All of these songs are stone-cold classics. The first two are probably the best-known in their catalog by their respective artist…and that statement is saying a lot. These are in no order but we will kick it off with the song that Keith Richards wrote the riff in bed and then turned over and went to sleep. Luckily he had his tape recorder running and the next morning he listened to his riff and him snoring for hours. The Rolling Stones‘s Satisfaction.
Bob Dylan has his mega vindictive hit Like A Rolling Stone. It’s been voted in some polls as the best rock single ever. I picked a live version backed by the future Band at the Royal Albert Hall the following year.
The Beatles released their second soundtrack album in 1965. The album would bridge Beatlemania to Mid Beatles. It was one of John Lennon’s personal favorite songs he wrote. How they did those great backup vocals without proper monitors is beyond me.
The Who released My Generation in 1965. It wasn’t a top seller in America but it would become one of their best-known songs. They would release brilliant singles throughout the 60s and then help to invent arena rock in the 70s. A band we will be hearing more from.
This fifth spot was hard. I’m being open and honest…it was between Smokey Robinson and the Miracles and The Byrds. This whole thing is based on what I like the most…well, I like Tracks of My Tears and Mr. Tambourine Man around the same. I’m going to include Smokey coming up.
I loved those glasses that Mcguinn wore so much that in 1987 I tracked a pair down. No, they were not easy to find in the eighties. Parachute pants? One white glove? Hair spray? yes…but not the out-of-style small rectangle glasses.
If 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, Jean Lisette Aroeste, and Arthur H. Singer
Only one more episode after this one. This is one that you see Spock fall for a lady named Zarabeth who is played beautifully by Mariette Hartley. You see Spock revert back to the time before Vulcan developed the logical way of life. Personally, I think Spock could have been happy there in the cold with Zarabeth…I know I would! This is one of my favorite episodes of the third season. They don’t spend hardly any time in the Enterprise.
Kirk and crew land on a lonely planet where the sun is about to explode. They intend to evacuate the inhabitants but find the place deserted except for Mr. Atoz who operates some sort of high-tech library. Despite trying to get a straight answer from him about everyone’s whereabouts, Atoz is indifferent to their questions and insists they must quickly ‘make a selection while there is still time. The reason for the short time is a star is about to nova, and the three arrive on the planet, hoping to help evacuate the population
They have no idea what he’s talking about but wander about looking at the hand mirror-like disks on the viewers and they see images of the planet’s past. Then, while a disk is in the viewer, Kirk runs through the doorway and is magically transported back in time to what on Earth would look like the time of Louis XIV (the 1660s). When McCoy and Spock follow, a different disk is in the viewer and they are sent to an ice-age hell. All too late they realize that the library is a time travel machine and repository.
While Kirk’s visit is pretty short and not all that exciting, Spock and McCoy’s is much more eventful, as Spock falls head over heels for Mariette Hartley–who was sent to this awful place as a punishment. The scenes with Spock are exceptionally interesting and very atypical of the normally logical Vulcan. McCoy almost freezes to death but Spock looks after him but that doesn’t mean we don’t get some verbal jabs from each of them to each other.
One of the best episodes of the 3rd season in my opinion. I do like Time Travel also so that played a part.
From IMDB:
The name of the librarian Mr. Atoz is a play on the phrase “A to Z”. Author Jean Lisette Aroeste was a UCLA librarian at the time she wrote this script.
Sulu, Uhura, and Chekov do not appear in this episode. Scotty does not appear on screen but has several voice-over lines. In no other episode are only three regular members of the crew seen in person.
The title is taken from “Macbeth” by William Shakespeare, Act 5, Scene 5: The title character speaks “Tomorrow and tomorrow and tomorrow, / Creeps in this petty pace from day to day / To the last syllable of recorded time, / And all our yesterdays have lighted fools / The way to dusty death.”
The name of the device, the Atavachron, is quite a descriptive one. “Atavus” is Latin for “… (an) ancestor or ancestral type from which a character is assumed to be inherited”, and “chron” is from the Greek “chronos” (“time”), so, an Atavachron is a device which can send you to an ancestral place of any time period.
According to the stardate, this episode is chronologically the last of the series, even though its production number and air date are earlier than Turnabout Intruder (1969). This is therefore the last voyage of the USS Enterprise in the original series. This is also the last time-travel episode of the original series.
Part of the set depicting the surface of the ice age planet where Spock and McCoy are transported was recycled from the MGM film Ice Station Zebra (1968), made the previous year.
There is no footage aboard the Enterprise in this story. Only three crew members (Kirk, Spock & McCoy) are seen and only one stock footage shot of the exterior is used. This was a deliberate attempt to cut costs and to film this episode quickly by using a minimal number of sets. Sets from previous episodes were reused as well.
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Assignment: Earth (1968).
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other women’s navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot Genesis II (1973), stating that “the network owed me one.”
There were two highly successful sequel books, “Yesterday’s Son” and “Time for Yesterday”, both by A.C. Crispin.
The stock footage showing the endless snow fields on the disc McCoy watches was also used as the surface of Exo III in What Are Little Girls Made Of? (1966).
The sound effect used for the Atavachron is the experimental time code broadcast by radio stations WWV and WWVH in the 1960s. A time code seems appropriate for a time machine.
Summary
Kirk, Spock, and McCoy beam down to the planet Sarpeidon to learn what has happened to its population. The planet, which will be completely destroyed when its sun goes supernova in a few hours’ time, once had a thriving population but has now been reduced to one person, the librarian Mr. Atoz. It would appear that the planet’s entire population has gone back in time to a period of their choice in the planet’s history. When the three crewmen unknowingly have gone through the time portal, Kirk ends up in a society similar to 17th-century Earth while McCoy and Spock end up in a frozen ice age. With Kirk arrested and accused of witchcraft and the others having to survive the harsh Arctic-like climate, they have only a short time to find their way back and return to the Enterprise before the planet explodes. For Mr. Spock, he finds a time from before the existence of Vulcan and he’s regressing to an emotional state.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy Mariette Hartley … Zarabeth Ian Wolfe … Mr. Atoz Kermit Murdock … The Prosecutor Ed Bakey … The First Fop James Doohan … Scott (voice) Anna Karen … Woman Albert Cavens … Second Fop (as Al Cavens) Stan Barrett … The Jailor Johnny Haymer … The Constable
You are the sunshine of my life That’s why I’ll always be around
Stevie Wonder… had such a long career before he was even 18. He wrote this for his wife Syreeta Wright whom Wonder married in 1970.
