Power Pop fan, Baseball, Beatles, Alternative music, old movies, and tv show fan. Also anything to do with pop culture in the 60s and 70s... I'm also a songwriter, bass and guitar player. Not the slightest bit interested in politics at all.
When I think of the 70s and early 80s Bob Seger always comes to mind. Here is a man who paid his dues and he deserved all the success he achieved. He is from Michigan and started in the early sixties and kept at it until he hit gold with the album Beautiful Loser in 1975. He did have a minor hit in 1968 with Rambling Gambling Man but failed to build on it.
The next album he did after Beautiful Loser was Night Moves which made him a star. That album was released in 1976. He formed the Silver Bullet Band in 1974 and he built on that.
Still The Same was on the album Stranger In Town and it was a huge hit. The album peaked at #4 on the Billboard Album Charts, (from what I’ve found) #5 in Canada, #4 in New Zealand, and #31 in the UK. Four singles came off of that album and all were top 40 hits. Still The Same, Hollywood Nights, We’ve Got Tonight, and Old Time Rock and Roll. I have to admit… he got the “Steve Miller” treatment by radio. Many of his hit songs were played to death especially Old Time Rock and Roll which I cannot listen to anymore.
He did something different with many of his albums including this one. He would record half the songs in Muscle Shoals using some of their musicians and the other half he would use the Silver Bullet Band in the Criteria studios in Miami Florida. It would give him a different sound and actually was a smart thing to do.
Still The Same was recorded with the Silver Bullet Band in Miami. The B side to this single was also a well-known song… Feel Like A Number. That song was featured in the 1981 movie Body Heat.
Bob Seger about the type of people the song is about: “They’re just very charismatic, but they have tremendous faults, but part of the appeal is the charisma. You overlook everything because of the charisma. That’s a gift and a curse.”
Bob Seger on Feel Like A Number: I got the idea for the song after watching a show about computer banks and how many names were in them. We’re all in computer banks. Lord knows how many data collections there are. Everybody is a number and in the record industry you’re also thought of a lot of times as a number — the amount you sell or whatever. Some of the humanity gets lost and the hype takes over. You have to watch out. That’s the whole idea of Stranger in Town as an album, actually. It’s about identity and trying to survive and keep your identity.
The B side Feel Like A Number
Still The Same
You always won every time you placed a bet
You’re still damn good, no one’s gotten to you yet
Every time they were sure they had you caught
You were quicker than they thought
You’d just turn your back and walk
You always said the cards would never do you wrong
The trick you said, was never play the game too long
A gambler’s share, the only risk that you would take
The only loss you could forsake
The only bluff you couldn’t fake
And you’re still the same
I caught up with you yesterday (still the same, still the same)
Moving game to game
No one standing in your way
Turning on the charm
Long enough to get you by (still the same, still the same)
You’re still the same
You still aim high
(Still the same, still the same)
(Still the same, still the same)
There you stood
Everybody watched you play
I just turned and walked away
I had nothing left to say
‘Cause you’re still the same (still the same, baby, baby, still the same)
You’re still the same (still the same, baby, baby, still the same)
Moving game to game (still the same, baby, baby, still the same)
Some things never change (still the same, baby, baby, still the same)
Oh, you’re still the same (still the same, baby, baby, still the same)
Still the same (still the same, baby, baby, still the same)
I saw the cover of this book and I knew I would be interested. Steve Rushin is a writer and was hired by Sports Illustrated when he was 22 in 1988. He describes growing up in Minnesota during the seventies…but you could have lived anywhere to get the references. He is witty with a good sense of humor. He writes it like he is actually living it real time and that makes it enjoyable.
If you are looking for action this is not for you. He didn’t fall into addiction, turn to crime, or become a sports or music star. His family was not rich but middle class. It’s just what life was like during the 1970s in an American nuclear family. I just read his sequel “A Night At White Castle” about him leaving home in the 1980s and going to college. That one is great as well…a more teenage look at the 1980s.
The title draws inspiration from the Sting-Ray bicycle that was popular at the time. Banana seat luxury as I remember. I usually got Huffy bikes but I did have one Sting-Ray. It was a banana yellow 3-speed. I loved that bike and it represented freedom and a way to get 2-5 miles away from home at the time. It worked until a little later and my first car took its place.
Steve brings up things that you are sure to remember. Romper Room, Sesame Street, board games, toys, music, sports, and about everything seventies connected. He also will tell the history of some things like Boeing 747s and how other things came about. He talks about his family vacations and the places they go and the trouble that happens. His Dad was an 8-Track 3m tape salesman…he travels all over the world selling 3m tape. When 8-tracks go out of style he switches to videotape.
The Rushin family could be any family in America at that time or in most other countries. If you are that age…this will bring back a lot of memories. All of his siblings grow up to be successful. Two of them went to college on full hockey scholarships and one sister…became a doctor.
The book reminded me of my fears and insecurities growing up that I had completely forgotten about with school situations, family arguments, and everyday life. If you grew up in the seventies or would like to know how it was…this is the book to read. I will say this is not a fact book about the 70s but an eyewitness who lived it telling us the human side.
If you want to see where we are…and you missed a few…HERE is a list of the episodes in my index located at the top of my blog.
This show was written by Gene Roddenberry, Max Ehrlich, and Gene L. Coon
This is not the greatest episode of Star Trek, but I like it because it really has most of the classic Star Trek themes and situations. There’s a landing party that gets mixed up with natives, and to save his crew Kirk has to take drastic steps to alter the course of their civilization. There’s a lot of romance in the air, (though interestingly, no romance for Kirk.)
There is something about Star Trek that I haven’t mentioned. The Red Shirt Syndrome. It seems that any security personnel with a red shirt…has a high mortality rate in the Enterprise. The ones that get it…usually are just stock performers we never saw before and certainly won’t again. Scotty is somehow safe from this occurrence… well he rarely beams down to planets.
In this episode, there is plenty of time for Spock and McCoy to debate concepts like free will, change, and material comfort versus freedom. Of course, several red-shirt crew members are killed along the way here also. There’s a big fight and plenty of storms and lightning.
***Spoilers***
The Enterprise crew are exploring a planet that seems idyllic, but turns out to have deadly plants and explosive rocks, as well as a simple native race that worships a sophisticated machine they don’t understand and deify as an entity called “Valla”. Valla’s story is never really explained… it provides for the natives’ needs while needing periodic ‘feeding’ for some strange reason.
Valla basically serves as a plot device to temporarily disable the Enterprise and place the ship and crew in mortal danger. Valla also has the ability to control the weather and direct deadly lightning bolts at ground targets. Kirk’s dilemma is to take out Valla and free both his ship and the natives from their seemingly benevolent dictator.
The episode is alright but the storyline has been done before on Star Trek and Twilight Zone.
From IMDB:
Spock’s lightning-burned shirt was auctioned off at a science-fiction convention in 1967, the same year filming wrapped.
Chekov’s first name, Pavel, is established in this episode, when his love interest, Yeoman Landon, calls him “Pav”.
Originally, the script for this installment called for Vaal’s stone dinosaur head to be destroyed by Enterprise’s phasers. The props department had put in a lot of work creating it with paper mache’ and refused to allow its destruction.
Walter Koenig seems to have discarded the wig he used in his earlier episodes. Since his own hair was now long enough, it was not necessary for him to wear it anymore.
