text:
Numerous undeveloped Star Trek episodes were written for Star Trek: The Original Series. These stories were submitted or developed for production, but for various reasons never aired.
Star Trek is..., the very first series outline, listed a number of short ideas for episodes, some of which were later worked out. David Gerrold presents his case of failed story, outline or script submittals during his early attempts to write for Star Trek: The Original Series. These outlines were later presented in his book The Trouble with Tribbles.
"Aladdin's Asteroid"Edit
Step outline by Robert Barry, dated 22 May 1967. The story concerned a spaceship disguised as an asteroid. Although Barry's outline, according to the producers, was original and imaginative, it was deemed too expensive to produce. However, the concept was later reused in "For the World is Hollow and I Have Touched the Sky". (These Are the Voyages: TOS Season Two, p. 461)
"Alien Spirit"Edit
Story outline by Norman Katkov, dated spring, 1966. Inspired by the 1958 sci-fi film It: The Terror from Beyond Space, the Enterprise is invaded by an invisible, powerful alien being, capable of smashing rooms and tossing crewmembers through the air. Roddenberry and his staff disliked the concept, deeming it too violent and too expensive. (These Are the Voyages: TOS Season One, p. 356)
"The Aurorals"Edit
Story outlines by Frank Paris, dated 13 June 1968 and 20 June 1968.
This story dealt with an alien race kidnapping Kirk, Spock and McCoy in order to use their genes to create a gene bank, providing a way to survive for their infertile species. Meanwhile, they replace the trio with android duplicates on board the Enterprise. The crew soon begins to suspect their fellow officers to be imposters, as they behave oddly and unlike their real counterparts, and form a mutiny against them. (These Are the Voyages: TOS Season Three)
The re-fertilizing concept is similar to "Wink of an Eye", while the android replacement part bears a striking resemblance to TNG: "Allegiance".
"Bandi" was a story premise written by David Gerrold that he submitted in February 1967. [1]
Gerrold adapted his story for the third volume of Star Trek: The Manga.
Though Gerrold later speculated that Kirk would instead temporarily take command of another starship to investigate reports of laxity, his outline primarily set it aboard the Enterprise. Kirk discovers there's a mascot smuggled aboard by a crewmember; the creature, named Bandi, has an empathic ability to cause sympathy for it. Kirk wants it confined but Bandi always gets out by persuasive empathy to a crew member nearby. When a crewmember dies because of a distraction caused by Bandi, Kirk wants it off the ship; Bandi turns the crew against Kirk, but once Spock kills Bandi, the crew snaps out of it. This behavior by the crew led Gerrold to speculate Kirk temporarily commanding another ship where the problem happens. Gerrold also said if the outline sold, he'd come up with a better name than Bandi. Nevertheless, the name was later reused for "Encounter at Farpoint", the pilot episode of Star Trek: The Next Generation.
"The Beast"Edit
Story outline by Marc Daniels, dated 1 July 1968.
Story outlines by David Gerrold, dated 14 March 1968 and 4 April 1968. [2] [3] Additionally, in a period spanning from 12 March 1967 to 17 April 1968, there was material correspondence between Gerrold and Gene Roddenberry about this proposed episode. [4] The episode was intended to introduce the character of Bem. The reason why Gerrold named both that alien and this episode "Bem", an oft-used acronym for "Bug Eyed Monster," was simply because he thought it would be fun to have a true bug-eyed monster on Star Trek, even though the alien character was not intended to be one and (at least in Gerrold's opinion) there were never any bug-eyed monsters in the original Star Trek series. ("Bem" audio commentary)
The story's premise was related to prejudice, which was inspired by the push for civil rights that was occurring at the time, as many people were talking about the nature of prejudice. David Gerrold recalled, "People were saying that 'Prejudice isn't logical,' and I said, 'What would happen if you had a logical reason to be prejudiced?'" [5] Gerrold postulated the repercussions of having the very logical and emotionally-controlled Spock be the individual who became prejudiced. ("Bem" audio commentary) The question of what Spock might be prejudiced against, since there would have to be a logical reason for the reaction, then occurred to Gerrold. ([6]; "Bem" audio commentary) The writer reckoned that having the character become prejudiced against an alien would be interesting. [7] Gerrold realized that the alien would have to be highly illogical and finally settled on the decision to make the alien a kind of practical joker. ("Bem" audio commentary; [8]) Gerrold concluded, "That was where 'Bem' started, with Spock having a logical reason to be prejudiced against Bem's bad behavior." [9] Gene Roddenberry granted Gerrold a contract to write the episode. (The Trek 25th Anniversary Celebration, p. 50)
The first of the story outlines involved the Enterprise struggling to courier a small team of scientists from a dismantling planet in the Zeta Omicron system to a position where they could observe their sun go nova. As well as Bem himself, this episode also featured the once-only character of Dr. Isaacson – the leader of the scientists and an absent-minded, glasses-wearing professor type. The outline included a reference to Christopher Pike and culminated in Spock, having been specifically targeted for Bem's practical jokes on the ship's crew, being irradiated by the nova (causing his skin to turn green with radiation burns) but Bem using his limbs, which could operate while detached from the rest of his body, to rescue Spock. In a tag set in sickbay, it was revealed that the reasoning for all of Bem's joke-playing on the crew was that Bem, unaware of the discomfort it had been causing Spock, had been expecting a practical joke to be played back on him, as a sign of acceptance. Spock had obliged, having given Bem a hot-foot. (The Trek 25th Anniversary Celebration, pp. 51-52)
The book The Trek 25th Anniversary Celebration (p. 51), in which an essay examines the details of the two story outlines, comments that the character of Dr. Isaacson was "obviously based" on Isaac Asimov.
David Gerrold admitted that this plot had problems, mainly centering around making Bem more responsible for the difficulties on the planet (rather than naturally-occurring problems due to the planet's break-up, such as earthquakes and storms) and writing Kirk as being more definite in the story's climax. Following the changeover of show-runner from Gene Roddenberry to Fred Freiberger, Gerrold was called in (by Freiberger) to rewrite "Bem". Roddenberry spoke to Gerrold about the story, and the narrative's writer liked some of Roddenberry's ideas. Wanting to take advantage of the opportunity, Gerrold compromised and agreed to write a revised version of the plot, in hopes of it satisfying both of them. (The Trek 25th Anniversary Celebration, p. 52)
The second version had Bem sabotaging a mission to determine whether the ape-like creatures of Zeta Beta II were civilized. It involved Bem trapping Kirk and Spock on the planet and fooling the rest of the Enterprise crew that the two senior officers were actually dead (as such, the outline included talk of the Enterprise returning to base, Kirk being buried on Earth and Spock on Vulcan). In this case, the episode's resolution involved Kirk and Spock (the natives having come to regard Kirk, because he showed them how to make tools, as a god) managing to capture Bem, a landing party from the Enterprise beaming to their location and Bem finally explaining that he was actually a psycho-sociologist who had been trying to conduct an experiment. In the outline's conclusion, Spock wondered – back aboard the Enterprise, as the ship departed the planet – whether the natives would use the concept of tools to construct tools or weapons and the creatures confirming, for the reader, that the former was true. (The Trek 25th Anniversary Celebration, pp. 52-54)
Fred Freiberger was still unhappy with the narrative. (The Trek 25th Anniversary Celebration, p. 54) Even though David Gerrold had submitted (together with the original outline) some sketches for the design of Bem's species, Gerrold later remembered, "We never got there because Gene left the show and Freddy Freiberger came in [....] I had the [revised] idea for 'Bem', but he said, 'I don't like that, either.'" [10] Gerrold elaborated, "There were more important stories to tell [....] Even though Gene was interested in it, for the third season of Star Trek, when he left and Fred Freiberger came in, there was a different storytelling agenda on the map." ("Bem" audio commentary) Dorothy Fontana said of the story, "We thought it could not be done well in live action." (Star Trek: The Magazine Volume 1, Issue 16, p. 67) She clarified, "It was impossible to do, in terms of production, at that time." (Star Trek Vault: 40 Years From The Archives, p. 32) The story outlines ended up in David Gerrold's possession and, at one point, he was storing them in his garage. [11] Although never developed for TOS, the episode (along with "More Tribbles, More Troubles", another story that David Gerrold unsuccessfully suggested for TOS) was ultimately developed for Star Trek: The Animated Series (for more information, see "Bem").
