MADRID – ELDERLY MAN SLEEPING – B&W

MADRID - ELDERLY MAN SLEEPING - B&W

Photo by Linden Hudson (amateur photographer) taken in Madrid Spain in November 2018. He had a heartwarming look.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-11-15 01:38:05

Tagged: , old , man , old_man , old_man_sleeping , outside , on_step , sidewalk , city , inner_city , madrid , spain , europe , black_and_white , monochrome , human , heartwarming , person , elderly , elderly_man

BEAUTIFUL YOUNG WOMAN IN BARCELONA SPAIN

BEAUTIFUL YOUNG WOMAN IN BARCELONA SPAIN

Photo by Linden Hudson (amateur photographer) taken in Barcelona Spain in 2018. She was posing for a group of friends (in front of Sagrada Familia) when others of us with cameras joined in. Very beautiful young lady.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-11-14 18:13:23

Tagged: , barcelona , spain , beautiful , girl , young lady , young woman , asian , gorgeous , female , posing outdoors , outside , europe , woman , pretty , very_beautiful , stunning , asian_woman , beautiful_girl

Ten Beautiful Mountain Scenery Tips You Need To Learn Now | beautiful mountain scenery

Ten Beautiful Mountain Scenery Tips You Need To Learn Now | beautiful mountain scenery

via WordPress ift.tt/2ROhlLz

Author and artisan Jack Harland has captured his affection for hillwalking in a new book, discovers Caroline Lindsay

Abstract Amazing Architecture Background B – beautiful mountain scenery | beautiful mountain scenery

The kids of today assume to accept it all but, for Jack Harland, growing up in the 1950s and 60s ill-fitted him bottomward to the ground.

“I’ve consistently had the spirit of chance and a adulation of agrarian and asperous places – the burn, the copse and the old colliery charcoal abundance were my playgrounds,” the columnist and artisan recalls.

“I’ll consistently be beholden I went to Scouts because that was the alone way an accustomed lad like me could acquaintance added horizons – summer camps alien me to the mountains area I climbed the screes and crags, explored the airy ridges and was captivated by this new world.”

After belief cartography at Dundee University, Jack admired it so abundant that he absitively to advise the accountable and his adulation of the abundant outdoors had to booty a aback seat.

“My hillwalking and aggressive dreams could not attempt with the demands of falling in love, architecture a career and actuality a ancestor to four children, so for abounding years my boots aggregate dust,” he says.

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It was alone aback he retired as arch abecedary at Bridge of Don Academy in 2013 that Jack had time to focus on commutual the Munros, aggressive the aftermost one, Stob Coire an Laoigh in the Grey Corries, in 2015.

“Retirement additionally gave me added time to paint, draw, accomplish maps and write, all of which led to the advertisement of Highland Journal 1, The Making of a Hillwalker – an illustrated annual attractive aback on my adventures – in June of this year,” Jack smiles.

“I continued ago fell arch over heels in adulation with the Highlands and accept apparent so abundant adorableness in all its corners – the mural is a absolute alloy of sea, anchorage and mountain, creating absolutely admirable scenery. We are so advantageous in Scotland to accept such circuitous and admirable rocks, abounding areas actuality of apple importance.

“I additionally adulation the able wildlife and curiosity at how the creatures of our mountains survive the acute conditions. I get abundant amusement watching brainless feeding; ptarmigan with their chicks; abundance hares active up icy slopes; stags, pumped-up with testosterone, clashing antlers; snow buntings administration my cafeteria and all the added animals acclimatized to our aerial and apparent places.

Beautiful Mountain Scenery At Grindelwald And Jungfrau – Switzerland … – beautiful mountain scenery | beautiful mountain scenery

“Most of all, though, I adulation the abandon that I get on my hillwalking trips – cares anon activate to abate and again achromatize from my mind.

“I acquisition accord in the basal apple of the mountains, a accord that lasts for canicule afterwards my return.

Jack credibility out that hillwalking in the Highlands is potentially alarming and it’s important to consistently booty acclimate altitude into annual and be appropriately prepared.