Spock’s appearance is jokingly compared to Satan in the final scene. This resemblance caused discomfort to would-be advertisers when Star Trek was first being marketed (see series trivia).
This episode contains confirmation of a much-speculated upon topic: whether the Enterprise could separate the Engineering section and warp nacelles from the primary vessel. Mentioned in Kirk and Scotty’s conversation by communicator, half-way into the show, after Kirk beams down to the planet with an away team, and Scotty takes a seat in the captain’s chair on the bridge.
This is the only time we see a landing party that comprises more than 6 members.
Actress Celeste Yarnall, who played Yeoman Martha London, said it took a while to film the scene where she asks how the planet’s inhabitants would “do it” after Vaal is destroyed because William Shatner, Leonard Nimoy, and Deforest Kelly kept making up hilarious methods for procreating. Network censors we’re on set and Yarnall said they were getting upset, which made everyone laugh more.
Security Guard/Red-Shirt Casualties: 4.
Leonard Nimoy kept playing practical jokes on Celeste Yarnall while filming the episode. In an interview, she said that she was terrified every time she saw him coming because she had no idea what he might do.
After the first crewman is killed by the poisonous flower darts, the captain is trying to understand it all and foolishly plucks a flower and smells it, not realizing that this could be a fatal mistake.
Censors made producers cut out footage of Yeoman London during the cave scene because they didn’t want the audience to make the assumption that she slept in the same cave with the male characters.
It is debated whether or not Kirk is in violation of the Prime Directive by interfering. The Prime Directive states “Don’t interfere with the natural evolution of the planet.” In Kirk’s opinion, the planet’s inhabitants are living in servitude of a machine that is impeding their natural growth and development. Mr. Spock’s point is that the natives are healthy, happy, and content with their lives. This means that life on the planet is exactly as it should be, and doesn’t need to advance.
In addition to Lt. Hadley, Bill Blackburn also appears as one of the natives.
The deity called “Vaal” is curiously similar to “Baal”, the Semitic deity.
According to Celeste Yarnall, she and William Shatner were very attracted to each other. He wanted to act on that attraction but understood when she said no, because she was married at the time. They did end up dating for a while, a few years later, after she got divorced.
“The Apple” refers the forbidden fruit (of the “tree of knowledge”) eaten by Adam and Eve in Genesis, Chapter 3, which caused them to be cast out of Paradise by God. The fruit was never specifically identified in the text, but popular culture regards it as an apple. The fruit was first called an apple in John Milton’s epic poem “Paradise Lost,” which also inspired a famous line in Star Trek: Space Seed (1967).
The villager’s greeting to the Enterprise crew, wrists together with hands apart and fingers slightly curled inward, is similar to the Ferengi greeting. The gesture used here places the left hand below the right, unlike the Ferengi gesture.
George Takei and Nichelle Nichols do not appear in this episode.
David Soul (Makora) would go on to play Detective Kenneth Hutchinson in Starsky and Hutch (1975) as well as author Ben Mears in Salem’s Lot (1979).
When the landing party meets with the villagers, Kirk asks Akuta where the children are, but he fails to comprehend. But, after Kirk makes a gesture simulating the height of a child, Akuta interprets it as “replacements”. Since an accidental death of a villager would cause an imbalance, there is no explanation by Akuta as to how Vaal replaces a villager, since Vaal has prohibited “holding” and “touching”. But, during the final scene, it is implied that the villagers will be able to procreate naturally.
This takes place in 2267.
54 years after this episode aired, William Shatner made a space flight on October 13, 2021 aboard Blue Origin’s New Shepard 4 capsule. On this flight he officially became the oldest human to fly to space.
Not unique to this episode, but worth noting. Using the failed beam-up sequence as a reference, when several people beam up, they’ll arrange themselves to stand approximately where the transporter pad that’ll receive them will be. Exception for the unconscious Mr. Spock, notice how Kirk, Checkov, Yeoman Landon, and Kaplan stand in a somewhat circular formation.
Three years earlier, James Doohan and Keith Andes had appeared together in The Outer Limits: Expanding Human (1964) along with Skip Homeier. Skip Homeier would go on to play Melakon in Star Trek: Patterns of Force (1968) and Sevrin Star Trek: The Way to Eden (1969). The latter also has a Genesis-themed story-line as leader a group of space hippies in search of Eden.
At the end when Kirk advises the villagers that they are free of Vaal and now have the right of autonomy, there is no mention of retribution for the crewman killed during the villagers attack. Likely because they are a gentle, childlike people who were simply beguiled by Vaal and obeying a command.
Summary
Kirk and a landing party beam down to what seems to be an ideal, Eden-like planet. They soon find however that the planet is ruled by a powerful computer that keeps its local inhabitants – primitive and simple tribesmen – happy and healthy. With the Enterprise locked in a tractor beam and slowly being dragged into the planet’s atmosphere, Kirk and Spock must find a way to disable the computer. Realizing the threat to its existence, the computer orders the tribesmen to kill the visitors.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Doctor Leonard ‘Bones’ McCoy Keith Andes … Akuta Celeste Yarnall … Yeoman Martha Landon James Doohan … Lieutenant Commander Montgomery ‘Scotty’ Scott David Soul … Makora Walter Koenig … Ensign Pavel Chekov Jay D. Jones … Ensign Mallory (as Jay Jones) Jerry Daniels … Marple John Winston … Lieutenant Kyle Mal Friedman … Hendorff Shari Nims … Sayana Paul Baxley … Native (uncredited) Bill Blackburn … Lieutenant Hadley / Native (uncredited) Ron Burke … Native (uncredited) Bobby Clark … Native (uncredited) Vince Deadrick Sr. … Native (uncredited) Dick Dial … Kaplan (uncredited) Eddie Paskey … Lieutenant Leslie (uncredited)
Erma Franklin, Aretha’s sister, was the first to record this song. She did a fantastic job and Janis Joplin came later and did what is probably the definitive version of it.
Jerry Ragovoy and Bert Berns wrote this song. Aretha Franklin’s younger sister Erma sang the original version and put it on the R&B charts in 1967. It peaked at #63 on the Billboard 100, #10 on the Billboard R&B Charts, #3 on the Canada Adult Contemporary Charts, and #9 in the UK in 1967.
Big Brother and the Holding Company covered it and it peaked at #12 on the Billboard 100 and #9 in Canada a year later in 1968. For Erma Franklin, it was her biggest hit. She went on to sing backup on some of Aretha’s songs and ran a childcare agency called Boysville. Erma died of cancer in 2002 at age 64.
I like Erma’s version of it. It’s a very soulful version of the song. I’m surprised it didn’t do better on the charts. I have to wonder if Aretha would have covered it first…would it have been more of a hit since she was so popular and had more of a presence on the charts?
A great song by one of my favorite artists…Janis Joplin. I could listen to her sing the phone book and be happy….but some songs I really like are…Down On Me, Summertime, Piece of My Heart, Ball and Chain, Try (Just a little bit Harder), Maybe, Little Girl Blue, Cry Baby, Me and Bobby McGee, Mercedes Benz, and anything live she did with either band…She could sing the blues and she lived them…
I covered this song back around 5 years ago but I wanted to get this in for a Tuesday cover.
Piece Of My Heart
Didn’t I make you feel
Like you were the only man?
Didn’t I give you everything that a woman possibly can?
(Ohhhh ohhh ohhhhh)
But with all the love I give you
It’s never enough
But I’m gonna show you, baby
That a woman can be tough
So come on
Come on
Come on
Come on
And
Take another little piece of my heart now, baby
(Break it!)