"Beware of Gryptons Bearing Gifts"Edit
Story outline by David P. Harmon, dated 16 April 1968. This story featured the Enterprise being shrunk down to miniature size and placed on a tabletop (similarly to "Requiem for Methuselah") by a strange alien race. The producers didn't see much point in the story, and also deemed the notion of crewmembers being chased by a giant cat to be a rip-off from "Catspaw", and shut it off in an early stage. (These Are the Voyages: TOS Season Three)
"Dead Man's Shoes"Edit
"Dead Man's Shoes" would have been about a planet of assassins. (Star Trek Monthly issue 26, p. 28)
"The Deadliest Game"Edit
"The Deadliest Game" was once described by Robert Justman as "playing aboard the Mary Celeste on a quest for the treasure of Sierra Madre, which is a fountain of youth located on a hell planet!" (Star Trek Monthly issue 26, p. 28)
"Deep Mudd"Edit
Following "Mudd's Women" and "I, Mudd", a third TOS episode featuring the character of Harry Mudd was originally planned. Titled "Deep Mudd", the story was written by regular Mudd writer Stephen Kandel. (Starlog Issue #117, p. 44; The Star Trek Interview Book, pp. 133 & 134)
The plot was conceived as a direct sequel to "I, Mudd", following Harry Mudd's entrapment on Planet Mudd, amid the androids there. "'Deep Mudd' involves Mudd's escape from that world, after he tricked these particular robots into revealing to him the location of a cache of scientific equipment and weaponry left by their makers," explained Kandel. "Suddenly Mudd found himself with very, very advanced armament, which he used to bribe a group of pirates into helping him escape. The problem was, of course, that he could control neither the weapons nor the real heavies he was supposed to be in control of, the pirates. They tangled with the Enterprise, on a planet with a surface of molten, viscous mud. And it went on from there. That was basically it: bailing Harry Mudd out of his own problems, getting control of this weaponry they couldn't destroy, and sending it into a sun." (The Star Trek Interview Book, pp. 133-134)
The episode could not go ahead because Mudd actor Roger C. Carmel was unavailable at the time, busily involved with a film. (Starlog Issue #117, p. 44) The story ended up in Kandel's possession who, in a 1988 interview, remarked, "I still have the story somewhere." (The Star Trek Interview Book, p. 133)
"Destination: Infinity"Edit
Story outline by Robert Barry, dated 30 March 1967.
"The Forbidden"Edit
Undated story outline by science fiction writer Hank Stine.
"The Forces"Edit
Undated story outline by Charles Parker.
"The Foreseeable Future"Edit
Story outlines by Jean Lisette Aroeste, dated 22 August 1968 and 16 September 1968. The story revolved around a race of telepaths with precognition abilities, who were able to see their own near future. One of the telepaths, a young woman, had a vision concerning Captain Kirk, telling him he's going to die if he leaves the planet. The main theme of the story was accepting our fate as inevitable and letting it happen, or trying to change the outcome instead. The producers were not impressed with Aroeste's outlines, leading her to abandon this idea and come with another story instead, titled "A Handful of Dust" (filmed as "All Our Yesterdays"). (These Are the Voyages: TOS Season Three)
"From the First Day to the Last"Edit
Shelved envelope for "The Menagerie" by John D.F. Black, delivered 8/12/1966
"The Fuzzies"Edit
"The Fuzzies", later titled "A Fuzzy Thing Happened to Me...", was written by David Gerrold and submitted in February 1967. This episode later evolved into "The Trouble with Tribbles". [12]
"The Godhead"Edit
"The Godhead" was written by John Meredyth Lucas, with outlines dated 15 March 1968, 17 April 1968, and 7 November 1968. [13]
The story was about an alien race who created a way to accumulate their vast knowledge, placing it in the mind of one selected individual. However, this person (the titular "Godhead") became too powerful and delusional by all this, and decided to take over the Enterprise with the intent on conquering the galaxy. The story was developed further and selected by Fred Freiberger to be filmed as the 26th episode of the third season. However, NBC canceled the series without ordering the last two episodes, resulting in "The Godhead" never being produced. (These Are the Voyages: TOS Season Three)
"Happy Birthday to You"Edit
"Happy Birthday to You" was an abandoned Star Trek episode. (Star Trek Monthly issue 26, p. 28)
"He Walked Among Us"Edit
"He Walked Among Us" was a script written by Gene L. Coon and Norman Spinrad for TOS Season 2. Story outlines were dated 12 May 1967, 17 May 1967, and 18 May 1967. The first draft was dated 25 July 1967, and a later draft dated 28 September 1967.
The producers approached Spinrad with the task to write an episode to be a vehicle for Milton Berle, who expressed interest in appearing on Star Trek. Also, since a tribal village set was available, they told him to write a story in which it could be used.
The original story by Spinrad was about a primitive race called the Jugali, inexplicably employing technology well beyond their capacities, as a result of interference by Byrne, a Federation sociologist, who only wanted to do good, but it eventually resulted in terrible consequences.
However, producer Gene L. Coon re-wrote the episode to become a comedy. The re-written story involved a Federation health food nut taking over a planet, so flagrantly breaking the Prime Directive that Kirk can't ignore him. He has set himself up as a god, refuses to depart from the planet when asked to and has so tightly woven himself into the planet's society that Kirk is unable to force him to leave without completely disrupting the society himself.
Unhappy with the result, Spinrad asked Gene Roddenberry to discard it, and "don't embarrass his show by shooting this piece of ----". He told Roddenberry to "read it and weep". Roddenberry agreed, and the episode was never produced. (Star Trek Monthly issue 26, p. 24) [14] [15]
"Image of the Beast"Edit
Story outline by science fiction writer Philip José Farmer, dated 27 March 1966. Though he may or may not have reworked the Star Trek proposal for this, Farmer subsequently published the dark erotic science fiction/horror novel also entitled Image of the Beast.
"Joanna" was written by Dorothy Fontana as the first episode to feature Joanna McCoy, the daughter of Leonard McCoy. The outline was submitted 27 August 1968 and was later heavily rewritten to become "The Way to Eden". [16] The original story featured Joanna coming aboard the Enterprise and having a romantic fling with Kirk, causing major conflict between Dr. McCoy and Kirk, and Dr. McCoy and his daughter. [17]
"Journey To Reolite"Edit
Story outline by Alfred Brenner, dated 18 April 1966. The Enterprise is transporting the leader of the planet Acrid for peace talks to their neighboring world Reolite. The Acrids are harsh and militaristic, while the Reolites are peace-loving democratic humanist. The Acrid leader and his mistress, Galatea carry a rare "life-giving drug" as a gift to the Reolites, which also works as an aphrodisiac. Although it went unproduced, this outline served as a basis for the third season episode "Elaan of Troyius". (These Are the Voyages: TOS Season One, p. 356)
"The Joy Machine"Edit
Story outlines by Theodore Sturgeon, dated 16 May 1967 and 23 June 1967. First draft teleplay by Meyer Dolinsky dated 21 October 1968. This script was later novelized under the same title, The Joy Machine, by James Gunn in 1996.
Sturgeon's story (first titled "The Root of Evil"), originally submitted for the second season, dealt with the population of a Federation colony getting addicted to a sophisticated machine stimulating the brain's pleasure center, which rewarded the workers with "hours of joy" in exchange for the work hours. Sturgeon's story was highly cerebral, and lacked any action-adventure, yet Robert Justman pushed for developing it further. In the next rewrite, now adding more jeopardy, Spock becomes addicted to the machine too.
Fred Freiberger resurrected the concept for the third season, and assigned Meyer Dolinsky to develop it into a workable screenplay. Dolinsky reworked the story, which now took place on a planet inhabited by mentally ill people, and featured a love story for Scotty. The machine now threatened the entire crew of the Enterprise, and made both McCoy and Scotty its slaves.
"The Joy Machine" was set to be produced as the 25th episode of the season, and the directorial debut of William Shatner. However, NBC cancelled the series after only 24 episodes of the third season, thus making "Turnabout Intruder" the last episode produced. (These Are the Voyages: TOS Season Three)
"The Land of Counter-Pain"Edit
"The Land of Counter-Pain" was an abandoned Star Trek episode. (Star Trek Monthly issue 26, p. 28)
"The Lost Star"Edit
"The Lost Star" was written by John Meredyth Lucas. It was outlined on 24 June 1967. [18]
"Machines Are Better"Edit
Story outline by veteran science fiction writer A.E. van Vogt, dated 29 March 1967.
"The Machine That Went too Far"Edit
"The Machine That Went too Far" was an abandoned Star Trek episode. (Star Trek Monthly issue 26, p. 29) The story outline by A.E. vanVogt and Jack Williamson was delivered on 5 April 1966, and a revised version was delivered by the same writers on 20 April 1966. Story cut-off was exercised on 27 April 1966.