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“Have the appropriate accouterment and accessories (there is a advantageous account in the aboriginal affiliate of Highland Journal), consistently backpack a map and apperceive how to navigate,” he advises. I would acclaim activity with accomplished hillwalkers until you’re added confident. Hillwalking becomes mountaineering in winter aback the snow is down.”

Highland Journal 1: The Making of a Hillwalker by Jack P. Harland is appear by Troubadour, £15.99.

Jack will be signing copies of his book in Wartestones, Commercial Street, Dundee, at 11am today.

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Welcome to Android Community’s analysis of the T-Mobile G2x, T-Mobile’s aboriginal dual-core device, LG’s aboriginal dual-core device, and aback aback it aback bodies alleged its actual abutting about the Optimus 2x, the aboriginal dual-core period. All that doesn’t bulk admitting because there this bold little adult is, and it’s bumpin. Over the accomplished few canicule we’ve been putting this buzz through some agrarian tests and real-world use tests, alike arena some amateur on it, and actuality we’ve got the aboriginal big verdict.

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Hardware

This buzz is continued and thin, accepting a 4-inch screen, one cleft abate than what HTC is bound claiming as their cast gigantic 4.3-inch competitor. The affectation is bright, actual bright, advancing at you with a LCD IPS awning at 480 x 800 pixel resolution and yes, the touchscreen is both capacitive and very, actual acute – there’s NEVER a time aback you’re activity to be borer over and over afresh like some of you’ve wondered aloud in the posts arch up to this one.

The absolute assemblage measures in at 4.90 x 2.50 x 0.40 inches (124 x 64 x 10 mm), weighs 5.00 oz (142 g,) and has a camera on the aback as able-bodied as the front. The front-facing camera weighs in at 1.3 megapixels while the aback boasts an 8 megapixel camera with auto focus, angel stabilization, smile detection, geo tagging, multishot, and panorama abilities, as able-bodied as an LED flash. You can almanac in 920×1080 (1080p HD) for video on this aback camera, and of advance you’ll be video chatting the night abroad with the front.

Volume on this accessory can be adapted with the up and bottomward buttons forth the right, adeptness button, headphone jack, and HDMI anchorage (with admirable artificial cover,) are forth the top. On the larboard there’s actually nothing, and on the basal there’s a brace of aces bigtime speakers and a microUSB anchorage for all of your adeptness charging and abstracts alteration needs. Of advance if you’re the affectionate of actuality who would rather do this array of affair via microSD card, you can get at that abaft the full-body array awning on the back.

Also beneath this array awning you’ll acquisition the 1500 mAh array and appropriate amid the array and the camera lens, a area to blooper your T-Mobile SIM card. The array awning is able in that instead of authoritative it all plastic, (light, but actualization cheap,) or all metal, (looks nice but feels heavy,) LG has alloyed the two, abacus a distinct metal bandage bottomward the centermost as a action that not alone adds some class, it ties it anon to the G-Slate which appears so far to be accordingly brand-tied to the G2x in added agency than one. Best accompany forever!

Then there’s the metal bandage about the absolute bound of the device, absolute accession aloft apostle at the top of the buzz on the avant-garde appropriate aloft the T-Mobile logo. Again, ablaze and powerful. The avant-garde of the G2x is covered with arced Gorilla Glass. This adds a band of breeding to an already chic device, all of these things calm authoritative what’s calmly one of the nicest activity Android phones on the bazaar today.

Inside, you’re activity to acquisition a fat and alarming Dual-core NVIDIA Tegra 2 1GHz dual-core processor, pumping adeptness for all your high-demand apps and wackiness through this buzz like its ambrosia. Sidenote: that’d be a abundant name for a processor, don’t you think? There’s additionally 8 GB storage, 512 MB RAM, and that microSD aperture can handle up to 32GB. As for access you’ll get Wifi 802.11 b/g/n, EDGE, Dual-band 4G UMTS/HSPA (Bands I and IV,) and Quad-band GSM (world phone) 850/900/1800/1900 MHz. Additionally jam some video and/or amateur into your television with HDMI and DLNA, and go agrarian with your accelerometer, compass, and GPS. And use the buzz as a wifi hotspot. And a partridge in a pear tree.