Break another little bit of my heart now, honey
(Have a)
Have another little piece of my heart now, baby
(You know you got it if it makes you feel good)
You’re out on the streets (looking good)
And you know deep down in your heart that it ain’t right
And ohhhhh you never never hear me when I cry at night
Ohhhhhhhh
I tell myself
That I can’t stand the pain
But when you hold me in your arms
I’ll say it again
So come on
Come on
Come on
Come on
And take it
Take another little piece of my heart now, baby
Heyyyy!
(Break it!)
Break another little bit of my heart now, baby
You can
(Have a)
Have another little piece of my heart now, baby
(You know you got it if it makes you feel good)
Hey heyyyyy!
Take another little piece of my heart now, baby
Ohhhh
(Break it!)
Break another little bit of my heart now, honey
Heyyyyyy!
(Have a)
Have another little piece of my heart now, baby
Come on
(Take it!)
Take another little piece of my heart now, baby
I learned about this band from my Canadian friends Dave and Deke. What a wonderful band they were and I’m still shocked they didn’t make a bigger impact in America. The Tragically Hip remains a national treasure in Canada. This song is not only beautiful but it weaves together past, present, and future. It is about time, memory, loss, disappointment, and desire.
The song was released in 1996 on the album Trouble In The Henhouse. The album peaked at #1 in Canada, #7 on the Billboard Heatseeker Album Charts, and #134 on the Billboard Album Charts.
They got their name from Elephant Parts. That was a video by Michael Nesmith (Monkee guitarist) and they heard it in an Elvis Costello song (Town Cryer) also. Gordon Downie said: “There’s one skit in there that is sort [of] like a TV plea: ‘Send some money to the Foundation for the Tragically Hip.’ And that phrase has also appeared in an Elvis Costello song. It crops up every now and again, and it’s just a name that we like.”
They formed in 1984 in Kingston, Ontario. They were together until 2017. They have released 13 studio albums, one live album, one compilation album, two video albums, two extended plays, and a boxed set. In December 2015, their lead singer Gordon Downie was diagnosed with terminal brain cancer.
Following Downie’s terminal diagnosis, he soldiered on for one final tour with the group that had over a thirty-plus-year career and become known as “Canada’s Band.” Night after night, the group’s set closed with a lengthy ovation for a man that had…in his impressive body of work…seemingly captured everything that made Canada…well Canada.
On the last night of the tour – in the band’s hometown of Kingston, Ontario – Downie said his final goodbye with this song. The credited songwriters are Rob Baker, Gordon Downie, Johnny Fay, Paul Langlois, and Gord Sinclair.
Gordon Downie died on October 17, 2017, and the country mourned his passing.
Gordon Downie: “Originally, that song was entirely different,” he revealed. “The lyrics were almost totally overhauled, which is not usually my style, but whatever—it seemed like the way to go. Originally, what was it: ‘First thing we’d climb a tree, and maybe then we’d talk; I will touch your cunt, you will touch my cock; then we’ll be married, then we won’t have to hide.’ Those were sort of working lyrics, but they stuck there, they said to me ‘innocence’, and that’s what I wanted, because I thought, ‘It’s two little kids, and they don’t know what a cunt is and they don’t know what a cock is—they just heard them called that.’
“People picked up on that within the band, but then it became apparent that I was going to have to defend one’s right to use words that possibly offend other people, and I didn’t really care to have a Lenny Bruce situation on my hands. But the biggest concern—which was pointed out to me by our guitar tech, Billy—was that no one’s gonna get to hear this song because no one’s gonna play it, and ultimately the real reason no one’s gonna hear it is because they’re only gonna hear those lines and not the rest of the song. People’s ears are gonna race to those words and start having a little debate about what those words mean.
The last concert and last song…Ahead By A Century
Ahead By A Century
First thing we’d climb a tree
And maybe then we’d talk
Or sit silently
And listen to our thoughts
With illusions of someday
Cast in a golden light
No dress rehearsal
This is our life
And that’s where the hornet stung me
And I had a feverish dream
With revenge and doubt
Tonight, we smoke them out
You are ahead by a century
You are ahead by a century
You are ahead by a century
Stare in the morning shroud
And then the day began
I tilted your cloud
You tilted my hand
Rain falls in real time
And rain fell through the night
No dress rehearsal, this is our life
But that’s when the hornet stung me
And I had a serious dream
With revenge and doubt
Tonight, we smoked them out
You are ahead by a century
You are ahead by a century
You are ahead by a century
You are ahead by a century
You are ahead by a century
You are ahead by a century
And disappointing you is gettin’ me down
He’s got more balls than a big brass monkey He’s a wacked out weirdo and a love bug junkie Sly as a fox and crazy as a loon Payday comes and he’s a howlin’ at the moon
There will be only one John Prine. He was down-to-earth and a wonderful songwriter. This song describes more couples than people may think. Both describe their marriage to each other in a different light.
I do have a second-hand John Prine story. A friend of mine named Chris went to see John Prine and Arlo Guthrie in the ’80s and met John in the parking lot after the concert. Prine was really talkative and asked Chris if he could boost his car off…which he did. Chris told me he was really down to earth and a genuinely nice guy.
He wrote this for a movie called Daddy and Them released in 2001. Prine is in the movie also…he plays Billy Bob Thorton’s brother and Andy Griffith is their dad. Prine talked about it and said that made him Opie’s stepbrother.
Iris Dement dueted with Prine on this song and fit the song perfectly. Prine developed cancer in 1998 in his neck…and after the operation, he wasn’t sure if he could sing again. After recording this song…everyone was happy because he still could do it. It was originally released in 1999 on the album In Spite Of Ourselves…and was released again when the movie came out in 2001.
That album was an album of duets. He thought that most people would turn him down but most agreed. Lucinda Williams, Trisha Yearwood, Connie Smith, Melba Montgomery, Emmylou Harris, Patty Loveless, and Dolores Keane also appear. In Spite of Ourselves was the only original song on the album…the rest were covers.
The album peaked at #21 on the Billboard Country Charts and 197 on the Billboard 100. Critic Robert Christgau wrote: “… the costar is Iris DeMent, who kills on both the Bobby Braddock cornpone of “(We’re Not) The Jet Set” (rhymes with “Chevro-let set”) and the conflicted spouse-swapping of the impossible old George & Melba hit “Let’s Invite Them Over”—as well as Prine’s only new copyright, the title track, in which a husband and wife who love each other to death paint totally different pictures of their marriage.