"The Magicks of Megas-Tu"Edit
According to Larry Brody's book Turning Points in Television (p. 129), one particular story was written by him in 1969 for the third season of TOS – as he had been disappointed with previous installments of that season – and was sent to NBC by Brody's agent at the time, Sylvia Hirsch. In the book, Brody cryptically refers to third season producer Fred Freiberger as "Howie Horowitz" (perhaps confusing him with Howie Horwitz, producer of the 1960s Batman and 77 Sunset Strip as well as the Gene Roddenberry pilot The Questor Tapes) and relates about the plot idea, "The subject matter was as true to me as the egotism of thinking I could show Howie H. how the show should be [....] Howie Horowitz passed on buying the script, and on meeting with me." Three years later in 1972, Brody successfully pitched the same story, which involved the Enterprise encountering God in space, to Gene Roddenberry for the animated Star Trek series (for more information, see "The Magicks of Megas-Tu").
"Mere Shadows"Edit
Story outline by Philip Jose Farmer, dated 26 March 1966.
"Miss Gulliver"Edit
"Miss Gulliver" by A.E. van Vogt was to have been about a woman who grew to gigantic proportions due to an accident related to an unsuccessful experiment in regrowing limbs. At the episode's conclusion, her lover also underwent the experiment, so that he too could undergo massive growth, and the couple were left to found a planet of giants. (Star Trek Monthly issue 26, p. 29)
Robert Justman commented that it "bears a striking resemblance to "Who Mourns for Adonais?" -- namely that someone grows larger and larger and larger. After that, it bears no resemblance to anything whatsoever that we would be able to depict on film..." (These Are the Voyages: TOS Season Two, p. 459)
"Mission Into Chaos"Edit
"Mission Into Chaos" was written by David P. Harmon and Gene L. Coon, with the first draft dated 28 September 1967. This episode was heavily rewritten to become TOS: "A Piece of the Action". [19]
"More Tribbles, More Troubles"Edit
Meant as a sequel to "The Trouble with Tribbles", "More Tribbles, More Troubles" began development as an episode for the third season of TOS, intended to be the first aired installment of that season. (The Trek 25th Anniversary Celebration, p. 50; [20])
After Fred Freiberger (the producer of TOS Season 3) watched "The Trouble with Tribbles" on the morning before he first met David Gerrold and decided that he hated the episode's comedic tone, Gerrold consequently realized that Freiberger – who had essentially replaced Gene Roddenberry as showrunner – would not want a tribble-related sequel. (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 97; episode audio commentary) Gerrold recalled, "I knew right then that – even though Gene had promised we were gonna do another tribble episode, in Star Trek's third season – I knew that it was dead." (episode audio commentary) Additionally, Gerrold remembered, "I said, 'Well, Gene said he wanted a sequel,' and [Freddy Freiberger] said that he had no interest." (Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages, p. 97) Gerrold concluded, "He killed the second tribble episode for the third season." [21]
Together with David Gerrold's "Bem", this tribble-centric installment was one of two episode ideas that, despite never undergoing development for TOS, were successfully resurrected for Star Trek: The Animated Series (for more information, see "More Tribbles, More Troubles"). Following the first broadcast of the episode's animated form, an adolescent, male Star Trek fan accused Gerrold of having plagiarized his idea for a tribbles-related sequel but Gene Roddenberry – in the knowledge that Gerrold had pitched the episode idea for the third season of TOS – simply asked Gerrold to "please handle" it. A reply letter that the writer sent to his accuser included the fact that he had planned the original tribble sequel for TOS' third season. ("More Tribbles, More Troubles" audio commentary)
"Mother Tiger"Edit
Undated draft by Jerome Bixby. (citation needed • edit) The script of "Mother Tiger" was written by Bixby in about four days. He later remembered the plot; "It was [...] about an alien in space in suspended animation. Her race had long since perished, but they had sent her forth as a racial mother, hoping she would be resuscitated on some planet, and restore her race. The Enterprise picks her up, and ends up leaving her on a planet after she creates all kinds of mischief aboard ship; she's very powerful and intelligent."
The reason "Mother Tiger" wasn't produced was that doing so was considered too expensive. Nonetheless, the script had several aftereffects and was very well received by the TOS creative staff. Recalled Jerome Bixby, "They flipped over it, but said, 'We don't usually put $7 million into a Star Trek episode' [....] While they couldn't use it, they said I had an uncunny feel for the show and made me one of their regulars [....] Several later episodes seemed to reflect elements of ['Mother Tiger'], namely 'Devil in the Dark', with a racial mother, the rock creature." (Starlog, issue #164, p. 48)
"The Orchid People"Edit
Story outline by Catherine Turney and John Collier, dated 3 April 1967.
"Pandora's Box"Edit
Story outline by Daniel Louis Aubry, dated 29 August 1967.
"The Pastel Terror"Edit
"The Pastel Terror" was written by Larry Niven. This story was never submitted but was published in the fanzine Apa-L in 1971 and in the fanzine T-Negative #17 in 1972. [22](X)
"Perchance to Dream"Edit
"Perchance to Dream" was written by J.M. Winston, outlined 28 June 1969.
"The Protracted Man"Edit
"The Protracted Man" was written by David Gerrold and submitted February 1967. [23]
Although warp drive allows speedy travel, it still involves travel over immense distances; Starfleet is participating in a test of a space warp corridor that will take seconds to cross several light years. The Enterprise will wait at the exit point to recover the shuttlecraft being piloted through. However, something goes wrong, the shuttle can't exit, and the pilot is beamed out from within the warp corridor. The pilot, however, is protracted: three visual representations – each of a different color (e.g. blue, red, yellow) – move a fraction of a second apart when the man is moving; his voice is similarly garbled by a separation in time; the pilot is drawing energy from the Enterprise to maintain himself. The protraction keeps increasing, particularly when the ship tries to move at warp speed to get to a point in space where all power can be shut down briefly to try to restore the pilot to normal. The transporter is used to reintegrate the man by dematerializing the multiple images then overlaying them.
Gerrold was inspired by a "protraction"-type sequence in the film West Side Story (which was directed by Robert Wise), wondering what the effect would suggest, then writing the script outline. In the movie, the teens go to a dance, with the teens appearing in a similar way, though the walls of buildings stay solid and grim-looking, by combining the film colors out of synchronization.
A similar story appeared in VOY: "Threshold" and the Farscape episode "Through the Looking Glass".
"The Rebels Unthawed"Edit
"The Rebels Unthawed" was a story outline written by Philip José Farmer. The Enterprise and its crew encounter a derelict space ship, abandoned and floating in space. Inside the craft, they find twelve passengers who are frozen in suspended animation. Once they are revived, it is revealed they were abducted from Earth by aliens, during the American Civil War. Adjusting to the future time period in which they have been awoken turns out to be considerably difficult for the newcomers. Farmer later wrote the Star Trek story treatment into a short story. [24]
"Return to Eden"Edit
Story outlines by Alvin Boretz, dated 9 May 1966 and 23 May 1966. The Enterprise comes across a planet with automated people, where everything is "perfected": no crime, no hunger, no illness, no choice. But the society is completely sterile and the people are automated zombies of a computerized society. Robert Justman thought the story was awful. (These Are the Voyages: TOS Season One, p. 357) This story also highly resembles Roddenberry's "The Return of the Archons", which was probably another reason why it was not purchased.
"Rites of Fertility"Edit
Story outline by Robert Sheckley, dated 6 May 1966. An Enterprise crewman becomes infected with a strange "disease". His skin hardens, his nails grow into leaves and he transforms into a living, thinking vegetable. The transformation soon affects the entire crew, except for Spock, who has an immunity. In search of a cure, Spock beams down to a nearby planet inhabited by a primitive Indian-like race, who worships trees and longs to one day become one with their gods. They are reluctant to share the cure until Spock explains to them that Earth people do not consider turning into a plant an acceptable form of immortality.
The potential costs of Sheckley's outline were deemed to be far beyond the budget of a weekly television series, hence it went unproduced. (These Are the Voyages: TOS Season One, p. 357)
"Rock-A-Bye Baby, Or Die!"Edit
Story outline by George Clayton Johnson, dated 2 August 1966, concerning a newborn interstellar entity coming to life, aging, and dying within the Enterprise's computer and circuitry. The outline is collected in a hardcover omnibus of Johnson's writings, All of Us Are Dying and Other Stories, published by Subterranean Press in 1999. [25] A similar premise was the basis for TNG: "Emergence".
