Monkey Business - 3

Part one, here, part 2 here.

This is probably more of the the same, but I have tried to condense and conclude. It's difficult to take everything back to base, one has to remember that everything in the performance was there for a purpose, subliminal or otherwise.  My overall impression is of Danny Boyle sitting with four record decks and a mixer. The  four records are the monarchy and it's army, revolution, Glastonbury Tor, the old and the new. Like all good disc-jockeys he speeds up and  slows down tracks, whilst utilising the crossfader to weave them together for the ultimate groove. It's a tapestry.  It appears "we" were participants in a global televisual performance, yet somehow it felt to me like a chimpanzees' tea party - with us as  sleep-walking chimps ushering in a new zookeeper - that's "their" comedy gold.


We began with the Green and Pleasant section, although no mention was made by the commentators of  Glastonbury Tor, nor indeed the tree which sat upon it. Previous media reports have suggested that Danny Boyle was inspired by William Blake's, And did those feet in ancient time, poem, which was, in itself, the source of the hymn Jerusalem. The background to it all is that Jesus is alleged to have visited Glastonbury and is linked to the idea of a second coming (wiki). Blake's poem includes the line, "Bring me my chariot of fire", the inspiration for  the film and a reference to the Biblical 2 Kings 2:11. The tree reminds me of the thorn allegedly planted at Glastonbury by Joseph of Arimathea. The movie image below is of a tartan attired Ben Hur, going to hear Jesus preach.

Suddenly though we submerged, then rose, at a stone marked Isles of Wonder, the source of the river Thames. We flew downstream following a dragonfly. From wiki we note that the insect has "sinister" connotations to some and that it's nicknames include "devil's darning needle". We hear the Sex Pistols, God Save the Queen, as we enter London, but only the first line, Lydon's voice in stark contrast to the previous scenes. Then it's the Clash and their London Calling, the B side  of which was Armagideon Time, a song originally written by Willi Williams. London Calling was inspired by the BBC World Service wartime broadcasts. We return to the stadium to see balloons bursting on a countdown (2 sixes fail) and the hymn Jerusalem sung by a young boy.


Isambard Kingdom Brunel appears from a horse drawn coach advertising biscuits, pre-requisite for a tea party. Swing Low Sweet Chariot is sung by the choir, a song accredited to Wallis Willis who was, like William Blake, inspired by 2 Kings 2:11.  Brunel recites Caliban from the Tempest, whilst the tree rises and people climb out the hole and down the Tor, surely some sort of reference to our "roots". Drums are omnipresent through the affair, their hypnotic effect is well documented.

Suddenly it's pandemonium, the word itself sourced from Milton's Paradise Lost. Suffragettes appear as do the entrepreneurs of the time - it's  the Industrial Revolution, but somehow the immigrant carrying Windrush ship of Midsummer 1948 has transpired. Individuals in brightly coloured Beatle-like outfits arrive at this time too.  Giant chimneys have popped up and molten metal flows down a tadpole shape to be hammered into rings, which float into the sky. Pearly Kings and Queens appear - "the other Royal Family". The vote-desiring ladies, and money-mad men, join the Tor.


Suddenly we are in a seamstress or tailors room. Remember the dragonfly. A Happy and Glorious patch is being embroidered, then sewn, onto a red military uniform. We are at Buckingham Palace. A taxi bearing a subliminal double 11 badge arrives with 007 inside. He meets the Queen at precisely 8.30pm. Twin corgis perform, Bond and HM leave in a helicopter -  a flying chariot which flies over iconic London landmarks  including the twin-towered bridge. Suddenly it's trickery, the Queen appearing to parachute into the stadium, her stunt double a Gary Connery, reinforcing the Bond aspect.


The Queen is in her seat, just in front of Rowan Williams, archbishop and druid. Members of the military carry in the Union flag (Jack) and take it to the Tor. A sign-language choir, Kaos, sing God Save the Queen in their pyjamas as the banner is tediously hoisted. It's time for the children's literature and National Health Service section - and grizzly it is, I can hardly bear it. JK Rowling appears, as do hairy monkeys and a giant puppet Potter's Voldermort. It's all very dark. Nannies, not goats but Mary Poppins, save the day, the children end up happy in their beds which resemble prison bars, or even cattle pens. It's a nanny state.