In Spite of Ourselves
She don’t like her eggs all runny
She thinks crossin’ her legs is funny
She looks down her nose at money
She gets it on like the Easter Bunny
She’s my baby
I’m her honey
I’m never gonna let her go
He ain’t got laid in a month of Sundays
I caught him once and he was sniffin’ my undies
He ain’t too sharp but he gets things done
Drinks his beer like it’s oxygen
He’s my baby
And I’m his honey
Never gonna let him go
In spite of ourselves
We’ll end up a’sittin’ on a rainbow
Against all odds
Honey, we’re the big door prize
We’re gonna spite our noses
Right off of our faces
There won’t be nothin’ but big ol’ hearts
Dancin’ in our eyes
She thinks all my jokes are corny
Convict movies make her horny
She likes ketchup on her scrambled eggs
Swears like a sailor when shaves her legs
She takes a lickin’
And keeps on tickin’
I’m never gonna let her go
He’s got more balls than a big brass monkey
He’s a wacked out weirdo and a love bug junkie
Sly as a fox and crazy as a loon
Payday comes and he’s a howlin’ at the moon
He’s my baby
I don’t mean maybe
Never gonna let him go
In spite of ourselves
We’ll end up a’sittin’ on a rainbow
Against all odds
Honey, we’re the big door prize
We’re gonna spite our noses right off of our faces
There won’t be nothin’ but big ol’ hearts
Dancin’ in our eyes
In spite of ourselves
We’ll end up a’sittin’ on a rainbow
Against all odds
Honey, we’re the big door prize
We’re gonna spite our noses right off of our faces
There won’t be nothin’ but big ol’ hearts
Dancin’ in our eyes
There won’t be nothin’ but big ol’ hearts
Dancin’ in our eyes
If you want to see where we are…and you missed a few…HERE is a list of the episodes in my index located at the top of my blog.
This show was written by Gene Roddenberry and Jerome Bixby
I do love time travel stories and I also love parallel universe stories which this one is a good one. An evil Star Trek crew… it also reminds me of the later Star Wars where the government is evil.
In the opening scene, a landing party which consists of Kirk, McCoy, Scotty, and Uhura are unsuccessfully negotiating with a race of pacifists; they refuse to allow dilithium crystals to be mined in case they are used violently. They state that the Enterprise could take them by force but Kirk states that they won’t do that. As they beam up there is an ion storm that affects the transporter… instead of finding themselves on the Enterprise they know they materialize on a ship that is almost exactly the same yet somehow totally different
An excellent episode! It is another 5-star in the 2nd season. Kirk, McCoy, Scott, and Uhura get thrust into an alternate reality where the Federation is an evil empire and their shipmates and friends are now malicious, dangerous adversaries. Now the four have to find a way to get back to their own reality without being discovered and killed.
This is a classic episode that serves to introduce us to the parallel universe… a universe that will be visited more than once in the later ‘Star Trek series. It is immediately apparent that the Star Fleet in the parallel universe is an organization with fascist tendencies which immediately raises the tension. The fact that the villains have familiar faces serves to make it even more interesting.
it is also interesting that this goateed Spock is just as logical as his ‘good’ counterpart. This is one of those can’t-miss episodes…if you haven’t seen it…give it a shot.
From IMDB:
It took about a month to complete this particular episode. After filming had begun, BarBara Luna was diagnosed with strep throat. Since the script called for Capt. Kirk to kiss her, they had to postpone the kissing scene for three weeks until she was medically cleared, since they couldn’t risk William Shatner getting infected.
To further denote the inverted nature of the parallel universe, phasers are worn upside-down on the left hip.
This proved to be one of the more popular Star Trek segments in terms of follow-ups. The Mirror Universe would be depicted on Star Trek: Deep Space Nine (1993) and Star Trek: Enterprise (2001), while several non-canonical Star Trek novels and comic book series featured sequel stories to the episode.
In Jerome Bixby’s original outline, the Mirror Universe Federation was not evil, but simply backwards in terms of some technology, notably phaser weapons. Initially, Mirror Kirk was to be married to a nurse on board the parallel Enterprise, and Mirror Spock was more Vulcan in temperament. In addition, McCoy’s counterpart, and not that of Spock, was to be bearded.
Star Trek was usually not allowed to show women’s navels, but Uhura’s navel is visible in the mirror universe. Reportedly, this was accomplished by filming while a PA took the Standards representative to lunch. This is a popular myth in Star Trek but it is untrue. By the fall of 1966, the networks had removed this prohibition from their standards. In fact, Star Trek had already done this, as seen at the end of season one’s “Shore Leave”, when McCoy shows up with two women by his side, both of whom had exposed navels. Besides, Uhura is seen several times with her bare midriff, and they would have never risked the problem of doing this if it meant re-shooting all of the scenes she appeared in.
As Mirror Sulu is the security chief as well as the helmsman, George Takei wears a red uniform in this episode. Since he normally wore gold, and had worn Science blue as an astrophysicist in Star Trek: Where No Man Has Gone Before (1966), this makes Takei the first Trek actor to wear all three uniform colours.
In the wake of this episode, a group of child fans started a neighborhood-wide letter campaign suggesting that the concept of a “Captain’s Woman” be carried over into the series as a whole, and requesting that Stefanie Powers be cast in that role. Eventually Gene Roddenberry’s assistant had to write to the group’s two “ringleaders”, telling them to ask their parents exactly what a “Captain’s Woman” was.
Actor Vic Perrin, who portrays Tharn, made his second appearance on Star Trek in as many weeks, having supplied the voice of Nomad in the previous episode Star Trek: The Changeling (1967).
First appearance of the emergency manual monitor set.
Jerome Bixby based this episode very loosely on his own short story “One Way Street”. In the original draft script, Kirk traveled to the parallel universe alone and the parallel universe Federation was battling a race called the Tharn. This name was later given to the leader of the Halkan Council, although it is not spoken on screen.
A modified brig makes its debut here. Its location on the set was in the short hallway leading to the Engineering set.
In the opening scene (prologue), the universe-switch shows the I.S.S. Enterprise orbits Planet Halkan right to left, in contrast to the U.S.S. Enterprise, which always orbits left to right (except in Star Trek: Shore Leave (1966)). By the beginning of Act I, however, it changes to orbiting from left to right. Note that in the re-mastered version, this error has been corrected, and the I.S.S. Enterprise orbits right-to-left.
In the original story outline, Captain Kirk was trapped in the Mirror Universe alone, and it was gradually rejecting him, treating him like he was an invading germ by poisoning his systems. Both ideas were dropped.
There is a second Vulcan serving on the ship. During the walk with Kirk, passing Chekov being tortured, you can see Spock’s security guard is Vulcan.
Inspired the name of the progressive/alternative rock band Spock’s Beard.
This is listed as one of the “Ten Essential Episodes” of TOS in the 2008 reference book “Star Trek 101” by Paula M. Block and Terry J. Erdmann.
The only time in the series when someone replies to Doctor McCoy’s “I’m a doctor…” line. McCoy says “I’m a doctor, not an engineer.” Scotty answers, “Now, you’re an engineer.”
The Star Trek books ‘Spectre’, ‘Dark Victory’, and ‘Preserver’, all written by William Shatner, are about the mirror universe. They take place in the 24th Century at around the same time as the Next Generation movies, and give a 100-year history of events in the mirror universe starting after this episode.
In the late 1980s, the pop band Information Society sampled Kirk’s line “It is useless to resist us”, at the very beginning of their song “Walking Away”, as well as “In every revolution, there’s one man with a vision”, in “Over the Sea”.
This is also the only episode in which Uhura is seen in a moving turbolift.
The Mirror Universe was the subject of a Star Trek graphic novel in 1991, written by Mike W. Barr, and published by DC Comics.
This episode was a primary inspiration for Blake’s 7 (1978).
The mirror universe Sulu wears a rank badge of a real-life ARVN (Army Republic Viet Nam) Captain. George Takei plays the role of an ARVN Captain in The Green Berets (1968) and in fact was unable to appear in Star Trek: The Gamesters of Triskelion (1968) due to his commitment to that film.
In the mirror universe, the male computer explains that James Kirk became Captain by murdering his predecessor Christopher Pike, a character played in previous installments by Jeffrey Hunter and Sean Kenney. This is possibly the only time in TOS where Pike is mentioned but does not appear.