"The Search For Eternity"Edit
Story outline by A.E. van Vogt, dated 11 April 1967. In the story, the Enterprise crew awakens to find themselves unable to remember the past few hours. It turns out that during this time, Kirk apparently ordered the destruction of a populated planet, whose inhabitants now blame him with genocide. Recordings of the destruction and a missing photon torpedo appear to justify the claim. A Federation Admiral then arrives on his own starship, and orders Kirk to be executed by firing squad. It turns out all is, in reality, a ploy devised by a reptilian-looking species who have faked the attack and can pose as Starfleet members (including the Admiral), in order to gain control of the Enterprise and wage war on the Federation. The story bears a resemblance to TNG: "Conundrum" and ENT: "Shockwave".
"The Shadow of Space"Edit
"The Shadow of Space" was written by Philip José Farmer in 1966. [26] The Enterprise travels outside the universe. Farmer published a prose adaptation of the idea, under the same title, but with names changed from the Star Trek for copyright reasons. The story first appeared in the science fiction magazine Worlds of If and subsequently in a collection of Farmer's short fiction.
Story outlines by Darlene Hartman, dated 24 June 1967, 15 July 1967, and 24 July 1967. First draft teleplay dated 23 August 1967. Hartman's story dealt with the Enterprise finding a primitive civilization living in a Garden of Eden environment under the control of a giant computer named Shol, which the natives consider to be a god. When Shol begins to "absorb" the Enterprise crewmembers into itself, Kirk and Spock are forced to destroy it. The natives are now left without their "god" and have to accept their loneliness from then on.
This story went through several revisions, mostly because Gene Coon saw a potential talent in Hartman, and because both Coon and Gene Roddenberry thought it had a strong poetic quality. However, when Max Ehrlich's similar story, "The Apple" went into production, "Shol" was shelved. Coon still wanted to develop the story further, eventually assigning Hartman to write a teleplay, but after Coon's departure from the series the new producer John Meredyth Lucas ultimately scrapped it. (These Are the Voyages: TOS Season Two) The character of Dr. M'Benga, however, who was introduced in this story, remained with the series and appeared in other episodes.
"Shore Leave II"Edit
Story outline by Theodore Sturgeon, dated 24 April 1968.
"Sister In Space"Edit
Story outline by Robert Sheckley, dated 14 June 1966. Sheckley's second attempt after the failed "Rites of Fertility" outline had theEnterprise discover a long-lost Starfleet vessel, the USS Yorktown dead in space. Kirk, Scotty, Sulu, Rand and a few "redshirts" beam aboard and discover that an unknown and lethal alien creature killed the Yorktown crew. The creature attacks one of the "redshirts", and rips him limb from limb. Aside its enormous strength, the alien monster is also a chameleon capable of blending into the background.
The outline, which almost gave Robert Justman a heart attack, was deemed much too expensive to be produced within Star Trek's budget, so Sheckley was turned down once again. (These Are the Voyages: TOS Season One, pp. 357-358) The story seems broadly similar to the later Alien and Predator film franchises.
Undated outline by Jerome Bixby.
"Sketches Among The Ruins of My Mind"Edit
"Sketches Among The Ruins of My Mind" was written by Philip José Farmer in 1966. As with his previous "The Shadow of Space", Farmer later used the idea as the basis of a published short story, though in this case he removed all vestiges of its Star Trek origin. According to Farmer, Roddenberry found the idea too sophisticated for a general audience. [27]
"Sleeping Beauty"Edit
Undated outline by Robert Bloch.
"Space Moby Dick"Edit
"Space Moby Dick" would have involved the crew hunting a space-borne deadly monster through the galaxy. (Star Trek Monthly issue 26, p. 28) The episode's name was most likely a working title, alluding to Moby Dick.
Spock's leg storyEdit
At one point, Gene Roddenberry planned to do an episode set before the original Star Trek pilot, "The Cage", in which Spock would have injured one of his legs. As a way to set the story up, Roddenberry asked Leonard Nimoy to limp during "The Cage", an instruction with which Nimoy complied. "But we never did an episode on Spock's leg!" Nimoy stated at 2001 Slanted Fedora convention in Las Vegas, where Nimoy also revealed the origins of Spock's limp in "The Cage". [28](X)
"The Squaw"Edit
Step outline by Shimon Wincelberg, dated 15 July 1966, revised outline dated 28 July 1966.
"The Squaw" was written by Wincelberg as a "compensation" by Roddenberry for rewriting his script for "Dagger of the Mind". (He also got to work on "The Galileo Seven" for the same reason.) The story featured a lost colony of humans who have based their society on the tropes contained in a third-rate pulp Western novel left behind by their ancestors. The planet is also inhabited by lost Vulcans, who live in a primitive tribal state and aggress against the humans. The Vulcans, it turns out, were peaceful, until the humans arrived and began to harass and hunt them, like the Old West characters did with the Indians in the book. (These Are the Voyages: TOS Season One, p. 361)
A number of the script's elements would resurface in later Star Trek productions. A book mistakenly serving as the basis for a civilization appeared in "A Piece of the Action", in another way, TNG: "The Royale". A very similar story premise was produced almost forty years later, as ENT: "North Star".
"The Surrender of Planet X"Edit
Undated outline by Don Masselink.
"The Takeover"Edit
"The Takeover" was an abandoned Star Trek episode. (Star Trek Monthly issue 26, p. 28)
"Tomorrow the Universe"Edit
"Tomorrow the Universe" was written by Paul Schneider. The first draft was dated 1 March 1967 and was intended for TOS Season 2. The story dealt with a planet adopting Nazism – complete with swastikas and uniforms – after being culturally contaminated by a Federation visitor. Schneider's story bore a striking resemblance to John Meredyth Lucas' "Patterns of Force". Despite being submitted much later, Lucas' script was deemed to be much better and more developed, so Schneider's version was abandoned in favor of it. (These Are the Voyages: TOS Season Two)
"Tomorrow Was Yesterday"Edit
"Tomorrow Was Yesterday" was a sixty page outline written by David Gerrold in 1966, intended to be a two-part episode. Gerrold stated that he wrote the story as a two-parter for two reasons: a) "for more money" for him, and b) "it would have meant a greater spread of money in the budget for sets, costumes and actors."
According to Gene Coon, "Mr. Gerrold's outline was by no means inadequate. It is, as a matter of fact, very adequate." He further stated despite this, "to film the two-part story outlined here would probably cost $6-700,000" and that it was "too elaborate for television. What he has written is a good motion picture treatment for ideally a $2-3,000,000 picture."
Gerrold attempted to turn the outline in to a novel during the late 1960s, but he took the story into a different direction, retitling the manuscript as Yesterday's Children, which was later published by Dell Books in July 1972, and later renamed Starhunt. In 1980 he revisited his original story in the novel The Galactic Whirlpool. This story was completely unrelated to TOS: "Tomorrow is Yesterday".
The Enterprise comes upon a relic, a generation ship launched from Earth and long forgotten; the people on the ship have forgotten why they are aboard or that there is anything outside the ship's walls. There are two factions aboard fighting each other.
"The Uncoiler"Edit
Story outlines by Philip Jose Farmer, dated 1 April 1966 and 5 April 1966. This was Farmer's third attempt to pitch a Star Trek story. The crew responds to a distress call from an uninhabited planet, finding a ragged old man with long beard living inside a jungle. They also find the ruins of an ancient city, complete with a statue of a god probably worshiped by a long-dead alien species. Returning to the Enterprise, the crew begins to experience memory lapses and behave strangely. Kirk and Spock finally develop "on-again-off-again" amnesia. It turns out that the Zaltons, the extinct alien race preserved their minds in the statue, and are now trying to take over the bodies of the Enterprise crew, who they lured to their planet. Finally Kirk and Spock (writing notes to each other whenever they get an idea, before they forget it) find a way to exorcise the aliens from the crew.
Both Gene Roddenberry and John D.F. Black deemed the outlines not interesting enough. (These Are the Voyages: TOS Season One, p. 362) The story is similar to TOS: "The Lights of Zetar", DS9: "Dramatis Personae", and VOY: "Memorial" in certain aspects.
The World of Star Trek revealed a story premise that DeForest Kelley had always wanted to see, featuring himself and Nichelle Nichols, described as "something where the two of us were thrown onto a planet where there was a great racial problem, only reversed. The fact that I am a Southerner and she is black, and that we're trapped on this planet together."
Stephen Kandel described the story as "a show with a very militaristic planet being discovered, and the inhabitants were black. The only one they would talk to was Uhura, and they regarded the others as nothing." (Starlog Issue #117, p. 44)
In The World of Star Trek, David Gerrold added a footnote to DeForest Kelley's premise, stating, "As a matter of fact, the idea was one that very definitely had been considered. A script version had even been written. And rewritten. And rewritten. The story by Barry Trivers as "A Portrait in Black and White" involved a planet where blacks were the masters and whites were the slaves, but either the premise was too touchy for television or nobody could quite make it work. The script never reached a form where Roddenberry or Coon wanted to put it into production."
