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Look into the Future (song)

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How Journey Tried to Shake Things Up on ‘Look Into the Future’

Journey were already at a crossroads after just one jammy studio project.

The live shows weren't the problem. Journey were drawing nicely around the Bay Area concert circuit.

"They were like a jazz/fusion/rock kind of thing," manager Herbie Herbert told Melodic Rock in 2008. "We played with Weather Report, Mahavishnu Orchestra, Santana and Robin Trower and bands like that. And it just went over perfect, and I loved that original band and many people did."

But then Journey's self-titled debut stalled at a disappointing No. 138. Expectations were far higher for a group that boasted former members of Santana ( Gregg Rolie and Neal Schon ) and Frumious Bandersnatch (Ross Valory and George Tickner), and there were already rumblings from Columbia Records.

"We had built this cult audience in quite a few places, because we had toured extensively for three years – and very hard," Schon told Goldmine in 2013. "I would say nine months out of every year we toured, and we had built quite a following being one of the original jam bands in San Francisco. You know, people really enjoyed seeing us live. We weren't selling any records, but we were selling lots of tickets."

Listen to Journey's 'On a Saturday Nite'

Look Into the Future , issued in January 1976, was perfectly titled. They committed to becoming more song focused, while trying to retain the progressive touches that showcased Journey's musical chops on the first album. "We decided we'd taken that kind of music as far as we could," Rolie told Rolling Stone in 1980.

To some degree they succeeded, but only by separating these two impulses. Side One stacked more commercial-sounding moments like "On a Saturday Nite" and "Anyway" with a cover of "It's All Too Much " from the Beatles ' Yellow Submarine , then Journey stretched out more on the next side: "I'm Gonna Leave You" went just past seven minutes, while the episodic title song became their second-longest released song at 8:13.

They lost George Tickner, the band's rhythm guitarist, along the way – though he still ended up with two songwriting co-credits, "You're on Your Own" and "I'm Gonna Leave You." Undaunted, Journey released Look Into the Future and immediately headed out on a tour that lasted from February through December 1976, concluding at the Winterland in San Francisco.

"Lately, I think the band has gotten more loose and relaxed onstage, and it comes off," Rolie told Tom Vickers in 1976. "With George, there was a tenseness. He wasn't really into it. He likes writing, but onstage he didn't enjoy himself."

Schon also described the lineup shift as a form of addition by subtraction. "There are parts where you miss the sound of another guitar," he told Vickers, "but it gives us more space."

Listen to Journey's 'I'm Gonna Leave You'

Unfortunately, maintaining that rugged schedule didn't make a substantial impact on sales. Look Into the Future fared better than the band's eponymous first record but got to only No. 100. Still hopeful, Rolie said Journey took it all in stride.

"We were never discouraged, because every time we've gone out on the road, there's been growth," Rolie said back then . "We've learned more about each other, the music and the industry. Journey is a democratic situation that will last, because everyone is a little older now and more aware – and that's the only way a band can work. Everyone has their own musical taste and their own ideas, but we've learned how to use them to improve the group."

Yet it appeared there was an inherent commercial ceiling with this particular mixture of creative voices – especially when former tour mates in Kansas took a germ of an idea from Journey and turned it into a breakthrough hit. "I think if you'll listen to "I'm Gonna Leave [You]" on the Look Into the Future record," Herbert told Melodic Rock, "it's ' Carry On Wayward Son ' by Kansas. They just lifted it."

Journey tried shaking things up again on 1977's Next , toughening up their sound and even handing the microphone to Schon for two songs. But when that project halted at No. 85, larger changes were demanded by the band's label bosses.

"You look up and it's 1977, and they've toured all year – all through Europe with Santana and another big tour with ELO both in '76 and '77, and it just wasn't happening," Herbert noted. "So I was just in a complete scramble, and they were gonna drop the act. So there was a scramble to do something to modify what we were doing. So I said we'll change it: We'll go commercial."

Steve Perry 's phone would soon be ringing .

​​

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CAMPUS NEWS: MAY 10, 2024

Commencement 2024, college sports executive kiki baker barnes tells uno graduates be ‘ready to embrace the unexpected’.