This is the only time in TOS where Scotty addresses Captain Kirk as “Jim”. He did it twice in the movies: in Star Trek: The Motion Picture (1979), while en route to the refitted Enterprise, and in Star Trek Into Darkness (2013), when he tries to convince Kirk not to take the 72 torpedoes on board the Enterprise. In fact, he does NOT address Kirk as “Jim” in Star Trek: The Motion Picture (1979).
Ronald D. Moore (a prime writer and producer of the later Trek series) once cited this episode as one of his favourite installments of the original Star Trek series.
This title of this episode is said to be influenced by Disney’s Snow White where the wicked queen invokes the power of her mirror by saying ‘Mirror, mirror on the wall, who is fairest of them all’. However, the wicked queen actually says: ‘Magic Mirror on the wall, who is fairest of them all’. The line is often misquoted as ‘Mirror, mirror…’.
This show was nominated for science fiction’s Hugo Award.
There are physical changes in the “Enterprise” sets, to emphasize the difference between the parallel universes, one of which is the Empire’s symbol of a planet bisected with a sword, which accents its barbaric principles. Another difference is that Kirk’s command chair is given a higher back, to make it look more like a throne, in line with the idea that the alternate Federation is an empire. (This chair would be seen later in the season as Commodore Wesley’s in “The Ultimate Computer”.)
The voice of the computer on the alternate Enterprise was James Doohan’s.
This takes place in 2267.
The line from McCoy, “What kind of people are we?” was sampled in the song “Still Here” on Information Society’s 1992 album “Peace and Love Inc.”
Nurse Chapel (Majel Barrett) is the only major cast member not accounted for either in the beamed up landing party or among the crew of the Mirror Enterprise.
George Takei and BarBara Luna had previously appeared together in Hawaiian Eye: Sword of the Samurai (1960).
South Park: Spookyfish (1998) is a parody of this episode, where a portal is opened to the mirror universe, and the mirror version of Cartman has a goatee.
Summary
While beaming back to the Enterprise during an ion storm, Kirk, McCoy, Scotty and Uhura materialize aboard an Enterprise in a parallel universe. Here, the Federation has been replaced by the Empire and its inhabitants are violent and cruel. Members of the crew advance in rank by killing their superiors and Kirk is constantly a target. Their only hope is to artificially reproduce the effects of the storm to facilitate a return to their own universe. Spock also realizes that all is not as it should be and uses the Vulcan mind meld on Dr. McCoy to learn the truth.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Doctor Leonard ‘Bones’ McCoy BarBara Luna … Marlena (as Barbara Luna) James Doohan … Lieutenant Commander Montgomery ‘Scotty’ Scott George Takei … Lieutenant Hikaru Sulu Nichelle Nichols … Lieutenant Nyota Uhura Vic Perrin … Tharn Walter Koenig … Ensign Pavel Chekov John Winston … Lieutenant Kyle Garth Pillsbury … Wilson Pete Kellett … Kirk’s Henchman Bobby Bass … Chekov’s Helper in Mirror Universe (uncredited) Bill Blackburn … Lieutenant Hadley (uncredited) Bobby Clark … Chekov’s Guard #2 (uncredited) Roger Holloway … Lt. Lemli (uncredited) Johnny Mandell … Sulu’s Guard (uncredited) Eddie Paskey … Lieutenant Leslie (uncredited) Russ Peek … Spock’s Vulcan Guard (uncredited) Paul Prokop … Phaser Control Guard (uncredited)
The Replacements are a band that deserved to be heard. I always thought they should have been in the spotlight just as much as R.E.M. I always looked at them as the Stones to R.E.M’s Beatles. They didn’t help themselves though… as they tended to self-sabotage many breaks they received.
Paul Westerberg was one of the best songwriters of the 1980s. They had more of a timeless sound than many of their peers until their last albums. You could listen to this album Let It Be and think it comes from any decade and that is what Westerberg wanted.
This song was way ahead of the curve on the subject matter. It was released in 1984. Their manager Peter Jesperson for a brief time worked for R.E.M. and the two bands were friends. When he came back to the Replacements he had a couple of Peter Bucks (guitar player for R.E.M.) guitars. Buck came by to get them and used that as an excuse to hit the clubs with Westerberg.
Westerberg and Buck even talked about having Buck produce this album. As Buck and Westerberg were drunkenly hitting the bars they decided to have some fun and wear loud makeup and women’s clothes for a laugh. It nearly got them into a bar fight with some less-liberal locals.
A girl called them androgynous, which was the first time Westerberg heard the word. He looked it up and based the song around it. The song is about Dick and Jane who don’t stick to traditional gender norms.
An artist in the movement for transgender rights was Laura Jane Grace, who performed this song with Miley Cyrus and Joan Jett at a benefit for The Happy Hippie Foundation, which encourages young people to accept others without judgment.
The Crash Test Dummies and Joan Jett have covered this song.
Androgynous
Here come Dick, he’s wearing a skirt
Here comes Jane, you know she’s sporting a chain
Same hair, revolution
Same build, evolution
Tomorrow who’s gonna fuss
And they love each other so
Androgynous
Closer than you know, love each other so
Androgynous
Don’t get him wrong and don’t get him mad
He might be a father, but he sure ain’t a dad
And she don’t need advice that’ll center her
She’s happy with the way she looks
She’s happy with her gender
And they love each other so
Androgynous
Closer than you know, love each other so
Androgynous
Mirror image, see no damage
See no evil at all
Kewpie dolls and urine stalls
Will be laughed at
The way you’re laughed at now
Now, something meets boy, and something meets girl
They both look the same
They’re overjoyed in this world
Same hair, revolution
Unisex, evolution
Tomorrow who’s gonna fuss
And tomorrow Dick is wearing pants
Tomorrow Janie’s wearing a dress
Future outcasts and they don’t last
And, today, the people dress the way that they please
The way they tried to do in the last centuries
And they love each other so
Androgynous
Closer than we know, love each other so
Androgynous
If you want to see where we are…and you missed a few…HERE is a list of the episodes in my index located at the top of my blog.
This show was written by Gene Roddenberry and John Meredyth Lucas
The Enterprise investigates why a star system, where billions of lives once inhabited, is no longer showing life signs, with the ship encountering a lifeform with immense power, using a type of beam that exhausts the shields with only a few bursts, leaving them vulnerable until Kirk is able to communicate with it. Through mathematical communication, the Enterprise establishes contact.
After that, they beam the machine aboard. It believes Capt. Kirk is its creator. Apparently, it has mistaken Kirk for the long-dead Dr. Jackson Roykirk. They find out the name of the machine…Nomad. Nomad was an interstellar space probe designed by Jackson Roykirk and launched from Earth in the year 2002 with a mission of seeking out new life. It was a prototype and the only one of its type built. There is a problem though with Nomad. It was damaged by a meteoroid in 2005 and thought lost. It combined with an alien probe to be deadly.
Kirk plays along with Nomad’s belief that he is its creator. Nomad’s original program was to search out new life forms but now has changed; it is now searching for perfect life forms and is ‘sterilizing’ anything it finds imperfect. As it learns more it states its intention to return to its launch point, Earth, and sterilize any imperfections there… Kirk will have to use a logical approach if he is to destroy Nomad before it kills everybody aboard his ship.