Wright was from Detroit, an aspiring ballet dancer who didn’t have the money to pursue her passion and who ended up working as a receptionist at Motown in 1965. Eventually, Wright started singing on demos for Motown singers, and the label released a single of hers in 1968 under the name Rita Wright. When Diana Ross left the Supremes, Berry Gordy thought about installing Wright as her replacement but it didn’t happen.
in 1968 Syreeta Wright met Stevie Wonder. In 1969, they started dating, and they also started working together. In 1970, they got married, when Wright was 24 and Wonder was 20. By that time, they were already writing partners. Together, Wright and Wonder helped write the Spinners’ “It’s A Shame” and Wonder’s own “Signed, Sealed, Delivered I’m Yours”
In 1972 they broke up. Wonder also produced the album Syreeta…Wright’s first album. He also recorded this song that year. It was no doubt who it was about. It was on the great album Talking Book. Just as he was singing this beautiful song they were breaking up. She would go on to record more music and one song with Billy Preston. She passed away in 2004 at the age of 58.
Some sources list the couple’s divorce as happening in 1972, but Wright, who died in 2004, claimed they were married until 1975. The marriage was difficult and exacerbated by their working relationship, which Wright found stifling. “I was always living in his shadow.”
He recorded this at Electric Lady Studios in New York City. It was recorded off the cuff and his band fell right in. The album Talking Book peaked at #3 on the Billboard Album Charts, #12 in Canada,#16 in the UK in 1972.
You Are The Sunshine Of My Life peaked at #1 in the Billboard 100, #5 in Canada, #8 in New Zealand, and #7 in the UK. The first single off the album was Superstition…how is this for a follow-up!
This song won Wonder the 1973 Grammy Award for Best Male Pop Vocal Performance.
You Are The Sunshine Of My Life
You are the sunshine of my life That’s why I’ll always be around You are the apple of my eye Forever you’ll stay in my heart
I feel like this is the beginning Though I’ve loved you for a million years And if I thought our love was ending I’d find myself drowning in my own tears, whoa, oh, oh
You are the sunshine of my life, yeah That’s why I’ll always stay around, mmm, mmm, yeah, yeah You are the apple of my eye Forever you’ll stay in my heart
You must have known that I was lonely Because you came to my rescue And I know that this must be heaven How could so much love be inside of you? Whoa, whoa
You are the sunshine of my life, yeah That’s why I’ll always stay around, mmm (baby) You are the apple of my eye Forever you’ll stay in my heart, yeah
You are the sunshine of my life, baby That’s why I’ll always stay around
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, Arthur Heinemann, and Arthur H. Singer
This is a bizarre episode…even for Star Trek. I like the episode more than some Trek fans. When you see Abraham Lincoln materialize in space and talk to you…you know you are in for a different kind of episode. I will say this… it works because of the actor playing Lincoln… he is exactly what I would picture Lincoln.
The Enterprise crew once again encounters highly advanced/highly evolved aliens, who, in this case, wish to study the concepts of good and evil and use crew members as pawns in their inquiries. This episode, a morality tale, borrows elements from some of the better episodes of the past.
Apparently Lincoln (Lee Bergere) was a boyhood hero to Captain Kirk, while everyone on the planet Vulcan revered the legendary Surak (Barry Atwater). The two heroes are teamed up with Kirk and Spock to do physical battle with the galaxy’s most notorious outlaws, with a mute Genghis Khan representing ancient Earth history. This, all in the name of defining good versus evil, life versus death
I simply love the improbable idea of a stunning recreation of Abraham Lincoln and “father of Vulcan civilization/peace/logic”, Surak from the minds of Kirk and Spock (it is established how much admiration and respect Kirk and Spock have for these historical figures) forced into combat with evil historical figures representing the worst kind of lot as rock beings on a planet primarily of lava want to study good vs. evil and judge the results.
From IMDB:
This is the final episode of the series to feature the entire ensemble cast of Kirk, Spock, McCoy, Scotty, Uhura, Sulu, and Chekov. This episode also marks the final appearance of Nichelle Nichols (Uhura) in the series.
This marks the second time TOS encounters a silicon-based life form. The first time is in The Devil in the Dark (1967). Janos Prohaska played both lifeforms, with Bart La Rue supplying the Excalbian’s voice.
Lincoln tells Kirk, “There is no honorable way to kill, no gentle way to destroy. There is nothing good in war, except its ending.” This speech, written by the Star Trek screen writers, has become so popular that some people mistakenly believe it to be something the real Abraham Lincoln said.
“The Savage Curtain” introduces Klingon founding father Kahless and Vulcan founding father Surak to the Star Trek universe. Kahless’ history played an important role in several episodes of Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993) (where he is regarded as a force for good, contrary to the sentiments expressed here), and Surak’s history was crucial to the final season of Star Trek: Enterprise (2001) which also gave a little bit of backstory to Colonel Phillip F. Green. Zora of Tiburon is the only “historic” figure introduced here who was not further developed in a later Star Trek series.
Colonel Green’s uniform was recycled into the spacesuit worn by Mork in his appearances on Happy Days (1974) and Mork & Mindy (1978).
Tiburon, homeland of the cruel scientist Zora, is named after the Spanish word for shark, and was also the homeland of Doctor Sevrin, the villain-of-the-week of The Way to Eden (1969).
The first choice for the role of Lincoln was Mark Lenard, best known for playing Sarek, but prior commitments prohibited him from taking the part.
The characters of Zora and Genghis Khan have no lines. This is probably due to budget constraints, as actors with speaking parts were paid significantly more than background actors.
The war that included Colonel Phillip Green’s atrocities was later decided to be World War III in the mid-21st century, which served as an important macguffin in later Trek productions such as Encounter at Farpoint (1987), Star Trek: First Contact (1996), and a number of Star Trek: Enterprise (2001) episodes.
This is the second and final mention in a TOS episode that it may be possible to separate the nacelles from the ship, in this case by specifically jettisoning them.
A Star Trek trading card set gave Colonel Green’s full name as Edward Featherstone Green, but this was superseded by the last few episodes of Star Trek: Enterprise (2001) where he was spoken of as Phillip Green.
Kahless is seen here in the Klingon style typical of TOS. It would seem to contradict the explanation given in Divergence (2005) for the change in physical appearance of the Klingons, since Kahless lived long before those events. However, since the image of Kahless was drawn from Kirk’s and Spock’s minds, not from “fact”, this is not necessarily a contradiction.
The appearances of Kahless and Surak mark the final respective appearances of a Klingon and (full) Vulcan in The Original Series.
The budget cuts imposed by the network for series three are noticeable here. Although, at first glance, this appeared to have a number of guest actors, at least two of them were actor/stunt performers with no lines of dialogue. The planet surface was the Desilu set with fiber-glass rocks that had been used in previous stories or borrowed from the recently canceled CBS show Lost in Space (1965), Genghis Khan’s outfit had been used at least once previously, in The Omega Glory (1968), and Kahless’ Klingon outfit had also been used previously. Note that both Kirk and Spock materialize on the planet surface without their tricorders or phasers, meaning that money could be saved by not requiring any additional visual effects. Also, many of the planet surface props, such as spears, had been used previously. In fact, the only significant spend was on commissioning the molten rock creature costume (which was connected to a smoke machine).