Mr Bean next, along with a red and white rucksack and  pentagram embossed drink container and a straw at a thirty three degree angle. Allegedly it's "evil" because two points of the star are uppermost, rather than one (wiki - European Occultism). Bean, after looking at his 'phone, retrieves a tissue from the backpack whilst the London Philharmonic Orchestra play Chariots of Fire. Bean dreams that he is involved in the movie.


A new act has opened, the house, which has also inflated from below, like the towers and puppets. Michael Fish, the weatherman, warns of a  hurricane. It's a false alarm but there is definitely a change of tempo. It's now like Boyle is hitting the crossfader on a the mixer, the old being blended with the new. Old skool favourites are mashing into new ones. Anyone got any ecstacy. The dancers go wild, the majority colourful, although they are infused with black and white clad performers. A lost-phone love story is  acted out; overall the generations are coming together as one. The Sex Pistols', Pretty Vacant, inclusion speaks for itself, as does the inclusion of New Order's Blue Monday. Frankie goes to Hollywood tell us to relax as the house resembles a giant, perhaps all-seeing, eye whilst Annie Lennox wishes us sweet dreams. Trainspotting and Edinburgh's Princes Street  follow with the Prodigy's Firestarter, we conclude with a lot of kissing, since perhaps we are loved up. Kate 'n Wills and Planet of the Apes are imaged. 

Dizzee Rascal and grime music follow, Dizzee in red and white, notes he's bonkers believing he's free whilst dancers ascend the Tor. The double edged sword, Muse, play, they are telling us of the "conspiracy" whilst apparently embracing it as they urge revolution. Yeah, but revolution into what, a repackaged version of the same? Suddenly the music stops and the house rises to reveal the inventor of the world wide web. The stadium lights up - "This is for everyone". We are visually reminded  of the 1948 Olympics, army and monarchy are de rigueur. Nothing changes.


Another montage, this time the Olympic Torch Relay. Beckham, Edinburgh, red, white and blue, more monarchy, more army, more police, more London iconic landmarks. Then we are up to date again, with David Beckham in the manner of James Bond. Time to slow down, an unusual sun-drenched, yet dark, 7/7 tribute, and Scottish girl, Emile Sande, sings Abide with Me. The commentator, Trevor Nelson, ties this up with football. It's a funny old game and it's time for the athletes parade.


Last out are team GB, in quasi Druidic sports apparel, all white and gold, with hoods. Chris Hoy - The Flying Scotsman -  leads the charge, he shares the same nickname as Eric Liddell, the main man from Chariots of Fire. Bowie's "Heroes" (see the Berlin Wall)  plays as the ticker-paper falls - resonating a "vote" for every human being in the one-world democracy. More monarchy again from the Royal Box, and the Tor, covered in all the nation's flags. We are one, the walls are tumbling down. 

The Artic monkeys remind us of 1984 and robots, their drummer's surname, Helders, jumps out from the back of his Orange Order like sash-top. A firework crown and then a cover of  Come Together by the Beatles. Curious winged cyclists appear from under the Monkey's, they are allegedly doves. 

Another focus on the Tor, Coe and Rogge wax lyrical. Then back to the Royal Box for the Queen to officially open the games. Then back to the Tor for some-more military flag raising. Then, yet again, to Beckham and eventually seven young athletes, led by a Scottish boy. Eventually we are at the cauldron, it ignites and Pink Floyd's, Eclipse, plays.


We close with scarlet-stripe adorned Paul McCartney and Hey Jude.  Jude the short form of Judas and the German for Jew; the B side of the single release - Revolution. 