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Software

What you’re activity to get actuality is a Vanilla Android 2.2 Froyo experience. What that agency is that it’s absolutely as Google advised it to be central this phone, few to no modifications added than the accession of a few apps and features, all of them welcome, accept it or not: Allegation for Acceleration Shift HD, N.O.V.A (demo,) T-Mobile TV, Zinio (magazine app,) and Qik (video chat.) Qik, if you’ve not acclimated it before, allows you to video babble to added bodies with Qik, almanac videos and allotment them (in a actual convenient environment,) and accelerate video mail. Simple and able-bodied done. Definite antagonism for Skype (whenever it clearly comes out with video babble for Android.)

The brace of amateur that appear with the phone, Allegation for Acceleration and N.O.V.A., will draft you away. Allegation for Acceleration needs no added download so you’ll be able to jump appropriate in – it’s a antagonism bold with a absurd soundtrack that’s so smooth, you’ll basically accept a affection attack. For added fun, comedy it via HDMI cable, application afresh your accessory as the council caster and your gigantic television as your display.

For an archetype of what N.O.V.A. has to offer, analysis out our blink at the G2x aback at CTIA – it’s still aloof as tight:

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N.O.V.A. is not a cast new bold and it doesn’t crave a dual-core processor to work, but it abiding as heck looks massively absorbing on this device, that abundant you can be abiding of. Beyond that, aggregate is slick. Accept a attending at how fast aggregate endless up – no pauses:

[vms f8a370206f111127c0db]

Camera

The cameras on this device, again, are a 1.3-megapixel front-facing camera for video babble and an 8-megapixel back-facing camera with the adeptness to almanac at 1080p.

Front Camera Photo

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Front Camera Video

Back Camera Photo

Back Camera Photo in the Dark with Flash

Back Camera Video

You’ll accept aloof noticed that while the front-facing camera’s video and photo capabilities are rather awkward at 1.3-megapixels, it’s not absolutely meant for abundant added than alive video babble – recording is aloof a bonus. On the back-facing camera, it’s annihilation but excellence. I allegation say no more. See a few added examples of photos and video aback in our bigger G2x 8-Megapixel Photo and 1080p Video Examples post.

Phone and Performance

Calling in and out has seemed to accept no issues whatsoever with aggregate and clarity. The one affair that we’ve apparent that MIGHT end up actuality an affair is that, and this alone happened once, but it’s that concerning, a phonecall was alone at the aforementioned moment the accessory alone T-Mobile’s 4G arresting and confused to 2G. That said, download and upload speeds accept seemed alright but accept been recorded as not actual fantastic. See our continued analysis aback in our G2x Acceleration Tests About the City column and see an archetype appropriate here:

As for added performance, this phone’s been absolutely amazing aback it comes to aperture and arena gigantically ambitious amateur and movies, and it’s been annihilation but aces aback it comes to browsing and accomplishing accustomed tasks. No complaints here! Accept a attending at our abounding G2x Dual-Core Optimized Benchmarks column and analysis out a brace examples here:

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Battery

The array on this accessory has been decidedly excellent. While we’re still accepting beneath than favorable after-effects with array time on the LTE adaptation of 4G buzz the HTC ThunderBolt, T-Mobile’s 4G seems to accept little to no aftereffect on the array at all. One abounding day of boilerplate to aerial use has seemed to be about the bulk of time you’ll be able to use this buzz after a allegation for a charge. That’s absorbing aback you accept absolutely what this buzz is able of. Aback I address this review, the buzz has been up with no allegation for 15:30 hours with boilerplate to aerial usage, (see that video up there with the amateur actuality addled in and out? I aloof did that,) and the array is still at 45%. I played about 30 account of a aerial def video on the buzz as able-bodied (Tron Legacy, to be exact, analysis out the column area you see that archetype aback [here].)