I really liked this episode…this machine is capable of anything and it takes some fast thinking by Kirk and Spock to save the crew.
From IMDB:
In conventions, Nichelle Nichols frequently tells a story of getting into a dispute with director Marc Daniels over the filming of this episode. As it had already been established that Uhura’s first language was Swahili, Nichols believed that, after her mind was erased, Uhura would revert to her first language. However, as Nichols herself did not speak Swahili, Daniels wanted Uhura to just speak English. Nichols refused to, telling Daniels, “Nichelle Nichols doesn’t speak Swahili, but Uhura does!” Gene Roddenberry was eventually brought in to settle the dispute, and he sided with Nichols. A linguist specializing in Swahili was then brought in to write the few lines of Swahili that are spoken in the episode.
The biographical photo of scientist Jackson Roykirk is of the director Marc Daniels wearing Scotty’s dress uniform.
Although never credited, this episode – which depicted an Earth-launched space probe that acquires almost unimaginable powers in the course of the search for its “Creator” – became the inspiration behind Star Trek: The Motion Picture (1979). (It also inspired The Questor Tapes (1974), a rejected series pilot written by Gene Roddenberry and Gene L. Coon which also featured a robot with a damaged memory who searched for its creator.) For this reason, some fans have appended to the 1979 movie the punning subtitle “Where Nomad Has Gone Before.”
Nomad was launched from Earth in 2002.
Lt. Leslie has two unusual aspects in this episode; he is at the helm and he is wearing a gold uniform as opposed to the red uniform that he is normally seen in.
The song Uhura sings is the same song she sings to entertain Lt. Riley in Star Trek: The Conscience of the King (1966), after he is transferred back to lonely duty in Engineering. The lyrics were written by Gene Roddenberry himself.
First time Scotty uses the famous “giving them all we got” phrase.
Spock mentions that Nomad’s first attack on the Enterprise was the equivalent of ninety photon torpedoes. Surprisingly, this attack only reduced the shields by 20%. This seems even stranger a few moments later, when Nomad absorbs the energy of a single photon torpedo and Kirk wonders how anything could “absorb so much energy and survive”. However, the implication is that “absorbing” the energy from a photon torpedo is different than merely “shielding” against it (or against ninety).
The alien probe that Nomad collided with was called Tan Ru.
First appearance of the new, redesigned engineering section.
Bill Blackburn appears in three different uniform colors in this episode: his usual gold (as Hadley), a blue uniform in a corridor scene, and in a red technician’s jumpsuit in main engineering.
Bears a striking resemblance to The Outer Limits: The Probe (1965), aired just two years earlier.
Per Irish mythology, a “changeling” is a demon child substituted by the spirits for a human child they have stolen. That is the context used here. However, the word can also mean a shape-shifter, as in several other contexts within the Trek Universe. The most famous shape-shifter changeling in Trek was the regular character Odo from Star Trek: Deep Space Nine (1993).
Actor Joe Paz who portrays one of the security guards killed by Nomad (the guard on the left outside Nomad’s cell) would appear again in Star Trek: Patterns of Force (1968) as an SA Brigadier. (He can be seen among those saying “Hail To The Fuhrer!”)
Footage of Nomad exiting the turbolift is recycled to show him leaving sickbay.
Vic Perrin, who provided the voice of Nomad, had previously performed the Control Voice that narrated the opening and closing segments of the “Outer Limits”. His delivery of Nomad’s dialogue, with just enough inflection to remain automated without being monotonous, greatly enhances the show.
Lemli’s first name, Roger, is given in this episode. His last name wasn’t revealed until the following season, in Star Trek: The Lights of Zetar (1969).
Summary
The Enterprise encounters a powerful energy force that has apparently killed all human life in a solar system with over one billion inhabitants. They identify the culprit as a small space probe that had its origins on Earth. Called Nomad, it merged with another and, as a result, took on a new mission to destroy all biological beings as being imperfect. It believes Captain Kirk to be its creator and, as such, has spared the Enterprise and its crew, at least temporarily.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Doctor Leonard ‘Bones’ McCoy James Doohan … Lieutenant Commander Montgomery ‘Scotty’ Scott Nichelle Nichols … Lieutenant Nyota Uhura George Takei … Lieutenant Hikaru Sulu Majel Barrett … Nurse Christine Chapel Makee K. Blaisdell … Singh (as Blaisdel Makee) Barbara Gates … Crewwoman Meade Martin … Crewman Arnold Lessing … Security Guard Vic Perrin … Nomad (voice) Bill Blackburn … Lieutenant Hadley (uncredited) Frank da Vinci … Lt. Brent / Security Guard (uncredited) Marc Daniels … Prof. Jackson Roykirk (uncredited) Roger Holloway … Lt. Lemli (uncredited) Jeannie Malone … Yeoman (uncredited) Eddie Paskey … Lieutenant Leslie (uncredited)
There’s kissing in the valley, Thieving in the alley, Fighting every inch of the way.
I’m really happy to be posting again! I thought I would start off with a cool under-the-radar Bob song. I’ve caught up with work projects for the most part right now. I had a good time off but I missed interacting with all of you.
Ronnie Wood performed this song at Bob Dylan’s 30th Anniversary concert. When I first heard it I took an immediate liking to it. I heard this and also George Thorogood doing another Dylan song called Wanted Man.
I also found another version that is really great by the Canadian band The Tragically Hip (video at the bottom of the post). They have the same rawness that Wood had in his…great version. It’s the groove of this song that makes it.
I’ll have a full Tragically Hip post coming soon.
Some of the original written lyrics
This song was written by Bob in March 1976, at Shangra La Studios in Malibu. Eric Clapton was recording the No Reason To Cry album…Bob Dylan offered Clapton Seven Days but he turned it down. Ron Wood was there and he took it for his next album and did a good job of it.
I like Wood’s voice. For me, his best job on lead vocals was Ooh La La by the Faces but this one comes in a close second. I usually will take the studio versions with most songs…but not this one. He has more drive in the live version video. Here is a cleaner version of the Tragically Hip.
The song has been covered many times as has many Dylan Songs. Artists such as The Tragically Hip, Joe Cocker, and others. No studio version by Bob has surfaced as far as I know. He has covered it live a few times.
Ron Wood:“Bob played it (“Seven Days”) to me and Eric in the studio, and he said to Eric “You can have this song if you want it.” And I took him up on it and Eric didn’t.”
Seven Days
Seven days, seven more days she’ll be comin’
I’ll be waiting at the station for her to arrive
Seven more days, all I gotta do is survive.
She been gone ever since I been a child
Ever since I seen her smile, I ain’t forgotten her eyes.
She had a face that could outshine the sun in the skies.
I been good, I been good while I been waitin’
Maybe guilty of hesitatin’, I just been holdin’ on
Seven more days, all that’ll be gone.
There’s kissing in the valley,
Thieving in the alley,
Fighting every inch of the way.
Trying to be tender
With somebody I remember
In a night that’s always brighter’n the day.
Seven days, seven more days that are connected
Just like I expected, she’ll be comin’ on forth,
My beautiful comrade from the north.
There’s kissing in the valley,
Thieving in the alley,
Fighting every inch of the way.
Trying to be tender
With somebody I remember
In a night that’s always brighter’n the day.
Hello everyone!!!! Tomorrow I’ll be officially back posting again. I wanted to share this before that and see what you guys think of it. To have an actual piece of artwork by Peter Max is something I still can’t believe.