The basis of this episode was probably a story premise in Roddenberry's 1964 proposal Star Trek is..., entitled Kongo, about a planet with the "Ole Plantation days" with reversed roles of blacks and whites.
Stephen Kandel referred to the fact that the story was not given the go-ahead as "unfortunate" and went on to say, "I would love to have done it." (Starlog Issue #117, p. 44)
Untitled Klingon two-parterEdit
In a serialized essay across five volumes of 2006 trade paperback reprints of Alan Dean Foster's Star Trek Logs, adaptations of Star Trek: The Animated Series, the author explains that the original chapters he added to the adaptation of "The Counter-Clock Incident" (Star Trek Log 7), at the request of publisher Judy-Lynn del Rey, were first proposed as a two-part episode for the third live-action season, and held over for a potential fourth season. This tale features a Klingon commander named Kumara, whom Kirk first met during a Starfleet Academy exchange program. [29]
"The V.I.P.s"Edit
Undated story outline by Gene Lasser and Malachi Throne. (citation needed • edit) Throne pitched the idea to Gene Roddenberry. (Star Trek Magazine issue 180, p. 46)
"Warrior's World"Edit
Story outlines by Stephen Kandel, dated 22 April 1965, 28 April 1965, and 7 May 1965.
The outline was based on a story idea featured in Roddenberry's original series proposal, entitled "Camelot Revisited", and dealt with an alien civilization (described as sort of a "modern-day Roman Empire"), based on chivalry and a strict honor code, against which the smallest breach results in serious consequences. Roddenberry thought this was an episode full of action-adventure, but it would be too expensive to produce, and assigned Kandel to develop another of his story ideas, "The Women", which ended up as "Mudd's Women". (These Are the Voyages: TOS Season One, pp. 69-70) A similar story concept ended up as TNG: "Code of Honor". A modern-day Roman Empire was featured in "Bread and Circuses".
"The Web of Death"Edit
"The Web of Death" was an undeveloped story outline, written by William Shatner in April 1966. The four-page outline was dated 29 April 1966.
The Enterprise discovers its sister ship, the missing USS Momentous near planet Urus III, trapped in the cocoon of a giant insect. The creature also begins to cover the Enterprise in the same white substance, without much means of escape. Finally, Kirk and the crew manage to distract the creature into attacking the "dead" Momentous, and rescue its crew and themselves.
The outline was written before DeForest Kelley was cast as Doctor McCoy and the ship's doctor remains unnamed throughout it.
In a TV Guide article, Gene Roddenberry mentioned that Shatner delivered him a story outline written by him, and that he found it quite good, having a "good flow", despite his fears of it being terrible. The story was unproduced, though, probably because the series' budget couldn't allow the special effects it would have needed. [30]
"The Well of Death"Edit
"The Well of Death" was an abandoned Star Trek episode. (Star Trek Monthly issue 26, p. 28)


text:
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subset: commoncrawl


text:
|Topic Review (Newest First)
Re: Mid-West, Highlander vs Lightning
They are both great daysailers. Pick the one that suits your fancy. Both have v. good initial & ultimate stability. You won't notice the chine much. The Highlander will be substantially faster in light air, but like its cousin the Thistle, it will become an unholy terror as the breeze picks up. Three people can manage it, but you'd want a deep reef in the mainsail if shorthanded.
By contrast, I've never sailed a dinghy as good at shifting gears as the Lightning -- IF you are willing to pull the right strings. A fully-rigged Lightning has more sail-shaping and depowering options than almost any boat that size. That allows you to optimize the boat for a wide range of crew weights, crew abilities, and wind speeds. If you know what you are doing & are willing to live with the spaghetti.
Both these boats can be a struggle to right if they go all the way over. Easier than the Thistle, but still. Standing one back up takes some beef.
Mid-West, Highlander vs Lightning
Is there anyone out there who has sailed (or crewed on) both Lightning and Highlander class boats? I am looking for an inexpensive boat of either class for day sailing and have found several possibilities. I crewed on Lightnings many years ago but have never seen a Highlander under sail. I would like some first-hand information on how these two boats compare. Hard vs rounded chine and sail area to displacement ratio are two particular interests. How do these effect the sailing characteristics of the boats? What else sets them apart? Since I will not race it, the number of similar boats nearby is not important.
Hope to hear from you.
rlltrash at yahoo.com
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Search Results
Cited Taxa1 taxon cited in:
Dall, W. H. 1895. Diagnoses of new species of Mollusks from the west coast of America. Proceedings of the United States National Museum, Vol. XVIII: 7-20.
Click on a species name to view details, or select up to five species to plot on the map.


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Much like large format view cameras, the Swing/Shift system lets operators distort the shape of a subject, remove unwanted objects from the frame, or shoot straight into a mirror without catching the camera's reflection. Access to shifts and swings also provides nearly total control over the focus plane, for extremely deep or shallow depth of field. Distant objects and extremely close ones can both be sharp in the same frame. Users can limit focus to a particular object, isolating it even from objects the same distance from the lens.
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The Clairmont Swing/Shift and its lenses may be purchased individually. The new 17mm lens has a US list price of $4900.
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Mon 08.08
Skweels - This is Skweels from Redstar Magazine, and we are doing the interview with
Beck - Justin the guitarist from Glassjaw
Skweels - OK, who all is in your band, and what are their roles.
Beck - Well, we got Dave, he plays bass. Larry, he plays drums, Todd plays guitar and Daryl, and he sings.
Skweels - The members that you have now, this hasnt always been it. Actually you and Daryl are the only original members, is that right?
Beck - Yes
Skweels - How has that affected your band, as for going through all the member changes?
Beck - well as far as member changes, it affects it sometimes doesnt. People come on board, and they bring different things. Whether its insanity, your character, style, music. I mean, Daryl and I started the band with kind of an idea of where we wanted to go, and ever since we started, whether it was for people having to leave for college, becoming christianers or whatever the case, we have always had people leaving, so it was always kind of our band. We were kind of dependant on each other. You have people who just join the band, and just kinda come along for the ride, and ya know thats cool, and theres some people that come in and artistically add something new each time. its kinda cool because it adds a new module, or a new fresh breath. A new outlook on something, whether its somebodys new ability or something else. Its never really been like, people bouncing out for personal reasons, its always been ya know, like I said schooling and stuff like that, or maybe because they hate a label. Like Roadrunner. and they just couldnt take it, or its something along the line of thinking that they are in a band, and its not really a career or any sort of future for oneself. its like you are kind of taking a gamble. I would say that we have probably had, in the high teens, of members in the band, and with like 2 of them it was because of a personality twist.
Skweels - Has it always been 5 members, for the band as a whole?
Beck - Yeah, its always been 5 members, I used to play drums for the band. when we first started I got thrown behind drums. I was promised that I was only going to be playing drums for like a week or two until we find a new one, cause I wanted to play guitar. then like 4 or 5 years later, I was still behind the fucking drums. (laughs) then eventually, a member here, a member there, I moved into bass. So I grabbed the drummer for my old band, then he bounced out and we got another one, then a guitarist left, so I finally got to go back to guitar, so its been like musical chairs.
Skweels - You said something about an old band, have all of you guys been in bands before Glassajaw?
Beck - Me and Daryl, this is our first full time band, I mean we were like 13 years old when we started. Then id say when I was about 16 or 17. Cause Daryl wasnt allowed to be in the band. Cause Daryl like went to catholic school, his parents were always, you cant do anything. they were always like You go to school, you go to church, you come home for dinner. His dad didnt want him in the band for certain reasons, in conjunction with that, and he was always sick we really couldnt leave extensively for a long time. So I started a side project, a joke band. We had Todd join in that band, it was called Sons of Abraham. Then within a year, sons ended up doing more than any of us had expected. it became full time, we were touring all of the time. I think he sold something like 10,000 records. and for a metal/hardcore band at that time that was huge. it was nuts. it just came to this time, where it was like, theres just not enough time in the day to do everything, I kinda had to decide what was worth its weight to me musically. I liked what Sons was doing more, but to me I could do more with Glassjaw. I could do hardcore, I could do metal, I could do bosonova if I wanted to. So I was like, alright I gotta kill one. So I killed Sons. Thats when I moved from drums, I ended up moving from drums to bass. And I took the drummer from that band. So that was like the new Glassjaw regime. I think from that point on it became much more serious, that was probably around '98 or '99 or something like that.