This episode marks the final appearance of dress uniforms in the original series.
Scott’s kilt is the 1826 Scott black and white tartan, which “..was produced for his own use by Sir Walter Scott in 1822, and that he wore it in private, in the form of a Lowland shepherd’s plaid.” In Scotland, the patterns are referred to as ‘tartan’ as opposed to ‘plaid’ preferred in America. The one exception is the design known, in Scotland, as Shepherd’s Plaid.
William Shatner struggled to keep weight off during the show’s run and found the pounds piling on as filming dragged on over the course of a season. His weight gain is particularly noticeable in this story in comparison to episodes earlier in season three.
In the teaser, McCoy says, “There is no intelligent life here.”, and is quickly proven wrong. This is the only time anybody actually says this oft-quoted phrase on the original Star Trek series.
This is one of three productions in which Genghis Khan and Abraham Lincoln appear together as characters, in spite of the fact that Lincoln was born 582 years after the Khan’s death. The others are Bill & Ted’s Excellent Adventure (1989) and Clone High (2002).
Summary
When someone purporting to be Abraham Lincoln asks them to beam down to the planet below, Kirk and Spock agree to join him. Soon Surak, the greatest Vulcan of all time, is with them. They are told by a rock-like creature that they are there to do battle against four of history’s most evil characters. The rock creature’s society does not understand the concepts of good and evil and the battle between the two groups will determine which has the greatest merit. They are free to use any materials available to them on the planet and Kirk soon realizes that there are weapons to be made.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy Lee Bergere … Lincoln Barry Atwater … Surak Phillip Pine … Col. Green James Doohan … Scott George Takei … Sulu Nichelle Nichols … Uhura Walter Koenig … Chekov Arell Blanton … Chief Security Guard Carol Daniels … Zora (as Carol Daniels DeMent) Bob Herron … Kahless (as Robert Herron) Nathan Jung … Ghengis Khan Bill Blackburn … Lieutenant Hadley (uncredited) Roger Holloway … Lt. Lemli (uncredited) Bart La Rue … Yarnek (voice) (uncredited) Janos Prohaska … Yarnek (uncredited)
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, Margaret Armen, and David Gerrold
The Enterprise arrives at the planet Ardana to obtain Zenite, a rare mineral that they need to combat a botanical plague on another world. Kirk and Spock beam down but find themselves caught in the middle of a class struggle between the intellectual rulers dwelling in a city in the clouds, sustained by some anti-gravity technology, and Troglytes, the miners who mostly dwell in the caves on the surface of the planet, where such items like Zenite are obtained.
This is essentially a reworking of the worker class story penned by H.G. Wells in his famous novel The Time Machine. Extrapolating from such a premise of basic inequality, where-in the elites get all the benefits through the sweat of the workers.
It proposes that, sometime in the past, one race experienced an extreme branching-off separation into two, though, scientifically, they are still all the same race. Kirk and Spock see them as the same, simply a division of the rich vs. the poor, but the egotistical intellectuals of Stratos, the hovering city, have come to see themselves, over the centuries, as a different, superior race.
I liked seeing Spock liked by Droxine. She didn’t know it was a dead end but it’s nice seeing Spock, McCoy, or Scotty be involved instead of Kirk every now and then. Over all a good solid episode.
SPOILERS
The ending was left open…will the Cloud Minders and Troglytes get along?
From IMDB:
The rest chamber on Stratos is furnished with the iconic “Ribbon Chair” by french modernist designer Pierre Paulin, upholstered here in day-glow orange.
This was one of the first TV roles for football star Fred Williamson, who later became a prolific film actor.
According to John M. Dwyer (on the TOS season 2 DVD special features), the metal artwork and sculptures that appear throughout the city were mostly parts of metal furniture, like tables, etc. that he had rented from “a guy up in Topanga Canyon”, minus the glass tops, and much care had to be taken to return them in their original condition.
It is interesting that Jeff Corey was cast as Plasus, the leader of the privileged people on Stratos. For a number of years he had been blacklisted from working for allegedly being a Communist.
The phrase “For what purpose?” is uttered several times by several characters, in different contexts.
The story line is similar to Metropolis (1927) about a two class society where the upper class lives in the utopian city Stratos in the sky, enjoying their privileged life, while the cave-dwelling Troglytes’ only existence is working in the mines for the pleasure of a few – which is a key philosophical topic about ‘the needs of the many outweigh the needs of the few’ in the Star Trek universe.
When Kirk, Spock, and McCoy explain the benefits of the filter masks to Plasus, they do so from a monitor in the transporter room. This is the first and only time in the series we see a visual communication take place here.
The mine “entrance” is the same set piece that was used for the entrance to the defense computer cave in That Which Survives (1969).
The script was written by David Gerrold, one of four writers of Star Trek who had no prior TV writing credits. The other three were Jean Lisette Aroeste (‘Is There in Truth No Beauty?’, ‘All Our Yesterdays’), Judy Burns (‘The Tholian Web’) and Joyce Muskat (‘The Empath’).
Just before leaving Stratos, Captain Kirk suggests to Plasus that the Federation Bureau of Industrialization (FBI) might be of assistance to mediate the difficulties with the Troglytes.
This takes place in 2269.
Jeff Corey and DeForest Kelley appeared together in Canon City (1948).
The name Droxine supposedly means awareness, audacity and gentleness.
Jeff Corey, who played Plasus, was also a director and teacher. In fact, he was one of Leonard Nimoy’s acting instructors.
Summary
Kirk and the Enterprise arrive at the planet Ardana to collect a supply of Zenite, needed to combat a botanical plague. The Stratosians live in a city literally in the clouds, far above the planet. They are highly intelligent and devote most of their time to art and intellectual pursuits. On the planet however live the Troglites, a primitive people who work in the mines. The Stratosians face a rebellion from the planet’s populace by a group of Troglites known as the Disruptors. In the city above, one particular Stratosian, the beautiful Droxine, takes a particular interest in Mr. Spock. Kirk soon realizes that the Disruptors may have legitimate complaints and is forced to deal with them when they steal the Zenite shipment. They also discover there may be an explanation for the Troglites’ limited intellectual capacity.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy Jeff Corey … Plasus Diana Ewing … Droxine Charlene Polite … Vanna James Doohan … Scott Nichelle Nichols … Uhura Kirk Raymond … Cloud Guard #1 (as Kirk Raymone) Jimmy Fields … Cloud Guard #2 Ed Long … Midro Fred Williamson … Anka Garth Pillsbury … Prisoner Harv Selsby … Guard Bill Blackburn … Lieutenant Hadley (archive footage) (uncredited) Louie Elias … Troglyte #1 (uncredited) Dick Geary … Cloud City Sentinel #1 (uncredited) Jay D. Jones … Prisoner #2 (uncredited) Bob Miles … Cloud City Sentinel #2 (uncredited) Marvin Walters … Troglyte #2 (uncredited)
This song sets a mood when you hear it. I remember this song growing up and when I bought a Rolling Stones cheap greatest hits somewhere on cassette…this song was on it. They did a good version of it but it’s hard to beat the Drifters. In 1985 I was graduating and our band was recruited for a 1950s-era type of play by the drama teacher. Now, every time I hear 50s-sounding music…it takes me back to the mid-80s. This song has a 50s sound to it but was from 1964.