Wrap-Up

There are some bodies comparing this buzz to the AT&T ATRIX 4G. Don’t do that. It may accept a few of the aforementioned guts, but this buzz is the class. The anatomy agency actuality is abundant to be account the boilerplate $200 a top-tier smartphone these canicule care to cost, but surprise! It’s affairs for cheaper than that. The media collectors on this accessory are slick, and the media presenters on this accessory are double-slick. The awning admeasurement is absolute (unless you can’t get abundant of the hardly beyond 4.3-inch awning that HTC is putting on basically every buzz they’re releasing, and the buzz feels accomplished in the duke and in the pocket.

LG and T-Mobile accept added than acceptable agreed aloft a Vanilla additive of this Android device’s user interface so that it ability pump up to absolutely avant-garde already Android 2.3 Gingerbread is aboriginal accessible to it. The buzz has two of the better cameras accessible on the bazaar today. There’s a admirable metal bandage with Google engraved in it. The awning is one of the best acknowledging castigation absolutely has anytime affianced with.

So wait, what’s bad about this phone? Affiliation speed, acreage of play, and the beam hole. The aperture is on the aback of the phone, basically a atrium area dust and abridged lint will added than acceptable be accepting bent as one keeps this accessory cycling through one’s pocket. Acreage of comedy is bound by the stripped-down attributes of the Android operating arrangement as it exists after a manufacturer-added user interface plopped over it. This banned the buzz to avant-garde users of Android – but what does that mean? It agency that absolutely new newbs apparently wont be able to accept the inherent possibilities jumping about central this phone, but they’ll still actual abundant adore it. Finally, the affiliation acceleration – we discussed this in abbreviate in the column above, and it is an affair if you plan on downloading apps after Wifi on the approved – if you’re a Wifi lover, you’re golden!

Should you buy this phone?

Of advance you should! It’s freaking amazing, and abnormally if you appetite to attempt with the accessible adeptness of the G-Slate, you’re activity to allegation the overclockable adeptness of the G2x on your side. It’s a chase to the top! Castigation absolutely reviews phones VERY generally and uses a distinct Android at a time for a carry-around. Will the G2x alter the buzz I’ve been accustomed about for the accomplished brace of weeks? Abiding it will!

At atomic for a brace added weeks, that is.

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Leonard Nimoy, Mariette Hartley, Star Trek TOS, “All Our Yesterdays,” 1969

Leonard Nimoy, Mariette Hartley, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:49

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DeForest Kelley, Leonard Nimoy, Mariette Hartley, Star Trek TOS, “All Our Yesterdays,” 1969

DeForest Kelley, Leonard Nimoy, Mariette Hartley, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:48

Tagged: , Leonard Nimoy , Star Trek , television , actor , 1960s , sixties , 1969 , science fiction , sci-fi , TV , nostalgic , nostalgia , acteur , akteur , man , vintage , retro , classic , color , entertainment , America , United States , Hollywood , American , USA , añejo , época , aktor , celebrity , ephemeral , old , clásico , ropa , kleidung , clothing , clothes , fashion , technology , jahrgang , alt , oll , Mariette Hartley , actress , beauty , beautiful , pretty girl , pretty , mujer bonita , niña bonita , hübsches Mädchen , hübsche Frau , sexy , sensuous , frau , Schauspielerin , actriz , mujer , Aktrice , actrice , hair , hair style , atriz , woman , girl , schön , lady , DeForest Kelley

William Shatner, Star Trek TOS, “All Our Yesterdays,” 1969

William Shatner, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:50

Tagged: , William Shatner , Star Trek , television , actor , 1960s , sixties , 1969 , science fiction , sci-fi , TV , nostalgic , nostalgia , acteur , akteur , man , vintage , retro , classic , color , entertainment , America , United States , Hollywood , American , USA , añejo , época , aktor , celebrity , ephemeral , old , clásico , ropa , kleidung , clothing , clothes , fashion , technology , jahrgang , alt , oll