Skweels - So that was before anything really took off then?
Beck - Yeah, Kiss Kiss came out, then we just kinda started focussing more as a band. as far as the direction that we wanted to take. From there it just kinda happened.
Skweels - You have gone back and forth from band to band, with the side project, and you are saying how these are 2 totally different styles of music. Who would you say that you hold as influences? you guys hit hardcore, you hit metal, you have kind of a punk feel in some of your stuff, it goes on such a wide spectrum.
Beck - Well we all grew up in the hardcore world, when we were young I was a little metal head, I was in like 2nd grade, I had the long hair. I grew up on like Anthrax, MOD, Metallica, all the shit like that. Then around Jr High time, about 13 years old, I got introduced to like The 2 bands that switched me over from Metal to hardcore were Bad Brains and Sick of it all, I remember being like 12 or 13 years old and being like "Wow, This is Sick" Cause you know metal shows, have such a different aura, a different class or a different vibe going on, but like being 13 years old, and going to a hardcore show. The band is in the room with the kids, and the kids are in the room with the band. it was always like, you could do whatever you want. everyone is on the same level, and has a fair chance. And its just like wow, this is sick. and I remember saying to myself, cause I was like a metal head, and I was watching all these bands. Starting a band, always seemed like it was so far off. Then I saw, all these bands, really arent that good of musicians, they are just having fun. Thats where it was really an incentive, to get a band going. Its more practical than you think. Then I met Daryl. We were 13 years old and we started our shit. Growing up in New York as far as influences, youve got everything from Bad Brains, to Sick of it All, to Orange 9mm. Anything hardcore, its such a spectrum, you could say American Nightmare, Hatebreed, Glassjaw, and Promise Ring, all of those bands sound nothing alike, and its not the music that connects them, but its more of the ethic, or the upbringing. You know we all come the same school. Its like a vibe and its an ethic. You are all out there doing the same thing. The same politics. In hardcore, theres politics, whether you follow them or not. Whether its a christian movement, or being vegan. Being in an indy rock band, doing your own tours. Booking your own shows. There is just so much ethic and culture going on. I think thats the connection with a lot of bands. I think with Glassjaw, outside of the bands that are from the same school, we all have our own influences, we have our hardcore influences, then theres other shit, like I love Stevie Wonder. So theres shit like that. We arent afraid to take influence from other places. I think one huge influence, thats not musical, but from a concept of a foundation for a band, was Faith No More. I dont necessarily look to them for like guitar riffs or drum ideas, but they have this ethic of like, do whatever you want. Even before Mike Patton comes to the vocals. I think the bassist is the arranger of the songs, they can come out with a song and they can have it be metal, or they can have it be bosonova. I mean Patton is in his own world as far as what he does. Basically their attitude is to just do what you want and have fun. So thats a huge influence.
Skweels - The whole band is straight edge isnt it?
Beck - Not the whole band, just me and Daryl. It started off as a straight edge band, then somewhere within the 10 or however many years weve been a band, members have come and gone.
Skweels - Do you feel like that holds you back from anything? I mean, you guys are getting up there as far as being known as a band, going from nobody knowing who you are, and playing small clubs, to driving around in a tour bus, playing huge shows, you toured with the deftones. You see these bands, and they all have that "Rockstar" vibe. Where they get drunk, and theyve got drugs coming in and out. is that ever hard for you guys?
Beck - If you are straight edge, and its hard to be straight edge, then you shouldnt be straight edge. Its not a challenge, its just sort of like, do you think about not murdering someone? its easy for me, for me personally its always been a way of life.
Skweels - Do you feel like you are an inspiration to other bands, so that if they want to be in a band, they dont have to lead that rockstar life, and still make it as one of those really well known bands, without having to give in to peer pressure of this lifestyle?
Beck - A lot of bands do it out of boredom, when you are on the road you are limited as to what you can do, so I can understand how someone would get into that. As myself, I like to stay busy, when im home I work from like 7 am to 1 am. So when im on the road I go crazy. so I could maybe see someone turning to drugs to subdue the flames of insanity of boredom. Not necessarily being a rockstar. When I grew up in the hardcore scene straight edge was getting big. It almost got too big. When something is pure and someone does it for their own self, then its cool. But once something gets out and starts becoming a trend, it gets tainted. It was almost that you were a dick if you were straightedge. So then the nemesis of I am a straightedge, was I am an alcoholic cokehead. There is no straight edge posse anymore so now its just like "yeah whatever, im straightedge" Ther is nothing wrong with it. It became so taboo to mention it. you do it for yourself which is the main thing. people do drugs, its not really for like rock star status, its just cause its always been there, and some people are just weak, so people turn to that. I dont really preach to kids about it, from what ive seen all the kids that used to preach about it, were all the ones that turned into cokeheads later on. as positive of a thing it is to find out, its better to have them find out on their own, so its for themselves. instead of them forcing themselves to do it, and thevve tried all the shit, and they try not to do it, and they crack, and they crack hard. so its basically, im proud to say I dont do drugs, I think its good, but if anyones not going to do it, do it for yourself.
Skweels - You guys have the straight edge thing, but aside from music, are there any other influences that you hold, that help you to write. Or basically, what makes you want to get out there and play guitar? Or is there any particular thing that one day made you say, man, I gotta play guitar, I gotta play drums, I gotta play bass?
Beck - man, its been as long as I can remember. ive been taking lessons for instruments since I was like 4. I started with the accordian, and ive always just wanted to be doing music. Its like the ultimate beyond hobby. I dont say that im transcending to people, because it almost sounds gay or cheesey. I mean for me, I can barely speak english, im horrible with words. to me like, when you can express or some sort of emotion through chord stuctures. Thats the ultimate story book, the sickest expres
sion, or the greatest way to set out a vibe. If you can do that musically, then thats the shit. Growing up, its always been music. I think most kids sucked, I hated most of the kids in my school. I didnt want to be friends with any of them. I like art, and I like music. I mean you wake up, and you dont know why you dont kill someone, you dont know why the sky is blue, I dont know why I play music. Just because.
Skweels - Where did the band name come from?
Beck - Fuckin 13 year old idiots, we had a list of names, and we were just like, lets pick one of these band names which ones the cooloest. at the time there were a bunch of bands coming out with 2 names in one like that. like mouthpiece, curbjaw, stuff like that. We were going down the list, and the first name that I liked was Swiftkick. Im all like, thats a sick name. But for some reason Glassjaw stuck, theres really no reason behind it. It just sounded cool, and its been governing my life for the past 12 years.
Skweels - Both albums have been recorded with Ross Robinson, has he impacted you guys at all? Ive heard stories about him picking fights and stuff like that between band members to get you motivated to get in there and whoop ass, just to bring out the emotion for recording. So my question, how does the recording process go with Ross?
Beck - Ross' whole thing, he just wants you to be sincere. If you notice his recordings, they are not sonically amazing, they are not tailored. It just sounds like a band, in a room. I think thats the biggest perk about recording with Ross, youve got a real, actual band. Not a click track, and over processed shit. Ive heard some people say, I Like your new shit, but the old stuff is better, the new stuff is over produced, basically, they see Ross' name and they just want to say that because they dont know any better. When in actuality Ross is the biggest, underproducing producer around.
Skweels - Yeah, ive heard stories, about how cool he is, how he lets you do most of what you want to do.
Beck - Yeah, he doesnt walk in and say, ok heres your track, and you are going to play it like this. he pretty much walks in and hes like, OK, youre an idiot, youre a shmuck, youre a douche bag. In hands, thats everything you have, dont be offending to be the douche bag that you are. Be yourself. With glassjaw, 4 to 5 of us are known for being idiots, like all the time. We are like the stupidest bunch of kids. we have a really stupid sense of humor that nobody gets, and just crack jokes all day. Ross is just like, thats cool man, thats who you guys are, dont change just for me. Like in the recordings, there is a lot of stupid shit, that you probably wouldnt hear on the first pick up, but if you listen close there is a bunch of stupid shit that we put in. Ross is just a catalyst, he gets your natural juices flowing. Hes like an honest gauge. Its very much a personal thing too, we owe so much to Ross. He saved us from our last record company, hes gone beyond the role of producer, hes like manager/father/godfather/best friend. the guy has done more than my parents for me. He oversteps the boundary of producer. I dont even look at him as my producer, I look at him as like my friend or my guardian.
Skweels - So you guys plan to stick with him then?