Under The Boardwalk was written by Arthur Resnick and Kenny Young. Resnick also wrote “Good Lovin'” for The Rascals and Kenny Young wrote some for the British Invasion band Herman’s Hermits. After Jerry Wexler, who was the head of Atlantic Records, heard it…he thought it would be perfect for the Drifters…which it was, and especially lead singer Rudy Lewis.
The band was set to record this on May 20, 1964, but lead singer Lewis was found dead that morning of either a drug overdose or a heart attack. He was only 27 years old. The singer he replaced earlier was Ben E King…the singer of Stand By Me.
The session was rescheduled for the next day, and Johnny Moore was called in to replace Lewis. Moore was with The Drifters in 1958 when their manager fired everyone in the band and brought in new members. He was a convenient replacement for Lewis and stayed on as their main vocalist.
The song was produced by Bert Berns. He was a busy man back then writing songs for many artists including Them featuring Van Morrison, Twist and Shout for the Isley Brothers, and Everybody Needs Somebody to Love by Soloman Burke just to mention a few.
Under The Boardwalk peaked at #4 on the Billboard 100, #5 in Canada, #6 in New Zealand, and #45 in the UK in 1964. It would be the Drifter’s last top ten hit on the Billboard 100 but they would hit in the R&B and UK charts.
Under The Boardwalk
Oh, when the sun beats down and burns the tar up on the roof
And your shoes get so hot you wish your tired feet were fireproof
Under the boardwalk, down by the sea, yeah
On a blanket with my baby is where I’ll be
(Under the boardwalk) Out of the sun
(Under the boardwalk) We’ll be havin’ some fun
(Under the boardwalk) People walking above
(Under the boardwalk) We’ll be making love
Under the boardwalk, boardwalk
From the park you hear the happy sound of a carousel
Mm-mm, you can almost taste the hot dogs and french fries they sell
Under the boardwalk, down by the sea, yeah
On a blanket with my baby is where I’ll be
(Under the boardwalk) Out of the sun
(Under the boardwalk) We’ll be havin’ some fun
(Under the boardwalk) People walking above
(Under the boardwalk) We’ll be making love
Under the boardwalk, boardwalk
Oh, under the boardwalk, down by the sea, yeah
On a blanket with my baby is where I’ll be
(Under the boardwalk) Out of the sun
(Under the boardwalk) We’ll be havin’ some fun
(Under the boardwalk) People walking above
(Under the boardwalk) We’ll be falling in love
Under the boardwalk, boardwalk
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, Arthur Heinemann, and D.C. Fontana
Not a strong episode or particularly a good one. This is one of the weakest episodes of the series. Now if you are looking for a product of it’s times episode…this is the one for you! Interstellar Hippies + Enterprise is basically what it is.
The Enterprise intercepts a stolen spacecraft as it heads into Romulan space. Those aboard are flying it in such a reckless manner that it explodes just as they are beamed out. Once aboard the Enterprise, we see that they are a bunch of space hippies. They intend to set up a new colony on Eden; a perfect planet they believe they will find. Kirk is unimpressed and plans to take them to the nearest star base…the only reason they aren’t thrown in the brig is that one of them is the son of an ambassador.
They soon start causing trouble; trying to incite younger crew members to join them and generally being obstructive. Spock seems to have an understanding with them and agrees to use the ship’s computer to help them find the planet they seek. The group is given medical scans which reveal that its leader Dr Sevrin is the carrier of a deadly disease; he is quarantined but soon after his followers release him and take over auxiliary control. From here they shut off bridge controls and take the Enterprise to their Eden in Romulan territory.
The planet, while as beautiful as all of them imagined, also has a very deadly side.
From IMDB:
Uhura does not appear in this episode. Lieutenant Palmer, who fills in, makes her second and final TOS appearance after The Doomsday Machine (1967).
The space hippie protest “Herbert, Herbert, Herbert!” is a gag, referring to both Star Trek four time director Herb Wallerstein, and long time Executive in Charge of Production Herbert F. Solow. (Spock tells Kirk that the reference to Herbert is “somewhat uncomplimentary” and that “Herbert was a minor official, notorious for his rigid and limited patterns of thought.”)
For the scene in which Spock plays his Vulcan harp for Adam (the last time he plays the instrument on the series), the background music for Uhura’s song from Charlie X (1966) is recycled.
James Doohan (Scotty) stated that this was his least favorite episode.
Charles Napier wrote some of the songs Adam sings.
Walter Koenig was highly critical of the writing for “The Way to Eden”. In particular he felt Chekov was written as too authoritative, rigid and by the book, a complete contrast from his usual and intended characterization.
Dr. Sevrin is based on Timothy Leary, a controversial psychology professor who advocated LSD as a therapeutic drug.
This episode was originally entitled “Joanna.” The character of Irina was originally to be Joanna McCoy, daughter of Dr. McCoy, and love interest for Captain Kirk, but that original script was rejected. The character of Joanna was planned to later appear in the fourth season, but Star Trek was canceled at the end of the third season.
In this episode, for the first time, Chekov’s first and middle names are spoken/revealed, Pavel Andreivich.
In some scenes, William Shatner can be seen to be wearing a corset.
Nurse Chapel’s collapse, as well as the collapse of other crew members in the corridor, is reused footage from Spock’s Brain (1968). This is why the lights go out in sickbay during that shot, while they are functioning normally elsewhere on the ship.
Dr. McCoy does have a number of salt shakers in his arsenal of “medical equipment” (as well as boat anchors) but the spinning hand scanner was a special prop made by the prop department to go with the medical tricorder. It did nothing but spin.
A brief shot of the surface of Eden is reused footage of the lakeside from Shore Leave (1966). A shot of the surface of Gamma Trianguli VI from The Apple (1967) is also recycled and used in the same scene.
Star Trek V: The Final Frontier (1989) recycles many elements of “The Way to Eden,” including Spock’s desire to find Eden.
Skip Homeier also starred in Patterns of Force (1968) as Melakon.
In the original version of the episode, the spacecraft Aurora is a Tholian ship with AMT model kit nacelles added to it. It is shown in the preview trailer without the nacelles. For the remastered version, a new design was created.
