptions made, such as the doubtful arguments between Prince Charles and Lord Mountbatten, the acting was exception and I enjoyed the quick, clever banter. The sets and costumes are still spectacular. Additionally, the series made it to the eighties when I was more aware of royal events. Everyone of my vintage remembers Diana Mania. Netflix

9. The Queen's Gambit: I watched this one solo, while recovering from a foot surgery. I binged it in two days. Tremendous cinematography, stunning set and costume design, with an outstanding multi-generational soundtrack to boot. And who would have thought chess could be sexy. Then there is the character Jolene, who delivers a line that nearly made me spit my tea with laughter. Netflix

8. Watchmen: I was skeptical when I learned that one of my favourite graphic novels was going to be a television series. I wasn't wowed by the 2009 film adaptation and this new series was pitched as an "original remix of the source material". It's a bit uneven at times and "suspension of disbelief" is mandatory. It also tends to divide viewers based on their political leanings. I pushed all that stuff to the side in favour of a fun, viewing adventure. Watchmen is worth the ride for many reasons -- the soundtrack, the fascinating storytelling choices and, perhaps above all else, the special effects that are blended with eye-popping cinematography. 

If you've seen it, perhaps, like me, you want to try Nostalgia Pills and wonder why you didn't know about the Tulsa Race Massacre and Black Wall Street before 2020? HBO/Crave

7. The Boys: (Season 1 & 2): This is not for the faint of heart. The violence, although comically exaggerated, is disquieting to say the least and the language is ghost-pepper spicy. Karl Urban's character, Billy Butcher, drops enough F & C bombs to rival a Tarantino or Scorsese script. If you can get past all of that, it has plenty to offer: action, comedy, intrigue, mystery and even a playful dollop of social commentary mixed with a Billy-Joel-friendly soundtrack. Plus, I am envious of the T-shirt collections of several characters -- perhaps that is why is is on Amazon Prime.

6. Schitt's Creek: My wife and I started this series in 2015. We liked it, but didn't love it. Consequently, it fell by the wayside. This year, on the strength of its showing at the 2020 Emmys where it won a record nine awards, we took another look. Boy, are we glad we did. It takes a full season for the show to get its legs. When it does, comedy gold follows. 

This half-hour sitcom was a wonderful distraction from everything negative that 2020 offered. If you want to escape politics and the pandemic...I recommend a heavy dose of the Rose Family, taken nightly. The whole cast is great, but Catherine O'Hara is a national treasure. 

PS: My sympathy to anyone named David who just spent the year hearing their name pronounced exaggeratedly with Moira-esque aplomb. CBC Gem or Netflix

Coming Up Next - Part Two