Beck - Oh yeah, a lot of people are like, oh you guys arent selling records, maybe you should switch producers. buts its not about that. its not about having perfectly sounding records. I believe in kharma. its about doing your own thing, trying to have fun, and not taking it to seriously. I take this "industry" seriously, about how the bands dont make money, its pretty much everyone but the bands make money. Anything from managers, to agents, to the labels. Everything is so developed in a form manner. Its developed for everyone but the band. So I feel when money is being generated, let it go to a band, the band that deserved it. its the righteous thing. I think in the industry everything is totally backwards. So that shit I take seriously. cause like in the hardcore kids, at the hardcore shows. they book their own shows, you do everything yourself, you get what you deserve. In this new world, its not like that. so that shit I take seriously. but as far as like, is glassjaw gonna sell records, is this video going to get us somewhere, do you see yourself as a role model. I might be like 24 now, but its a joke, we are just having fun, Ross says the same thing. Have fun with it.
Skweels - Well, whether you want to or not, you end up becoming a role model. and your style of music becomes a basis for a lot of bands, as far as, a lot of bands are coming out, and they wanna sound, well not necessarily sound exactly like glassjaw, but they have that mentality where I like how that sounds, other people like how that sounds, so im gonna do it. Kinda like how Korn walks out, and they have this new sound, well new to the public. People were doing it for such a long time, but they marketed it in a way so that everyone got to hear it, then from that point on, you have all these bands coming out sounding like Korn. Like Coal Chamber, stuff like that, bands that in their own right, have their own talent, they just have that Korn feel.
Beck - I personally wish that it would never happen, cause I think the ones that did that, surpassed us, and now we are opening up for them. But what can you do?
Skweels - You were talking about videos before, the video you recently did for Cosmopolitan Bloodloss, you got Vince Gallo. How did you guys get hooked up with that guy?
Beck - For the record, the video could have been the coolest video in the world, and it sucked. It could have been SO FUCKING COOL. The story board was such a simple thing. We walked in and we were like, Listen, we dont want to be in the video. Then the label was like, you should be in the video, and we said nah, its stupid we dont want to be in the video. Then they said, there are ways of maybe doing it. Then we sat down with this guy Jeff at Warner Brothers, whos just like the artistic vision for so many bands, and so many labels for the past like 20 something years, so I trust the guy, I totally look up to him. So we came up with this plan, where this guy gets woken up by this obtrusive noise, which is the band, he wakes up out of bed, all pissed off, frantically running around his apartment, running around the streets. and is all over the city, looking for this sound, then he finally finds the sound then he gets rid of it. There were a lot of simple shots, like where vincent gets up out of bed, he just wakes up. I wish I was there for just that little scene, cause that 5% of the video is like 95% of the story, it would have made more sense, see nobody knows what it was.
Skweels - and originally doesnt he kill you guys?
Beck - We have that footage somewhere, im trying to get it out for like the 5 kids who might care. but yeah, instead of pulling the plug, he pulls out a gun and shoots us, theres blood, and we get shot. I know its online somewhere, or I hope it is, I hope it gets out there. because that story board got lost and wasnt executed as well. when we got the first edit of the video we were crushed, cause it was such a simple thing. we were all like ah, this is going to be the sickest video, then we got it, and we were just devastated, we were in chicago we all put it in, and we press play. I kinda look back to everyone, and we all kinda started kidding ourselves that it was good, we did like 2 months of editting and it just came out like shit.
Skweels - Doesnt the band have any of the say in how a video turns out?
Beck - The band has all the say Warner Brothers was just like, do whatever you want man. its your band, well promote you guys, do it the way you want. Theyve been so cool to us, but it was a matter of time and simple footage that just wasnt there. So we were like, can we get vincent back to shoot him for like 2 seconds. And as pissed at him as I was for not doing the role right, the guy is genious. and you can fuck with vincent gallo. so its like, I guess we cant get him back.
Skweels - So did the label grab him for you guys or something?
Beck - The way we got him was, we are fans of his, and we came into the label, and we had just watched "Buffalo 66" the night before, and we were like, we want Vincent Gallo, and we were laughing, and trying to bust their balls. And they are like, oh we are friends with him, well call him. So they call him right there in front of us, and we were like WHA? (mouth wide open).
Skweels - You guys have come along way from playing little shows, to touring around with the deftones, recording with Ross Robinson, having your own tours, and playing shows with an ungodly amount of bands, now you are out here, youre on a tour bus, youre headlining your own tour, going overseas everything like that. What steps have you taken to get where you are, what kinda tips could you give to a band starting out?
Beck - A tip? Not to put down any compliments, but there is different ways of grooming a band, first and foremost you do it for yourself. Dont ever try to get signed, if you try to get signed you are a fucking idiot. We never attempted, we never sent out a tape, we never sent out anything, it just happened. and I think its a different world now, its much more realistic because labels are looking for other bands in each genre. so its practical for these bands to get signed, so a lot of these bands come together just for the sake of getting signed. its not about that, it really isnt. Granted, we are in a bus, but the bus doesnt mean shit. WB could pull my tour support tomorrow. I drive a 1990 Caravan worth like 1000 dollars. Its not glitter and gold. its cool to have fans. When I was young and just starting out, youd see a band in a tour bus, and youre like awe man, you made it when you are in a tour bus. A tour bus means either you are blowing your tour support, or you make enough to get it. it doesnt always mean, you are rolling in the shit ya know? and now that the major label world, has entered and infiltrated our nitch in the world, and our scene. They are kind of exploiting the ethics of indy rock. its all this shit, and its kind of spoiling the ethic. The shit that made it genuine. I guess what im trying to say is the bus, playing with the deftones, its all sick shit, but I dont own the bus. The deftones kids, we might have gotten like 3 fans from each show its not like you play in front of those kids and all of a sudden they like you. Some bands it works easy for, but glassjaw has always been like not struggling or anything like that so nobody likes us, but there are a lot of bands that come out of the box and are like Poof, instant ya know this or that. Glassjaw has always been the band, where it takes some bands 1 listen, and you get it. we are the band that takes 12 times and you get it. thats the 1 thing that everyone has always told me. Not that its complicated, just that the taste is different. once people get glassjaw, they seem to love it, other people just dont want to listen to it 10 times.
Skweels - Well the fans that you do have seem to be the most hardcore, die hard fans that are out there. There are kids that come out to the show, and they listen and they like it, then at that point it seems that all other bands are obsolete compared to glassjaw.
Beck - We definitely see how hard our kids die, and we definitely appreciate everything. but id like to say, in the concept of when I grew up, in the hardcore scene, it was realistic to be in a band. but in the hardcore scene it was taboo to get signed. so I never thought about it, I never looked at being in a band that way. so being in a band, was just being in a band. so I think that some kids that come to a show, and see us on a tour bus might be like, yo that could be us. dont look at it that way, that is nothing, that could be gone in the morning. just be in a band for yourself. thats all im trying to say, you can probably sum up all of my babble into that simple quote. do it for yourself and thats it. Cause theres a reality out there, and they are like oh I wanna do this band shit then they turn around and they are 28, they first go back to college, they come out and they are like 30 something. and its like dude, do you want to have a life? not even get rich, but work a decent job and have a family? the band shit really puts people off sometimes, I have a lot of friends who cant get back on track. they are rounding 30 years old and they know I know the band may not do it, but ive just got to get it out of my system. there has to be a fine balance. Music is music, but to me its life, but I fit it into the normal life, like when I go home, I dont rejoice and be like hey check me out, im in glassjaw. I go home and I work. you gotta be realistic about. being in a band is not a realistic lifestyle I dont think. If I didnt have my head on straight, I think, then I got out of this band 3 years down the line and had nothing to show for it which usually is the case for bands, because there is like a bazillion time failure rate. yeah you got fans yeah you got this and that, but what does the band have at the end of the day. Like take a band like earth crisis, to me growing up they were the sickest, they taught me so much shit. They were the sickest, and now they are all like 30 year old men, trying to get their lives together. Its unfortunate, but kids dont remember shit, and they just dont give a shit when that bands not cool anymore. and I see my friends struggling for livelihood. So its cool to be in a band, but at the end of the day, when the kids forget you, which is the sad truth its cool to have a life for yourself. a lot of people get blinded by that, they think like, you are going to get fans and youll be taken care of for the rest of your life. but it never happens that way.
Skweels - Even so, do you have any goals that you have set for yourself, or the band as for what you want to pursue, or what you want to do in the future?