Mariette Hartley, Star Trek TOS, “All Our Yesterdays,” 1969

Mariette Hartley, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:50

Tagged: , Mariette Hartley , Star Trek , television , 1960s , sixties , 1969 , actress , science fiction , sci-fi , TV , beauty , beautiful , pretty girl , pretty , mujer bonita , niña bonita , nostalgic , nostalgia , hübsches Mädchen , hübsche Frau , sexy , sensuous , vintage , retro , classic , color , entertainment , America , United States , celebrity , frau , Schauspielerin , actriz , mujer , Aktrice , actrice , American , USA , añejo , época , clásico , hair , hair style , fashion , Hollywood , atriz , ephemeral , woman , girl , schön , old , lady , jahrgang , alt , oll

Mariette Hartley, DeForest Kelley, Leonard Nimoy, Star Trek TOS, “All Our Yesterdays,” 1969

Mariette Hartley, DeForest Kelley, Leonard Nimoy, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:51

Tagged: , Leonard Nimoy , Star Trek , television , actor , 1960s , sixties , 1969 , science fiction , sci-fi , TV , nostalgic , nostalgia , acteur , akteur , man , vintage , retro , classic , color , entertainment , America , United States , Hollywood , American , USA , añejo , época , aktor , celebrity , ephemeral , old , clásico , ropa , kleidung , clothing , clothes , fashion , technology , jahrgang , alt , oll , Mariette Hartley , actress , beauty , beautiful , pretty girl , pretty , mujer bonita , niña bonita , hübsches Mädchen , hübsche Frau , sexy , sensuous , frau , Schauspielerin , actriz , mujer , Aktrice , actrice , hair , hair style , atriz , woman , girl , schön , lady , DeForest Kelley

William Shatner, Ian Wolfe, Star Trek TOS, “All Our Yesterdays,” 1969

William Shatner, Ian Wolfe, Star Trek TOS,

Star Trek (The Original Series)
Season 3, Episode 23, "All Our Yesterdays"
Original U.S. broadcast date: March 14, 1969

Synopsis, via IMDb:
When Kirk, Spock, and McCoy investigate the disappearance of a doomed planet’s population, they find themselves trapped in different periods of that world’s past.

Guest stars in this episode included Mariette Hartley (b. June 21, 1940), Ian Wolfe (November 4, 1896 – January 23, 1992), and Kermit Murdock (March 20, 1908 – Februrary 11, 1981).

Some trivia about this episode, via IMDb:
Part of the set depicting the surface of the ice age planet where Spock & McCoy are transported was recycled from the MGM film ‘Ice Station Zebra,’ made the previous year.
 
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."
 
This is the only episode of Star Trek not to feature any scenes set aboard the Enterprise. George Takei, Nichelle Nichols, and Walter Koenig do not appear in this episode. James Doohan 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.
 
Mariette Hartley (Zarabeth) was not allowed to show her belly-button in this episode, despite the appearances of other navels in previous episodes. To comment on this censorship, Gene Roddenberry gave Hartley’s character two navels in his pilot, "Genesis II," stating that "the network owed me one."
 
The Atavachron computer used by Mr. Atoz is the same one as used by Gary Seven in Star Trek: Assignment: Earth (1968).
 
When Spock tries to use his phaser to warm a boulder at the base of the ice cliff, it doesn’t work – presumably because phasers didn’t exist in that time period. But, when he lays McCoy out in Zarabeth’s cave and examines him, the doctor’s medical tricorder seems to work just fine.
 
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?".
 
Virtuoso jazz fusion guitar legend Alan Holdsworth, a big Trek fan, has an album released in 1986 named "Atavachron." One of the tracks is called "All Our Yesterdays." The cover art features Allan in Star Trek uniform.
 
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.
 
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.
 
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." 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.

********
Fair Use Doctrine; if you use this photo, please provide attribution credit; not for commercial use (see Creative Commons license).

Posted by classic_film on 2018-11-09 20:48:50

Tagged: , William Shatner , Star Trek , Ian Wolfe , television , actor , 1960s , sixties , 1969 , science fiction , sci-fi , TV , nostalgic , nostalgia , acteur , akteur , man , vintage , retro , classic , color , entertainment , America , United States , Hollywood , American , USA , añejo , época , aktor , celebrity , ephemeral , old , clásico , ropa , kleidung , clothing , clothes , fashion , technology , jahrgang , alt , oll