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College sports executive and University of New Orleans alumna Kiki Baker Barnes gave the commencement address at the University’s spring 2024 commencement ceremony held Thursday, May 9.

College sports executive and University of New Orleans alumna Kiki Baker Barnes, who holds both a bachelor’s degree and doctorate from UNO, knew without a doubt that she was a spectacular shooting guard. She’d excelled at the position all through high school, which is why she balked when her junior college basketball coach suggested she move to point guard.

The move felt like a setup for failure because handling the ball under pressure wasn’t her strength, Baker Barnes said Thursday at UNO’s Lakefront Arena where she delivered the keynote address during the spring commencement ceremony.

“This wasn’t just a change in position,” Baker Barnes said. “It was a transformation in role and mindset.”

She resisted—despite her coach’s insistence that her height and quickness would make her a formidable point guard and could help get her to the next level of the game.

She complained—repeatedly—to herself, said Baker Barnes who, in 2022, became the first African American woman commissioner in the history of the Gulf Coast Athletic Conference and in any conference in the history of the National Association of Intercollegiate Athletics, an association founded in 1937 that includes more than 250-member institutions.

Her recurring complaint: “I don’t see why he’s making me do all of this. It’s not like there is a professional basketball league for women in the United States,” Baker Barnes recalled.

When Baker Barnes graduated high school in 1993, the WNBA did not exist. Her coach relented and moved her back to her more comfortable post of shooting guard.

Fast forward to 1997 when Baker Barnes had just completed her undergraduate degree at UNO, as well as a stellar collegiate basketball and track career. She was offered a tryout with the WNBA, the new women’s professional basketball league that would debut that year.

“I was ecstatic,” Baker Barnes said. “I made it through the first round of cuts. I was playing some of my best ball!”

She was cut in the second round and was devastated. Her college coach would tell her later that the scouts thought she was skilled, quick and athletic. However, they were looking for a point guard, Baker Barnes said.

She encouraged graduates to take three pivotal lessons from her story.

“First, understand that just because an opportunity isn’t visible right now, doesn’t mean it won’t emerge,” Baker Barnes said. “Let this inspire you to pursue your dream with an open heart and an eager mind, always ready to embrace the unexpected.”

Second, remember that preparation is your most reliable guide through the unknown, Baker Barnes said.

“Equip yourself not just for the paths you anticipate, but also for the unforeseen challenges that may arise,” she said.

Lastly, she urged graduates to embrace failure as a necessary chapter in their success story.

“The true test is not in avoiding failure but in how you respond to it … How you choose to move forward from these moments will shape your journey and define your legacy,” Baker Barnes said.

“Graduates … step boldly into the future, prepared for the unknown, resilient in the face of setbacks and always eager to turn hidden opportunities into triumphs.”

The 2024 graduating class hailed from 32 U.S. states and territories and 32 areas abroad.

During the commencement, UNO President Kathy Johnson presented Baker Barnes with a medallion as a symbol of the University’s gratitude and applauded the graduates for their perseverance.

“My deepest hope is that your education at the University of New Orleans will enable you to help change our world for the better as you enter into this next phase of your life, whether that entails a career, more school or public service,” Johnson said.

The next step for music studies major Kalif Brown is going on tour with entertainer Robin Barnes and the Fiya Birds, he said.

“I play drums, piano and I sing,” Brown said.

But first, he had to keep a promise to his mother and collect his college diploma, said Brown, who carried a mortar board decorated with family photos.

“This is everybody who has helped me get to this point so far. You see a lot of pictures of my mom on here, that’s because my mom had me at 16 years old and I know I made (her life) a little more complicated,” Brown said. “One thing she always said is that she wanted to see me walk across the stage, and I promised her that I would do that.”

Meanwhile, Julia Mai plans to parlay her bachelor’s degree in biological sciences to become a physician assistant. Mai, who started a pre-PA club at UNO, is headed to graduate school to pursue a Master of Physician Assistant Studies.

Mai said she’s excited for what the future holds for her and for the future of the career support organization she helped to start.