Summary
The Enterprise intercepts a stolen spacecraft heading directly for Romulan space. Its occupants are six space-age hippies who refuse to accept authority and are unconventional in their thinking. Led by the renowned Dr. Sevrin, they are in search of paradise – the mythical planet Eden. Kirk cannot relate but Spock does and agrees to help locate the planet. Spock also concludes that Sevrin is insane. For Chekov, it’s a chance to re-unite with Irina, with whom he was in love while they were students at the Academy. When the travelers manage to take control of the Enterprise, they realize their dream and arrive on Eden, which has surprises of its own.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy Skip Homeier … Sevrin Charles Napier … Adam Mary Linda Rapelye … Irina (as Mary-Linda Rapelye) James Doohan … Scott Walter Koenig … Chekov George Takei … Sulu Majel Barrett … Nurse Chapel Victor Brandt … Tongo Rad Elizabeth Rogers … Lt. Palmer Deborah Downey … Girl #1 Phyllis Douglas … Girl #2
There are so many songs I had to leave off…I could have filled up 50 slots. This is the year music exploded into what developed into modern rock. The British were coming, they came, and they conquered. On February 9, 1964, the world changed. We all know the song that hit first… I Want To Hold Your Hand. If you want to know about that one…here is a link to the good article that halffastcyclingclub wrote for The Beatles week that I had.
I’m going to start off with the B side of that single…one of the best B sides ever. It’s a fairly well-known song also. Let’s start off with the John Lennon and Paul McCartney song I Saw Her Standing There. After this year…the world would never be the same.
The English bands started to come over after the door was kicked in by The Beatles. One of the rawest and roughest was The Animals. They do their take on this classic traditional song and it has become the standard version that most people remember and it’s been covered by artists including Woody Guthrie in the 1940s.
A garage-sounding song and a future look at punk music. The Kinks made themselves known with this raw edgy hit.
The Dave Clark Five knocked the Beatles out of the number one position on the UK charts with Glad All Over. It was written by Dave Clark and Mike Smith.
Let’s end with an American band that had been charting since 1962 but now they were getting huge. The Beach Boys with Don’t Worry Baby. This is a masterpiece of a song. One of my all-time favorites. It’s up there with God Only Knows by them also. Brian Wilson wrote this tremendous song. I bumped another great song for this…I Get Around…but I just had to. Do you agree?
This catchy 1967 song was on the Grateful Dead’s self-titled debut album. This is not one of the songs that they would play for years. According to Songfacts the Dead only performed it eight times, six during a roughly four-month span in 1967. In the 1990s Vince Welnick lobbied for them to play it because he played it in some of his own bands. The last time they played it was in 2015 at Chicago’s Soldier Field on a reunion tour.
The song fit the Summer of Love in which it was born. This was before they jelled into what they became. You can tell this was influenced by the British invasion bands. The song’s title is said to have been inspired by Aldous Huxley’s groundbreaking book, The Doors of Perception. The Doors of Perception explored the idea of inner consciousness and claimed that there was a way to transcend the everyday world and access heightened experiences. The Golden Road (To Unlimited Devotion) is seen by some as a nod to Huxley’s ideas and philosophy.
They hadn’t found their identity yet and would soon start improvising on stage into jams. This song clocks in at around two minutes…that would change. They had the album recorded and the record company said they needed a single. They went home and wrote this song and thought…this would fit the bill. It IS a catchy song and I have to wonder if it was pushed at all by the record company?
The band’s grasp of spontaneity and jamming can be seen in the music of other jam bands like Phish and Widespread Panic. The album peaked at #73 on the Billboard Album Charts in 1967. The song was credited to the entire band. From wiki… The band used the collective pseudonym “McGannahan Skjellyfetti” for their group-written originals and arrangements. The name was a misrendering of “Skujellifeddy”, a character in Kenneth Patchen’s comic novel The Memoirs of a Shy Pornographer, plus the name of then-frontman Pigpen’s cat.
Jerry Garcia: “After we recorded the album they said, ‘We still haven’t got anything here that’d be a strong single.’ So we said, ‘Ah, a strong single, sure!’ So we went home and wrote a song.’Wow, this’ll be a good single.'”
“This was recorded after we recorded the body of the album, and [it’s] a new song; we were thinking specifically of a single, so we just played around, and came up with some nice changes and cooperated on the entire thing, and came up with the Golden Road, which is a good song; I mean it’s like really fun to sing and fun to play … and it seems like a good single, whatever that is – we thought it could be a single.”
The Golden Road (To Unlimited Devotion)
See that girl, barefootin’ along,
Whistlin’ and singin’, she’s a carryin’ on.
There’s laughing in her eyes, dancing in her feet,
She’s a neon-light diamond and she can live on the street.
Hey hey, hey, oh, by the way, come and (party every day)
Hey hey, hey, oh, by the way, come and (party every day)
Well everybody’s dancin’ in a ring around the sun
Nobody’s finished, we ain’t even begun.
So take off your shoes, child, and take off your hat.
Try on your wings and find our where it’s at.
Hey hey, hey, come (party every day)
Hey hey, hey, come (party every day)
Take a vacation, fall out for a while,
Summer’s comin’ in, and it’s goin’ outa style.
Well lite up smokin’ buddy, have yourself a ball.
Cause your mother’s down in Memphis, won’t be back ’till the fall.
Hey hey, hey, come right away
Come and join the (party every day)
Hey hey, hey, come right away
Come and join the (party every day)
Hey hey, hey, come right away
Come and join the (party every day)
Hey hey, hey, come right away
Come and join the (party every day)
Gonna see Miss Brer Foxhole Bright diamonds at her teeth She is pure gold down underneath
I’ve talked about it before…a title can draw a person in a song. This one begs to be listened to. Sometimes they don’t live up to the title but this one does. Although Robbie Robertson wrote this, Levon Helm’s vocals brought this piece of Americana to life. He owns this song. He grew up near Helena, Arkansas, and heard stories of traveling Medicine Shows coming in and out of town. When he was a kid he got to see some of these shows. Robertson later translated that into this song.
Helena, Arkansas was the home of the King Biscuit Time radio show. It debuted in 1941. Performers such as Sonny Boy Williamson II would be on the show. The show was the thing that really crystallized blues music in that area. It is said that Muddy Waters and B.B. King would come home from working in the fields every day just to listen to the King Biscuit hour.
This song was on their 3rd album Stage Fright. By this time, Robertson was having trouble writing songs. The brotherhood they all shared was getting complicated because of outside influences. Robertson also had a baby daughter and pregnant wife at home. The songs were great though.
Stage Fright peaked at #5 on the Billboard Album Charts, #6 in Canada, and #15 in the UK in 1970. The album has some of my favorite songs by the Band on it. The Shape I’m In, Stage Fright, and this one.
Robbie Robertson: I wrote about a traveling medicine show I had heard Levon speak of years earlier, something between a carnival sideshow and the African American origins of rock and roll. We recorded “The W. S. Walcott Medicine Show” and another take of “Daniel and the Sacred Harp” with Todd at a studio in the city, and these turned out to be a couple of our favorite tracks. That put the finishing touches on what we could pull out of the hat for this record. I was worn out from this process and trying to maintain a stable family life with my baby daughter and pregnant wife.