I was shocked when I received this painting.
A friend of the family told me not long ago that she wanted to give me a Peter Max painting. I thought she meant a copy of course and I said I would be happy to take it. Peter Max is one of my favorite artists…and one of the best pop art artists in the world.
Well, she took it out of her car and I got a big surprise. It’s an original piece of artwork that she bought from Peter Max himself a long time ago in Texas where he had a booth setup. She knows I like pop art from the 60s and 70s and this is right up my alley.
Plus by the way, he signed it “Max” It fits me perfectly. I could NOT get a good picture of it because of the glare on the glass. I am not brave enough to take it out of the picture frame at this point.
If you don’t know who Peter Max is…look him up and his artwork. I like a lot of his paintings more than Warhol. I hope one day to get a better picture of it.
Hello everyone… I hate to but I’m going to have to take a short vacation from blogging. Work has been very busy lately and for around 2 or so weeks…it’s not going to let up.
I’ve barely been able to stay caught up recently so I thought I would shut down the place for a short amount of time instead of a complete month like last August. That should be enough time for the work projects to pass…plus I do need to recharge as well. I will start Star Trek back up as soon as I come back plus post some original songs.
I wish all of you the best and I may drop by once in a while. Thanks for reading!
If you want to see where we are…and you missed a few…HERE is a list of the episodes in my index located at the top of my blog.
This show was written by Gene Roddenberry and Gilbert Ralston
I thought this was a good episode of the series. Thought-provoking, very well-written, and well-paced, with a nice balance of attention paid to the various performers.
Kirk and his crew are waylaid by a powerful alien who claims to be the ancient Greek god Apollo. Apollo demands they abandon their ship and become his worshipers like the Greeks of old Earth had been, and Apollo is not taking no for an answer. The crew has to figure out how to escape his clutches without falling victim to his extraordinary powers and his violent temper.
The idea that the ancient gods were, in fact, visiting aliens is interesting and has been used many times since however here it seems like a way to make an apparently all-powerful being a bit more interesting. Lt. Palamas, we can guess that she will somehow be important in this episode and indeed she is as she appears to fall for Apollo.
The speech that Kirk gives to Palamas was brilliant, I thought. A great piece of rhetoric that is strongly moving, and is potent enough to induce her to betray her heart and act for the good of her fellow humans.
In the end, the combined efforts of Kirk and the landing party on the planet and Spock back on the Enterprise work independently to sort out the challenge. This episode is a great one for Chekov…a very good introduction to him.
From IMDB:
.The title is taken from Adonais: An Elegy on the Death of John Keats by Percy Bysshe Shelley. Line 415 reads “Who mourns for Adonais?”. Shelley’s Adonais is derived from Adonis, a male figure of Greek mythology associated with fertility. Also, “Adonais” would be the English plural of the Hebrew Spoken Name of God (the Hebrew word ‘adonai’ simply means ‘lord’), so it would mean “Who Mourns for the Gods?”
In the original script, the gods and other mythological figures were mentioned in their Latin names, but, in the revised final draft (and the finished episode), they are called by their Greek equivalents (possibly at the suggestion of series researcher Kellam de Forest).
The producers were looking for someone with an English dialect and Shakespearean theatrics to pull off the Apollo role. First, they wanted to find someone in England, but rather decided to look for an actor at the San Diego Shakespeare festival. The head of the theatre recommended Michael Forest, who was already in Hollywood, making films at the time. Forest was called in for an audition, where he first had to take off his shirt, to let them see if he had the muscles needed for the part. Next, they asked him to read some lines in a British accent. Forest refused, claiming he couldn’t do it, but is able to speak in a Mid-Atlantic accent, probably more suitable for the character. He did it, and they gave him the role.
Michael Forest recalled working with his co-stars, “Leslie Parrish was a delightful person to work with; no problems; never any difficulties; we would just discuss what we were going to do and we would do it. She was excellent and very personable. William Shatner was a bit of a problem, however. You never saw me standing with him; we were always in different shots. We would be talking to one another, but we wouldn’t be on camera at the same time. I’m sure that’s what he stipulated – because I was so much taller.”
William Shatner was so concerned with the height disparity that he disallowed any shots which would show him and the much taller Michael Forest side-by-side in the same frame. According to Forest, whenever Shatner would speak to him, Forest would notice Shatner inadvertently standing on his tip toes.
This is the very first episode of Star Trek (1966) (in broadcast order) to feature all seven members of the original cast – including Walter Koenig who was the last to join the cast at the very beginning of Season 2.
Apollo’s temple was constructed on an indoor studio set. Swaying trees (courtesy of hidden stagehands) and dubbed-in bird sounds were combined with stock footage of an outdoor lake and adequately conveyed the illusion of being outdoors.
The fused, charred phaser Kirk holds up as he is speculating about Apollo visiting Earth is the one crushed by Khan Noonian Singh in Star Trek: Space Seed (1967).
This is the first time Kyle is shown in an officer’s uniform (colored shirt, black pants) instead of the noncommissioned officer’s and enlisted man’s jumpsuit. He must have been exceptional since he has jumped past Ensign and Lieutenant Junior Grade to full Lieutenant.
The gown Leslie Parrish wore was glued to her skin to keep it in place, which was painful for her because it tore her skin when it was removed.
In the trailer, the phasers fired by the Enterprise at the temple are blue. In the episode itself, they are red. They would once again be blue in the remastered version of this episode.
This is the only time in TOS that a star is both referred to as its Bayer designation and ancient name, specifically Beta Geminorum aka Pollux.
This was released in 1967. Erich von Däniken published theories concerning ancient aliens coming to earth and being taken for gods due to their advanced technology being witnessed by early humanity only in 1968.
Michael Forest reprised his role as Apollo in the fan-made sequel Star Trek Continues: Pilgrim of Eternity (2013) 46 years later.
This is the first episode, in broadcast order, to feature Chekov’s Russian pride. When Apollo identifies himself, Chekov says “I am the Czar of all the Russias!” Later, after Chekov notices Apollo is fatigued and disappears, Chekov says “He disappeared like that cat in the Russian story…”
The producers originally wanted Jon Voight for Apollo, but he was hired for another project.
A traveling matte was used to allow a giant Apollo to appear with the landing party in the foreground at the end of act one.
Marc Daniels cited this episode as his favorite among those he directed, claiming “it all came together so well”.
Michael Forest and Leonard Nimoy had played brothers on Laramie: The Runt (1962). They also worked together on the play and television adaptation of Deathwatch (1965).
The scene in which Apollo flips Scott to the side was actually executed by stunt double, Jay D. Jones, who was wearing a special harness with which he was pulled backward on cue. Jones nearly slammed into a step prop which could have caused serious injury.
Jason Alexander cites this episode as his favourite of the original series, describing it as “thought-provoking, beautiful, and very sad.”
Summary
The Enterprise is stopped dead in its tracks by a powerful energy force that appears in the form of a human hand. Soon, a being claiming to be Apollo orders Kirk (William Shatner) and several others down to the planet below. Apollo (Michael Forest) claims to have visited Earth 5,000 years ago and Kirk theorizes that he may be telling the truth. Apollo’s demand for unquestioned servitude, however, doesn’t give the crew much choice and it becomes imperative that they locate and destroy his power supply.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Doctor Leonard ‘Bones’ McCoy Michael Forest … Apollo Leslie Parrish … Lt. Carolyn Palamas James Doohan … Lieutenant Commander Montgomery ‘Scotty’ Scott George Takei … Lieutenant Hikaru Sulu Nichelle Nichols Nichelle Nichols … Lieutenant Nyota Uhura Walter Koenig … Ensign Pavel Chekov John Winston … Lieutenant Kyle Bill Blackburn … Lieutenant Hadley (uncredited) Roger Holloway … Lt. Lemli (uncredited) Eddie Paskey … Lieutenant Leslie (uncredited)
I’ve seen this song listed as (Night Time is) The Right Time, Night Time Is The Right Time, and The Right Time.