Beck - I think that as a band, glassjaw is going to continue doing what we have always been doing, which is what we want. I think we are having fun with it, I think that we have a good idea or vision as to where the music is going to go. And we just hope the kids like it. its a little different I think, since im getting older, there is other sides of music, that you want to touch upon. so thats going to be one challenge. and then finding a balance. id like to find a balance between the tour life, and being in the band. If you could find that balance, then you could tour for the rest of your life. thats the ultimate goal for me. I dont like going out and touring the world for like a year and a half straight, to me thats the worst. I love touring as much as any other band, but you could really consolidate it. A lot of times you have to eat shit because you want to make a name for yourselves, but id be content, like if Glassjaw didnt get any bigger, thats cool. If you get it now, or if you dont get it, then you fucking suck. so im cool with playing in a room that only holds 300 people. as long as there is a balance. you can make a balance and have some sanity to yourself. I think that being in a band, and a touring band, just seems unhealthy. but its about having fun.
Skweels - One last off the wall question, if there is any band that you could see play the bozo show, who would it be?
Beck - I would say screwdriver. Thats like one of the biggest white power hardcore bands ever. HAHA. Either that or Body Count.
Skweels - Whoa, good answer.
Beck - Yeah, I actually got asked to play guitar on some of their new record. one of the guys is a huge fan of ours, he comes to all our shows in California. So they asked me.
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The inaugural Redmond O'Neill Memorial Lecture took place at 7pm on 13 June 2012 at Bolívar Hall in London. Pearse Doherty TD delivered Gerry Adams TD President Sinn Féin's lecture to a packed hall. The full lecture can be viewed and read here.
Redmond O'Neill Memorial Lecture7pm Wednesday 13 JuneBolívar Hall54 Grafton Way, London W1T 5DLOrganised by: the Redmond O'Neill Memorial LectureSpeaker: Gerry Adams TD, President Sinn FéinChair and Introduction by: Ken Livingstone
Tributes to Redmond O'Neill given at the celebration of his life, 30 October 2009, Highgate Cemetery, London.
Ken Livingstone
After fighting cancer for some time, Redmond O'Neill sadly died in surgery on Wednesday 21 October.Redmond was not one for the limelight, but his belief in the cause of humanity and his determination to achieve change was relentless.
With profound sadness we received the news about Redmond's demise.We are aware of how much Cuba meant for him and how he always regarded our country as in the core of all the core of all the progressive processes that are taking place in Latin America.Redmond represents and will forever be remembered as an example of dedication to the anti-imperialist struggle, to justice and equality. He was a true and committed friend and he will always be in our thoughts.At this painful time I wish to express deepest condolences and sympathies to you and Redmond's family, on behalf of us all at the Embassy of Cuba.
I regret that I couldn't attend Redmond's funeral because I was opening a trade union learning centre in my constituency. Redmond would have understood. The centre will provide the basic training to large numbers of the next generation of trade unionists to fight the struggles ahead. It is like passing the baton from one generation to another. In many ways the centre symbolises all that Redmond was about. He was the complete cadre. He had the ability to analyse meticulously the political climate in which we were working, weigh up carefully the strategies best to be pursued and then creatively marshal the broadest alliance of forces that could be mustered. But skills like this are worthless without commitment and Redmond had a selfless dedication to the causes of Ireland, internationalism and socialism that made so many of us admire him and hold him in such high regard. I particularly remember with warmth Redmond's role in the old times of the LCI and the various other organisations we were in or established when Irish freedom was a difficult cause to espouse. Redmond's contribution to our movement will be remembered with immense respect but the man will also be remembered with great affection by all those of us that worked with him over the years. Go well old comrade.John McDonnell MP 30/10/2009
Tribute to Redmond O'Neill
Britain's anti-racist movement mourns one of its best ever campaigners
We are devastated and deeply saddened to report the death of Redmond O'Neill. Redmond died on 21 October 2009 during surgery for cancer. The National Assembly Against Racism (NAAR) worked closely with Redmond when he was Deputy Chief of Staff for Ken Livingstone as Mayor of London.Redmond gave big encouragement to all our campaigns at the National Assembly Against Racism. His track record on campaigning against racism was truly spectacular, particularly when viewed in the context of the electoral rise of the British National Party (BNP), a national increase in racist attacks and growing Islamophobia in society.Redmond worked with all London's communities and his work played a major role in reducing racist attacks in London and ensuring community harmony after the terrorist bombings of 7 July 2005.Redmond approached his work with meticulous care and enthusiasm. He made a central contribution to NAAR's campaigning against Islamophobia, the establishment of the Coalition to Defend Freedom of Religion, Conscience and Thought, opposition to detention without trial, the Rise festival (which became Europe's largest anti-racist festival), the Europe-wide Cities Against Racism project, the celebration of the different communities that make up London, including the opening up of Trafalgar Square to community celebrations.Redmond was pivotal in bringing the European Social Forum to London, and ensuring that Anti-Racism was a key theme that ran through the event. The motto of the European Social Forum is 'Another world is possible' – Redmond's passion, vision and enthusiasm made it feel like a better world is inevitable.Recently Redmond threw himself into Unite Against Fascism and was committed to building the biggest and broadest mass campaign against the BNP.Like many other people that have paid tribute to Redmond, we at the National Assembly Against Racism found Redmond an inspiration and a pleasure to work with. His affinity with the Irish community gave him an acute understanding of the impact of racism upon diverse communities – in word and deed he did everything possible to challenge it wherever possible.The anti-racist movement will miss its brother, friend, comrade and one of the best campaigners the movement ever had. The fight against racism goes on and Redmond's example and achievements leave a rich legacy at a time when the need to stand up against all forms of racism is as necessary as ever.Our thoughts and deepest condolences are with Redmond's partner Kate Hudson, family and friends during this difficult time.
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Thorold, ON, Canada < change city >
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HELP! Tile flooring question
We have a great room that previously had an accent area that was carpeted, while the remainer of the room has plain gray tile. We wanted to replace the carpeted area with tile (we have two dogs and it seems like the most practical solution). Since we could not match the existing tile, I found a ceramic tile that looks like a wood parque foor. It looked great in the store even when it was placed right next to a plain tile on the floor of the store, so I did not think any transition would be needed between the two tiles would be needed. BUT...as it turned out, due to the shape of the floor, I am left with several small pieces of the otherwise beautiful wood patterned tile bumping up against the gray tile in a very prominant part of the room and it looks terrible. Is there any type of transition piece I could use at this point, or can anyone offer a suggestion? I know they make long tile stips, but I've only seen white and beige...neither of which would go with either type of tile I have.
there are a lot of types of transition strips to choose from, If you have allready out down the tile your choses are limited. go to a flooring store not a big box store. you may decide to take up the edge tiles and redo, or you could cut those tiles in place but it would make a big mess
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FX3 have been operating in Berkshire since 2004 / 2005 and have been widely recognised for setting the standard of mma events in the area and have considerable goodwill in the UK using FX3 Freestyle Fighting Federation - "Extreme Cage Fighting"
A revamped promotion is running an event in the same area 2 weeks after FX3, now competition is always healthy apart from when that competition try to pass there event off as something it is not.
Take a look at the adverts below and see how the general public could be confused by their advertising to think this event is in some way associated to FX3....
I would like to clarify that Cage Brawl is nothing to do with FX3 and in no way has any association to our promotion.
The reverse of the flyer is even more simular to the FX3 flyer along with the posters, notice the use of "Extreme Cage Fighting" in the Same Colouring and Font as used on the FX3 Flyers of which we have been using on our promotional material since 2006.
It has now become apparent that they are now using the Angrrr Management Cage aswell which has become common to FX3 as well as the promoter going behind my back trying to poach fighters from my gym without even talking to me.
We have taken legal advise and this can be restrained under an action of Passing off and we will be claiming for Inter Alia damages if this copycat advertising does not stop as of immediate effect.
Spot the simularities in the flyers......
FX3 Front Flyer: -
Cage Brawl Font page flyer: -


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Related Publications
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Related Links
Community Organization in St. Louis
Jewish Communal Service Association of North America (JCSA), National Conference of Jewish Social Welfare, December 1946
Topic: Organizational Development, Social Services, Community Development, Social Planning
Name of Publication: The Jewish Social Service Quarterly
Editor: Aptekar, Herbert H.
Volume/Issue: Vol.23/no.2
Page Number(s): 203-207
Genre: Article
Coverage: St. Louis, Missouri , United States
Language: English
Copyright Holder: Publisher
Copyright Information: Download for personal use, freely distribute link
Bibliographic Information:
Gerson, Samuel. Community Organization in St. Louis. The Jewish Social Service Quarterly. Jewish Communal Service Association of North America (JCSA),National Conference of Jewish Social Welfare. December 1946: 203-207. http://www.bjpa.org/Publications/details.cfm?PublicationID=5942
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