The W.S. Walcott Medicine Show
When your arms are empty, got nowhere to go
Come on out and catch the show
There’ll be saints and sinners
You’ll see losers and winners
All kinds of people you might want to know
Once you get it, you can’t forget it
W.S. Walcott medicine show
You know he always holds it in a tent
And if you’re looking for the real thing
He can show you where it went
There’s a young faith healer, he’s a woman stealer
He will cure by his command
When the music’s hot then you might have to stand
To hear the Klondike Klu Klux Steamboat Band
Don’t you sweat it, you can’t forget it
W.S. Walcott medicine show
I’d rather die happy than not die at all
For a man is a fool who will not heed the call
Gonna see Miss Brer Foxhole
Bright diamonds at her teeth
She is pure gold down underneath
She’s a rock and roll singer and a true dead ringer
For something like you ain’t never seen
Once you get it, you can’t forget it
W.S. Walcott medicine show
W.S. Walcott medicine show
W.S. Walcott medicine show
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, Jerome Bixby, and Arthur H. Singer
The Enterprise crew is racked by Rigelian fever and arrives at a planet to gather raw material (Ryetalin) for treatment. Spock, Kirk, and McCoy beam down and encounter Flint, seemingly the sole occupant and owner of the planet. His actions and motives are mysteriously strange throughout the first 3 acts of the episode… he appears hostile at first, but then shifts his attitude to that of a gracious host, unveiling his legal ward, a young female whose parents died while in Flint’s employ (so he says). Kirk is immediately entranced by this girl (Rayna) of great intellect, who also seems very naive.
Flint has something up his sleeve and it’s definitely not just to say goodbye to Kirk, Spock, and McCoy. Spock rightly suspects something is wrong and tells Kirk that their host is delaying their stay at his home for unknown reasons. Spock surmises correctly that Flint knows Brahms, da Vinci, and countless other personalities to create his exquisite collection of paintings and musical masterpieces.
‘Flint,’ it turns out, is just using this name as the latest in a long line; he was previously known as Da Vinci, the composer Brahms, as well as Solomon, Lazarus, Methuselah, and Merlin, besides a hundred others. Spock had deduced as much after studying Flint’s paintings and musical compositions, which were all created recently, using 23rd-century materials: Flint was born about 6000 years ago, on Earth.
For reasons never explained, he is some kind of a mutant, an immortal – he found this out way back in his first identity when he recovered from a fatal wound. This backstory is somewhat familiar, and used in other novels, series, or films. It’s very close to a Twilight Zone episode called Long Live Walter Jameson.
When Flint delays the transfer of Ryetalin to the Trek trio and basically compels them to enter his secret room with its models of other Raynas, his intentions become clear: he wants to hold them in stasis with the Enterprise for a thousand years. Spock is in his element with this late Classic Trek episode.
He’s the first person to realize that Flint will never let them leave his home since they have discovered his secret immortality and the first to tell Flint that Rayna would hate him for holding the Enterprise crew in stasis. Rayna is not what she seems…and Kirk has fallen for her…(Video at the bottom)
SPOILERS
A really good episode. Spock does something really touching at the end. He sees Kirk severely depressed about losing Rayna. Kirk put his head down and Spock goes to Kirk and mind melds with him and made him forget so he could stop hurting.
From IMDB:
The Johannes Brahms paraphrase that Spock plays was written especially for this episode by Ivan Ditmars.
One of many Star Trek productions resembling William Shakespeare’s The Tempest and/or Irving Block’s Forbidden Planet (1956).
Flint’s viewscreen appears to be a fairly close predictor of the modern flat panel TV that would become a commonplace household device decades later, except in 4:3 rather than widescreen format.
Mr. Flint invites Kirk, Spock and Bones to his palace, which is the same as seen from afar in The Cage (1966): an Eastern palace with blue details, golden rooftops, a giant moon or other planet in the background left and a smaller, Saturn-like planet left of that. In ‘The Cage’ this is the stage for the fight between Captain Pike and the quasi-Viking giant. In the remastered Star Trek, this image was replaced with a new background.
The undercarriage of Flint’s robot, M-4, is a reused portion from the upper carriage of Nomad from The Changeling (1967).
The only time in TOS in which the stardate is given with two decimal places instead of the usual one.
In the third season blooper reel, there is a shot of the M-4 on its dolly mount, being wheeled toward William Shatner by its operator. There is also a clip of Leonard Nimoy rocking his head sarcastically while “fill-in” elevator music plays for the scene where Spock plays Johannes Brahms’ waltz for Kirk and Rayna. Ivan Ditmars’ performance was dubbed in later.
In the preview trailer, the view of Kirk’s face saying “my crew” is unobstructed. The shrunken ship had not been spliced in yet.
The closeup of the sheet music of the “totally unknown” waltz of Brahms as declared by Spock is actually a handwritten copy of a very famous Brahms Waltz. Waltz No. 1 (in B Major) of the 16 Waltzes, Op. 39. This sheet music does not replicate what is heard – the original Waltz that is “played” by Spock- which WAS written for the episode.
This episode includes the newest footage of the Enterprise seen since Mirror, Mirror (1967), utilizing the three-foot model built to demonstrate the Enterprise shape in 1964.
Actor James Daly, who plays Mr. Flint, is the father of actress Tyne Daly (Cagney & Lacey, 1981-88) and actor Timothy Daly (Wings, 1990-97).
Jerome Bixby revisited the “immortal man” theme in a novel/play filmed as The Man from Earth (2007).
Flint’s view screen appears to be the Beta III lighting panel seen in The Return of the Archons (1967). It is also similar to the one seen in Where No Man Has Gone Before (1966).
Some of the furnishings in Flint’s castle are recognizably recycled from previous episodes. Spock sits in the ornate chair used by Korob and Sylvia in Catspaw (1967). In the outer room of Flint’s laboratory, just in front of the vertical grill, is Liviana Charvanek’s “communications box” from The Enterprise Incident (1968). In the same room, the back walls are lined with the consoles from the Elba II control room in Whom Gods Destroy (1969).
In Secrets and Lies (2001), Max Evans auditions for a role in a fictional episode of Star Trek: Enterprise (2001) directed by Jonathan Frakes in which the Enterprise crew have contracted Rigelian fever and Doctor Phlox must obtain Ryetalyn to cure them.
Flint and Rayna are very similar to Rojan and Kelinda from By Any Other Name (1968), also written by Jerome Bixby.