I first heard this song from the Creedence Clearwater Revival cover version of it. I loved it and then I heard the Ray Charles version…I was lost. Night Time Is the Right Time was first performed by Roosevelt Sykes in 1937. His version, which he wrote with fellow bluesman Jimmy Oden was different than the version we know.
In 1938 Big Bill Broonzy recorded this song. Napoleon Brown Goodson Culp (Nappy Brown) recorded it in 1957 as The Right Time. Brown’s version had the Night and Day backing vocals. His version was on a small label and didn’t make much impact. Brown got credited as the songwriter after he changed it around.
When Ray Charles released this in 1958 it was a hit…it’s become the definitive version of the song. It’s been covered many times…some who covered it are Creedence Clearwater Revival, Tina Turner, The Rolling Stones, Lulu, Aretha Franklin, James Brown, Rufus & Carla Thomas, and The Animals.
The song peaked at #5 on the Billboard R&B charts in 1958. Margie Hendrix with Charles’ backup singers the Raelettes provided the accompaniment to Charles’ vocals.
Nappy Brown: , “The difference between me and Ray Charles’s ‘Night Time Is the Right Time’ … is he had it up-tempo with Mary Ann and them behind him—the ladies [Charles’ female backup singers, the Raelettes]. I had mine in a slow tempo with a gospel group behind me. That was my gospel group. But he got everything just like mine, note for note”.
Night Time Is The Right Time
You know the nighttime, darling (night and day) Is the right time (night and day) To be (night and day) With the one you love, now (night and day)
Say now oh baby (night and day) When I come home baby, now (night and day) I wanna be with the one I love, now (night and day) You know what I’m thinking of (night and day)
I know the nighttime (night and day, oh) Whoa, is the right time (night and day, oh) To be with the one you love, now (night and day) I said to be with the one you love (night and day)
You know my mother, now (night and day) Had to die, now (night and day) Mm, and my father (night and day) Well, he broke down and cry (night and day)
Whoa! Whoa, baby (night and day) When I come home baby now (night and day) I want you to hold my hand (night and day) Yeah, tight as you can (night and day)
I know the nighttime (night and day, oh) Whoa, is the right time (night and day, oh) To be with the one you love (night and day) You know what I’m thinking of (night and day)
Whoa! Sing your song, Margie Baby (night and day) Baby (night and day) Baby (night and day) Oh, baby (night and day)
Girl, I love you (night and day) No one above you (night and day) Hold me tight (night and day) And make everything all right (night and day)
Because the nighttime (night and day) Oh, is the right time (night and day) To be with the one you love now (night and day) Oh, yeah (night and day)
Tease me (night and day) Squeeze me (night and day) Leave me (night and day) Ah, don’t leave me (night and day)
Lawdy, baby (night and day) Take my hand, now (night and day) I don’t need (night and day) No other man (night and day)
Because the nighttime (night and day) Ow, is the right time (night and day) To be with the one you love (night and day) Oh, yeah (night and day)
I said baby (night and day) Baby (night and day) Baby (night and day) Whoa! Baby now (night and day)
Oh, come on baby (night and day) You know I want you by my side (night and day) I want you to keep (night and day) Oh, keep me satisfied (night and day)
I know the nighttime (night and day) Every day is the right time (night and day) Yeah, to be with the one you love now (night and day) Well, you know it’s all right
This song tells a tragic tale of a son going off for fame and coming back home for the acceptance of his parents but he finds out…they died. They recorded this track in Muscle Shoals Sound Studios in Alabama. It was before they were signed to a contract. Shooting Star which came after this song…. covered a small portion of this but the star in this song lives but doesn’t get satisfaction out of the outcome.
At first I got lost, then I got found But the ones that I loved were in the ground
It was on an album called First and Last. It was released in 1978 after the crash. It covered the demos they made at Muscle Shoals. The owners of the studio thought they would be signed because their songs were very good and they had everything arranged before recording…so it was quick. After they were not signed…Ronnie Van Zant promised the recording studio owners that he would mention them in a song if they hit. They thought…yea right! A man of his word…a couple of years later in Sweet Home Alabama he did “Now Muscle Shoals has got the Swampers and they’ve been known to pick a song or two (yes they do).”
I wouldn’t dare compare this to a normal release but it has it’s charm all the same and shows how advanced the band was in the early seventies. Van Zant worked his band members hard to get them in shape. They practiced in an old cabin with no air conditioning in Florida. He would make them go through songs until they were perfect…they nicknamed the place Hell House.
Ronnie Van Zant was a great and sometimes underrated songwriter. The band members have said that he never wrote lyrics down on paper. The band would be practicing and he would hear a riff or a chord progression he liked and would tell them to keep going through it over and over. After thinking about it he would start singing what he came up with.
They were not a jam band (again the Allmans were) but a song band that played their 3-5 minute songs and got off the stage with the exception of the lengthy Free Bird. They were planning to release this before the crash.
No one wanted to sign them because they couldn’t figure out what they were. Record executives said they sounded too much like The Allman Brothers. Which that in itself is just stupid. The executives thought anyone from the south sounded like the Allmans. The Allmans had jazz influences and Lynyrd Skynyrd drew inspiration from British acts like Free and lead singer Paul Rodgers. They were completely different in every way.
Al Kooper met and signed them to a contract back in 1973. Kooper had worked with Jimi Hendrix, Blood, Sweat, and Tears, and Bob Dylan. He said Lynyrd Skynyrd were the best arrangers of songs he ever met plus the most organic musicians he worked with. That is high praise coming from Al Kooper.
Another song off of this album is called Comin’ Home which is really good.
Was I Right Or Wrong
Like a restless leaf in the autumn breeze,
Once, I was a tumbleweed
Like a rolling stone, cold and all alone,
Livin’ for the day my dream would come
Never cared for school or any golden rules
Papa used to always say I was a useless fool
So I left my home to show ’em they was wrong
And headed out on the road, singin’ my songs
Then one sunny day, the man, he looked my way
And everything that I dreamed of, it was real
Money, girls, and cars and big long cigars
And I caught the first plane home so Papa would see
When I went home to show ’em they was wrong
All that I found was two tombstones
Somebody tell me, please, was I right or wrong?
Lord, it’s such a sad song
At first I got lost, then I got found
But the ones that I loved were in the ground
Papa, I only wish you could see me now
Take a listen Papa, I learned how to play my guitar, superstar
Play one for momma now
If there’s any way that you can hear what I say
Papa, I never meant to do you wrong
All the money, girls, and cars,
And all the world’s long cigars,
Papa, I just want you to know,
They couldn’t take your place
When I went home to show ’em they was wrong,
All that I found was two tombstones
Somebody tell me please, was I right or wrong?
Lord, it’s such a sad song
At first I got lost, then I got found
But the ones that I loved were in the ground
Somebody tell me, please, was I right or wrong?
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