The magic is over, but not for long.

cheers

wiki - Joseph of Arimathea

wiki - Glastonbury Tor

Tsarion - The Scarlet Thread

wiki - Glastonbury Thorn

wiki - Chimpanzees' Tea Party

Monkey Business - 2

Monkey Business - 1 is here, read  first please

We begin with Dizzee , he's dressed in red and white, reminiscent of Mr Bean's abandoned rucksack. There's a house party going on, a rave, Dizzee is singing that "some people think I'm bonkers, but I just think I'm free". The dancers surrounding the house move up to the Tor, ascending it's spiral, Tower of Babylon resonating, path. We cut to Amy Whitehouse, then to the lost-phone lovers dancing in a triangular roofspace.  "They will not control us" from Muse's Uprising blasts (see images above  and below), whilst chequerboard attired chicks groove on down. The Tor is jumping now, it's like 1988 until we flash back to Dizzee. Trevor notes that "grime music was born in East London"; but that was after acid house.

The music stops, the house rises to reveal Sir Tim Bernard-Lee, inventor of the world wide web. The stadium lights up with the hand-held gizmos, "This is for everyone". It all goes dark and Tim is left, centre stage, illuminated. We cut to a black and white 1948, with black and white televisual recordings of the previous London Olympics, the then monarchy including young Queen-to-be, Elizabeth. Suddenly we are in Greece watching this year's Olympic flame beginning it's journey.


Section 10 begins - The Olympic Torch tour. It's a montage of clips beginning with David Beckham then quickly on to Edinburgh Castle, home of the Stone of Destiny. We see London, Princess Anne, Stonehenge, the Chariots of Fire beach scene from St. Andrews, a mountain top in Wales, police officers high fiving, (Royal) lifeboats, a  princess on a horse, the Royal Marine abseiler - Williams, The Queen and Philip, an ex forces cripple on prosthetic legs, a golden pyramid torch kiss, a zoom in on police officer SC 73335,  a marriage proposal (the "bride" dressed in red, white and blue), the abseiler again, this time passing the torch to Kelly Holmes at the Tower, 10 Downing Street with Dave Cameron, Kate, Wills and Harry, the London Eye and Big Ben. Curiously, when we first see Big Ben, it's 10 to 7, yet a couple of micro-seconds later as we zoom in, it reads 8 to 7. Everything is speeding up, it appears.

Then it's night time, current time, there's a speedboat on the Thames with David Beckham piloting, the torch held out front by a young lady foootballer. Huw and Hazel gush over Becks, I think he looks possessed, maybe delusions of grandeur. He is dressed in shirt and tie, it reminds me of Bond. Huw remarks that (there are) "very few people as qualified", Hazel reminds us of Beijing and the "big red bus". It's time for a pause to remember the "people who couldn't be here" as a variety of photographs appear on screen.


It transpires that it's time to commemorate the 7/7 bombing victims, the incident occurring the day after London "won" the bid to host the games. Maybe the Big Ben clock time was a hint, indeed perhaps too was Mr Bean's rucksack.  A giant sun appears as dancers cavort manically beneath. The  commentators note  the "great sorrow of 7/7", Hazel has  obviously forgotten the previous commemorative "pause" earlier in the show as she advises of  a "calming and reflective pause after the exuberance of the last hour". The dancers form a triangular mass and it's  section 11, Abide with Me.

Fittingly, for a song written by a Scotsman, it is sung by a Scottish girl, Emeli Sande. As she progresses so do the dancers, their frenetic jiving a stark contrast to the lyrics and the voice. The troupe move out and form a circle, one man is left, he walks to a small boy on the sidelines and proceeds to indulge in more frenetic showmanship. The dance pack reforms, crouching, and the man leads the boy into the throng. The boy holds a hand up into the air, I am bemused as to what this all represents, or maybe just don't want to know. Trevor notes that Abide With Me has been played at "every Football Association cup final since 1927". I am now bewildered, luckily it stops - "Please welcome the athletes"


Its section 12, Parade of the Athletes. Greece are first, then Afghanistan. I am really pleased too because the whole peformance lasts four hours and I simply skip to section 13, and miss a good deal of nothing out.