“I want to express my gratitude to Dr. Michael Doosey for not only being the best club adviser ever, but for also being a huge advocate for the club since the start,” Mai said. “I look forward to seeing what the future holds for the UNO Pre-PA Club!”

English major Whittinee Cox’s mortar board perhaps proclaimed a sentiment held by many of the graduates as they laughed and posed for selfies in groups, in front of their college banners and solo. The glittery mortar board stated: “There ain’t nothing gonna stop me NOW!”

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‘Kingdom of the Planet of the Apes’ Review: Hail, Caesar

The latest installment in an excellent series finds mythology turning into power.

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‘Kingdom of the Planet of the Apes’ | Anatomy of a Scene

The director wes ball narrates a sequence from his film..

I’m Wes Ball, director of “Kingdom of the Planet of the Apes.” This is a little sequence in the very beginning of the movie after our trio of apes here, Noa, Soona and Anaya, have just had a little adventure and they’re on their way back to their village, where we get to meet the life of Eagle Clan and where Noa and his family reside, this little isolated existence. And we get to see the way the apes live in this world with their eagles. And and how this ritual of collecting their egg, which they’re going to raise as companions, which is part of the way the Eagle Clan kind of works in their culture. And the goal was really just to set up a world that was wonderful, that was ultimately going to be forever changed when the course of events leads to Noa’s village being attacked for the most part, everything you see here was actually shot with the actors. We shoot it twice, we shoot it once with the actors and all of their little performance things and the camera movement and everything. So we are shooting a regular movie. It just happens to be that these guys are wearing these kind of strange suits along with the cameras and the dots on their face that captures all the performance. And then I have to go in and then re- duplicate those shots without the apes, which is where I choose. Whatever performance I choose now gets dropped into the scene itself. So this isn’t something where we just kind of animate the characters after the fact. We’re actually on location and they’re there in their digital costumes, essentially, acting out everything you see on camera, with the exception of, say, background action, there’s a group of apes in the background playing what we called monkey ball, and just we did that all on stage. So that’s kind of the beauty of the power of this process, is that we can populate this whole scene with hundreds of apes. But we only needed a handful of apes on set. This is Dar, Noa’s mother, who’s a fantastic character, played by Sara Wiseman, who did a great job. “I knew you would climb well.” “He waits.” And this character of Noa here, you kind start to see this relationship that he has with his father, which is an interesting kind of relationship that I imagine a lot of people could relate to. They don’t know quite how to communicate with each other, but there’s obviously still love there. It’s an interesting process where I can take all these different little elements and layer them all together and stack them into this — what you see is the end result here, this little idyllic community.

By Alissa Wilkinson

For a series with a goofy premise — what if talking apes overthrew humanity — the “Planet of the Apes” universe is uncommonly thoughtful, even insightful. If science fiction situates us in a universe that’s just different enough to slip daring questions past our mental barriers, then the “Apes” movies are among the best examples. That very premise, launched with talking actors in ape costumes in the 1968 film, has given storytellers a lot to chew on, contemplating racism, authoritarianism, police brutality and, in later installments, the upending of human society by a brutal, fast-moving virus. (Oops.)

Those later virus-ridden installments, a trilogy released between 2011 and 2017, are among the series’ best, and well worth revisiting. The newest film, “Kingdom of the Planet of the Apes,” picks up exactly where that trilogy left off: with the death of Caesar, the ultrasmart chimpanzee who has led the apes away from what’s left of humanity and into a paradise. (The scene was a direct quotation of the story of Moses leading the Israelites to the Promised Land, but dying before he could set foot there.) The apes honor his memory and vow to keep his teachings, especially the first dictum — “ape not kill ape.” Caesar preached a gospel of peacefulness, loyalty, generosity, nonaggression and care for the earth; unlike the humans, they intend to live in harmony.

The teachings of peaceful prophets, however, tend to be twisted by power-seekers, and apparently this isn’t just a human problem. “Kingdom of the Planet of the Apes,” directed by Wes Ball from a screenplay by Josh Friedman, leaps forward almost immediately by “many generations” (years matter less in this post-human world), and the inevitable has happened. The apes have fractured into tribes, while Caesar has passed from historical figure to mythic one, a figure venerated by some and forgotten by most.