Summary
Kirk, McCoy, and Spock beam down to what is supposed to be an uninhabited planet to collect a supply of ryetalin, an essential element to treat a serious virus that is afflicting the Enterprise crew. On the planet, they meet a human named Flint who is not very pleased to see them. He agrees to help them locate the supply of ryetalin but insists that they leave as soon as possible. His home fascinates Spock who notes that the artworks comprise unknown DaVinci paintings, unknown Brahms music, and other works all apparently original except for the fact that contemporary materials were used in their creation. Kirk is attracted to Flint’s ward, the beautiful Rayna, but she too has a secret – one that is unknown even to her.
Here is a short video…it was the only one that didn’t give me an age restriction. Here is a better video.
CAST
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy James Daly … Flint Louise Sorel … Rayna James Doohan … Scott Nichelle Nichols … Uhura Bill Blackburn … Lieutenant Hadley (uncredited) Roger Holloway … Lt. Lemli (uncredited) Naomi Newman … Lt. Rahda (uncredited) Sally Yarnell … Lieutenant (uncredited)
A song that was intertwined with my life growing up. It sounds so genuine because I grew up with people that talked just like the characters in the song. What an epic song that Bobbie Gentry wrote. The writing was flawless in this song and her delivery was spot on. This was the ultimate story song.
Bobbie Gentry was born and raised in Mississippi and knew very well of the Tallahatchie Bridge. When Gentry was 13, she moved to Palm Springs, California to live with her mother. While attending college at UCLA, Gentry supported herself by performing at local clubs. She transferred to the Los Angeles Conservatory of Music and began her study of music theory and arrangement.
In early 1967, Gentry started making demos of songs that she believed she could sell to other artists to record. In July, Kelly Gordon was assigned to produce Ode To Billie Joe for the label. The track “Mississippi Delta” is the song that caught Capitol’s attention, but after the first string session with Jimmie Haskell, it was decided that the song “Ode to Billie Joe“ would be the A-side single released. A very wise choice.
The song took off that summer and that ignited the album of the same name. Ode to Billie Joe replaced the Beatles’ Sgt. Pepper’s Lonely Hearts Club at the top of the Billboard 200. Gentry won three Grammy Awards in 1967 (Best New Artist and Best Female Pop Vocal Performance.) She also took home the award for the Academy of Country Music’s Most Promising Female Vocalist.
Was the song based on a true story? No, but it was inspired by the 1954 murder of Emmett Till. Till was only 14 years old when he was shot and thrown over the Black Bayou Bridge in Mississippi for offending a woman in a grocery store.
In 1976 I remember watching the movie “Ode To Billy Joe.” Believe me, the song was much better than the movie. At the time though it wasn’t that bad. The release weekend for this movie coincided with the date from the first line of the song that inspired it: “It was the 3rd of June, another sleepy, dusty Delta day.”
The song peaked at #1 on the Billboard 100, #1 in Canada, #3 in New Zealand, and #13 in the UK in 1967.
She changed her name from Roberta Lee Streeter, in tribute to the Jennifer Jones movie Ruby Gentry…her songs were almost always set in and around the Chickasaw County of her childhood, semi-mythical south, with lyrics about people who were friends and neighbors. In 1972 the wooden bridge collapsed after being set on fire by vandals but was later rebuilt.
Bobbie Gentry: “The message of the song revolves around the nonchalant way the family talks about the suicide. The song is a study in unconscious cruelty.”
Bobbie Gentry: “It’s entirely a matter of interpretation as from each individual’s viewpoint. But I’ve hoped to get across the basic indifference, the casualness, of people in moments of tragedy. Something terrible has happened, but it’s ‘pass the black-eyed peas’, or ‘y’all remember to wipe your feet.'”
Ode To Billy Joe
It was the third of June, another sleepy, dusty Delta day
I was out choppin’ cotton, and my brother was balin’ hay
And at dinner time we stopped and walked back to the house to eat
And mama hollered out the back door, y’all, remember to wipe your feet
And then she said, I got some news this mornin’ from Choctaw Ridge
Today, Billie Joe MacAllister jumped off the Tallahatchie Bridge
And papa said to mama, as he passed around the blackeyed peas
Well, Billie Joe never had a lick of sense, pass the biscuits, please
There’s five more acres in the lower forty I’ve got to plow
And mama said it was shame about Billie Joe, anyhow
Seems like nothin’ ever comes to no good up on Choctaw Ridge
And now Billie Joe MacAllister’s jumped off the Tallahatchie Bridge
And brother said he recollected when he, and Tom, and Billie Joe
Put a frog down my back at the Carroll County picture show
And wasn’t I talkin’ to him after church last Sunday night?
I’ll have another piece-a apple pie you know, it don’t seem right
I saw him at the sawmill yesterday on Choctaw Ridge
And now ya tell me Billie Joe’s jumped off the Tallahatchie Bridge
And mama said to me, child, what’s happened to your appetite?
I’ve been cookin’ all morning, and you haven’t touched a single bite
That nice young preacher, Brother Taylor, dropped by today
Said he’d be pleased to have dinner on Sunday, oh, by the way
He said he saw a girl that looked a lot like you up on Choctaw Ridge
And she and Billie Joe was throwing somethin’ off the Tallahatchie Bridge
A year has come and gone since we heard the news ’bout Billie Joe
And brother married Becky Thompson, they bought a store in Tupelo
There was a virus going ’round, papa caught it, and he died last spring
And now mama doesn’t seem to want to do much of anything
And me, I spend a lot of time pickin’ flowers up on Choctaw Ridge
And drop them into the muddy water off the Tallahatchie Bridge
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, Jeremy Tarcher, and Shari Lewis
Poor old Scotty…he can’t seem to keep a girlfriend. When he liked a girl before she ended up getting murdered by an alien or another one stolen by a Greek God. In this one, something happens to the one he likes… will it work?
This episode highlights the theme of alien possession, as a young woman called Mira Romaine is used by aliens called Zetars. Although their purpose is somewhat vague, their arrival via a “psychic storm cloud” heralds a takeover and some interesting side effects. When the ship approaches Memory Alpha, Mira Romaine starts having visions of impending danger, and the landing party goes down to investigate
Once on Alpha’s surface, the backlash of the Zetar arrival is seen. One female technician starts to talk in a slow frog-like garble, then she undergoes a weird horrifying convulsive transformation…and then dies. Mira is beamed down but is unable to make head or tail out of what Kirk and the others had witnessed – until she senses that the Zetarians are coming back.
Kirk realizes the only way to rid Mira of her condition is to subject her to decompression. Scotty, who had taken a serious liking to Mira, gets her to the decompression chamber but not without being zapped by the Zetars that are in her body.
We never find out much about the Zetars and if they were good or bad although they did kill all of Memory Alpha’s staff. It’s an enjoyable episode. I kept wondering when Kirk was going to jump on Scotty for displaying so much attention to Mira Romaine…although I would do the same thing.
From IMDB:
Shari Lewis decided to write the romantic angle centering on Scotty as a way to deviate from the formula of Kirk always getting the romantic interests. This is the third show where Scotty actively pursues a specific woman. In season two, he wooed Kara in “Wolf in the Fold”, and Carolyn Palamas in “Who Mourns for Adonais?”.