Section 13 - Team GB. Dressed in white and gold,led out by Scottish cyclist Chris Hoy "The Flying Scotsman" to the chords of Bowie's Heroes whilst white confetti falls from the sky. Referencing this, Huw advises that there is "one bit paper for every human being in the world", though he doesn't mention a New World Order's utopian "democracy". The stadium lights up, there are Union flags galore, we cut to the Royal Box, the Prime Minister, the Queen and the Duke of Edinburgh. We cut to the Tor, it is now covered in all the other countries flags. Drummers follow the UK team round.

Section 14 follows, the BBC advise that it  is tiled "The lighting of the Torch by Seven Young Athletes" but actually it's not time for that. Instead we move to section 15, The Artic Monkeys : Live. It's quite interesting. Their first song is, I Bet You Look Good on the Dancefloor, a track which includes a chorus line of "dancing to electro-pop like a robot from 1984, from 1984". Unfortunately, the drummer doesn't look too good, attired in what looks like a ceremonial sash, typical of the Orange Order. We get a short camera back view of him, the reverse emblazoned HELDERS, his surname. None of the other band members have their name on their clothes.  Fireworks explode from the stadium, and form a crown like shape in the sky. From underneath the stage winged cyclists appear, apparently representing doves of peace. They don't look too peaceful to me, in fact, the contrary. The Monkeys cover the Beatles', Come Together, it's all quite ominous. One of the doves cycle-flies into the sky, it reminds me of E.T.

Things calm down though as we focus onto the Tor, pinpricked with national flags. Seb Coe and Jacques Rogge are there, it must be section 16. Speeches are given, the Queen being addressed first, Seb talks of "loving sport", "working harder" and "living for the  moment". Jacques talks of "gender equality" and of how "the  Olympic Games are coming home tonight". Furthermore, he suggests that the UK is the "birthplace of modern sport". It's  section 17 - Let the Games begin - so we cut to HM the Queen in the Royal Box,"I declare open the games of London celebrating the 30th Olympiad of the modern era". More fireworks then the Olympic flag is carried in by indivduals who represent "justice", "courage" and "integrity". Playing games seems apt.

We proceed to the Tor where boxer Muhammad Ali is waiting. He doesn't seem to know what's happening, maybe he met Coe a very long time ago for motivational advice. The military take possession of the flag and carry it over. It's hoisted higher than the other countries flags, alongside the imposing union flag raised by the same personnel earlier, which also stands taller. The camera focuses on Coe, Ali etc. It's time for section 18, titled The Olympic Flame enters Stadium.


Beckham is still on the speedboat. Huw asks "who will take possession" and talks of "mysteries". It rings bells with me. Athlete, Steve Redgrave, collects the torch whilst Becks helps with the torch-kiss. Huw advises us of another mystery, "the location of the cauldron". The stadium is dark, then lights up brightly. Sarah Stevenson reads the athletes oath, Mik Basi the judges oath, and Eric Farrell MBE, yet another. I'm beginning to utter oaths myself, it's taking so long. It all goes dark and the torch is ushered in by 500 workman in hard hats. It's section 19 (see 14), Huw talks of a "joyful moment" and we see the seven lucky young athletes who will light the cauldron, immaculate in black and gold. Scottish youngster, Cameron McRitchie, is first with the torch. Underworld's Caliban plays*. The choir from the stands have moved to the Tor, the mad drummer lady returns and the lucky 7 cuddle their nominators. Huw talks of a "symbolic act" and we see more triangle forming torch kissing.


We get the "first glimpse of the cauldron" designed by a Thomas Heatherwick and it does indeed set the heather on fire, certainly as far as the commentators are concerned. There is a bell chime as it is ignited, the stems rise and converge, "one great flame of unity" and a "symbol of peaceful coming together". The commentators have surely forgotten the 18,000 military deployment.  More fireworks then Pink Floyd's, Eclipse, plays, "and everything under the sun is in tune but the sun is eclipsed by the moon", which speaks volumes.

It's  section 20, Paul McCartney, begins with a snippet of a song I don't  recognise. He then sings, Hey Jude, and the crowd all join in; it appears. I am more intrigued with his jacket and the red strips down the sleeves, I wonder if it has something to do with the scarlet thread and Biblical stories.


And that's it, will sum up tomorrow, maybe day after.

cheers

* As far as I am aware.