That there even was a Caesar is unknown to Noa (Owen Teague), a young chimpanzee whose father, Koro (Neil Sandilands) is leader of his clan and an avid breeder of birds. That clan has its own laws, mostly having to do with how to treat birds’ nests, and that’s all that Noa and his friends Anaya (Travis Jeffery) and Soona (Lydia Peckham) have known.

But then one day tragedy strikes, in the form of an attack on the clan by the soldiers of Proximus Caesar (Kevin Durand), the leader of a clan of coastal apes. Noa finds himself alone, searching for his clan, who have been carted away. On his journey Noa meets a human (Freya Allen) who, like the other humans, doesn’t speak.

At this point in the evolution of the virus, mutations have rendered any surviving humanity speechless and dull-witted, living in roving bands and running from predators; to the apes it’s as preposterous to imagine a talking human as a talking ape is to us. But he also meets Raka (Peter Macon), who believes himself to be the last of the faithful followers of Caesar’s peaceful teachings, even wearing Caesar’s diamond-shaped symbol around his neck. (Eagle-eyed viewers will recall that the symbol echoes the shape of the window in the room in which Caesar was raised as a baby.) Noa learns from Raka. And when he finds what he’s looking for, he realizes he has an important job to do.

“Kingdom of the Planet of the Apes” is not quite as transporting as the previous trilogy, perhaps because the apes now act so much like humans that the fruitful dissonance in our minds has mostly been mitigated. It’s simpler to imagine the apes as just stand-in humans when they’re all talking, and thus easier to just imagine you’re watching, say, “The Lion King” or something.

But there’s still a tremendous amount to mull over here, like Proximus Caesar, who borrows the idea of Caesar to prop up his own version of leadership. The real Caesar was undoubtedly strong and brave, but Proximus Caesar has mutated this into swagger and shows of force, an aggression designed to keep his apes in line. He is not brutal, exactly; He is simply insistently powerful and more than a bit of a fascist. Every morning, he greets his subjects by proclaiming that it is a “wonderful day,” and that he is Caesar’s rightful heir, and that they must all work together as one to build their civilization ever stronger.

Visual cues indicate that Proximus Caesar’s kingdom is modeled partly on the Roman Empire, with its colonizing influence and its intention to sweep the riches of the ancient human world — its history, its labor, its technology — into its own coffers. By telling his version of Caesar’s legacy, Proximus Caesar makes the apes believe they are part of some mighty, unstoppable force of history.

But of course, history has a habit of repeating itself, whether it’s ancient Rome or Egypt, and in Proximus Caesar’s proclamations one detects a bit of Ozymandias : Look on his works, ye mighty, and despair! “Kingdom of the Planet of the Apes” is set in the future, but like a lot of science fiction — “Dune,” for instance, or “Battlestar Galactica,” or Walter Miller’s “A Canticle for Leibowitz” — there’s a knowing sense that all this has happened before, and all this will happen again.

That’s what makes “Kingdom of the Planet of the Apes” powerful, in the end. It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over. What’s more, it points directly at the immense danger of romanticizing the past, imagining that if we could only reclaim and reframe and resurrect history, our present problems would be solved. Golden ages were rarely actually golden, but history is littered with leaders who tried to make people believe they were anyhow. It’s a great way to make people do their bidding.

There are some hints near the end of “Kingdom of the Planet of the Apes” of what might be next for the franchise, should it be fated to continue. But the uneasy fun of the series is we already know what happens, eventually; it was right there in the first movie, and the warning it poses remains bleak.

At the start of the 1968 film, the star Charlton Heston explains, “I can’t help thinking somewhere in the universe there has to be something better than man.” You might have expected, from a movie like this, that “better” species would be these apes. But it turns out we might have to keep looking.

Kingdom of the Planet of the Apes Rated PG-13, for scenes of peril and woe and a couple of funny, mild swear words. Running time: 2 hours 25 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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