This show was co-written by Shari Lewis and her husband Jeremy Tarcher. Lewis also lobbied to be cast in the guest role of Lt Romaine, but was denied the part. Lewis was a ventriloquist best known for characters such as Lamb Chop, Charlie Horse and Hush Puppy.
The glass-covered portal of the medical decompression chamber is a reuse of a suspended-animation pod from Space Seed (1967).
The overhead zoom shot of the bridge in the teaser was not shot for this episode. It apparently was filmed for (but not used in) The Galileo Seven (1967). Lt. Hadley, rather than Mr. Chekov, is at the Navigator station in the shot. It is noticeable that he is wearing Lieutenant stripes in the shot. The crew is also noticeably wearing the velour uniforms seen in season 1 and 2, not the nylon variety that replaced them in season 3.
This is the final episode in which we will see a Tellarite and an Andorian in TOS.
Final appearance on the show by John Winston as Kyle, though he would return to play the role in Star Trek II: The Wrath of Khan (1982). In addition, the last episode to feature all seven of the regular characters as well as both Kyle and Chapel.
The Memory Alpha monitor room was the reused control room set from Whom Gods Destroy (1969).
On the Memory Alpha control room main panel, the round indicator light in the middle is a prop that was used in the behavior modification chairs in Whom Gods Destroy (1969) and Dagger of the Mind (1966).
In the fourth act, when Scotty is helping the possessed Mira to her feet before picking her up, James Doohan’s missing finger is clearly noticeable.
Just after Sulu shouts that the shields have been penetrated and everyone runs down the corridor (at around 37 minutes in), a creative male background extra can be seen performing some kind of ‘batten down the hatches’ mime act upon a yellow wall fixture. Looking more closely, one can see that the extra is holding a tool to perform the ‘batten down’ action.
Summary
En route to Memory Alpha, a massive Federation library designed to hold all the knowledge of its member worlds, the Enterprise comes across an entity of twinkling lights that is impervious to the ship’s weapons and can move faster than the speed of light. For Lt. Mira Romaine, it’s her first deep space voyage, but she has the support of Lt. Cdr. Scott, who has fallen very much in love with the lass. When they first encounter the new being, Mira’s body is invaded, and it soon becomes clear that the entity has no intention of releasing her. The challenge for Kirk and Spock is to find a way to rid them of this being, but the only method available may also kill her.
William Shatner … Captain James Tiberius ‘Jim’ Kirk Leonard Nimoy … Mister Spock DeForest Kelley … Dr. McCoy Jan Shutan … Lt. Mira Romaine James Doohan … Scott George Takei … Sulu Walter Koenig … Chekov Nichelle Nichols … Uhura Majel Barrett … Nurse Chapel John Winston … Lt. Kyle Libby Erwin … Technician Barbara Babcock … Zetar (voice) Bill Blackburn … Lieutenant Hadley (uncredited) Frank da Vinci … Crewman (uncredited) Roger Holloway … Lt. Lemli (uncredited) Jeannie Malone … Yeoman (uncredited)
I heard this song on the show House MD not long ago and it stuck with me. I knew it was Leon Russell but I didn’t know a thing about it. Very good song all the way around. Movies and TV Shows are a good way to pick up new and old songs that you don’t know.
It’s hard to resist Leon Russell’s music. His song Tight Rope was one of the first songs I remember in my life. His real name was Claude Russell Bridges. He was born in Oklahoma and in high school he worked with future Bread singer-songwriter David Gates.
Leon did a lot before the public ever heard of him. He was part of the Wrecking Crew who played on Beach Boy records and hits like This Diamond Ring for Gary Lewis. Most major players in the seventies wanted Leon Russell on their albums. After George Harrison invited him to play with him a short while later Mick Jagger worked with him. He was a popular man among the British elite rock stars.
The song was on the album Leon Russell and the Shelter People released in 1971. The album peaked at #17 on the Billboard Album Charts, #29 in The UK, and #14 in Canada. The song was not released as a single.
Elton John helped bring Leon Russell back into prominence in 2010 through a successful album. He worked up until his death on November 13, 2016. He had already planned a tour starting in January 2017.
Stranger in a Strange Land
How many days has it been
Since I was born
How many days until I die
Do I know any ways
That I can make you laugh
Or do I only know how to make you cry
When the baby looks around him
It’s such a sight to see
He shares a simple secret
With the wise man
He’s a stranger in a strange land
Just a stranger in a strange land
Tell me why
He’s a stranger in a strange land
Just a stranger in a strange land
How many miles will it take
To see the sun
And how many years until it’s done
Kiss my confusion away in the night
Lay by side when the morning comes
And the baby looks around him
And shares his bed of hay
With the burro in the palace of the king
He’s a stranger in a strange land
Tell me why
He’s a stranger in a strange land
Just a stranger in a strange land
Well, I don’t exactly know
What’s going on in the world today
Don’t know what there is to say
About the way the people are treating
Each other, not like brothers
Leaders take us far away from ecology
With mythology and astrology
Has got some words to say
About the way we live today
Why can’t we learn to love each other
It’s time to turn a new face
To the whole world wide human race
Stop the money chase
Lay back, relax
Get back on the human track
Stop racing toward oblivion
Oh, such a sad, sad state we’re in
And that’s a thing
Do you recognize the bells of truth
When you hear them ring
Won’t you stop and listen
To the children sing
Won’t you come on and sing it children
He’s a stranger in a strange land
Just a stranger in a strange land
You take what you need And you leave the rest But they should never Have taken the very best
I wasn’t sure if I would post anything on Robbie Robertson but I had to if just for my sake. This loss hits me really hard as it does a lot of people. Most of us never knew the man but we did know him through his songs. I’m not going to list chart positions or anything like that. On this day for me, it’s just about how his music hits me.
Most artists I treat very unfairly. In my mind, they are frozen in time during a certain period. When I think of John Lennon I think of him in 1966…with Robbie Robertson, it was always around 1969-70 after writing two of the most important albums in rock history. In my mind, he was not 80 but 26 years old. So it was shocking to hear he passed away today.
The man not only was a great storyteller but many of his songs were mini-movies you could visualize. Who couldn’t imagine the drunkard and his sweetheart defender Bessie betting on horses up on Cripple Creek? You see and hear a hungry Virgil Kane and his wife struggle during the Civil War. In King Harvest, you get a view from a poverty-stricken farmer getting promises that will never happen. How about pulling into Nazareth and then seeing Carmen and the Devil walking side by side? Can you then visualize Miss Fanny sending her regards to everyone? I can.
Those are not just songs…they are visual pictures sent through music that only Robertson could write. He studied screenplays and that is how he wrote many of his songs and we continue to benefit from his hard work and gift…and always will.
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