Upon holding the Tricorder near a power adapter plugged into the wall, you could see the oscillating magnetic fields on the magnetometer visualization. There they were, slowly bouncing back and forth, right in front of you… More educational discoveries came quickly — from finding all the heat leaks from different building materials in my graduate student apartment in a century home, to how much humidity is exhaled in a breath… And from that moment on, it seemed like much of the mystery of how they worked I now understood — I could think about what was going on inside them easier and more naturally, now that I had this visual grounding of the science going on inside. This is why I built the Tricorder.
From the sleek curves to the subtle design of this dress, the Star Trek XI Blue Dress embodies the woman. This alluring micro-dress features a charcoal yolk, supple fabric, and a slenderizing cut that will highlight the contours of your figure. Using meticulous research from multiple screen-used pieces from the Star Trek film, this dress was produced with the same dyeing/printing from the original manufacturers. All eyes will be on you when you wear this unparalleled replica uniform! Please note that the badge is not included with the dress.
via Entertainment Earth.
STAR TREK VI: THE UNDISCOVERED COUNTRY
Music Composed and Conducted by CLIFF EIDELMAN
INTRADA Special Collection MAF 7117
From its opening bars, Cliff Eidelman’s music for Star Trek VI: The Undiscovered Country exhibits marked differences from previous Star Trek scores, known for their emphasis on the romantic voyage of the Enterprise and the heroism of its crew. The focus in this score is on darker music used more sparingly for the films’ antagonists. The Klingon music not only pervades the score—in a sense, it is the score—but characterizes the alien race quite differently than in previous films. In the opening cue—deliberately titled “Overture” as opposed to ” Main Title” — the composer intended the rising-and-falling figure for cellos and double basses that opens the film—inspired by The Firebird—as the theme for another “bird,” the Klingon bird-of-prey. “That was there to help us feel the effects of something we can’t see, and in this film it really had to do with the Klingon ship that was cloaked,” Eidelman recalls. “It had to do with the fact that it’s mysterious, it’s dangerous and we can’t see it, and that theme kind of represented that.” Later, Eidelman employs a sepulchral men’s chorus, a color absent from any previous Star Trek music. Ultimately, Eidelman establishes a mood in which chaos and havoc appear poised to triumph while heroism and valor struggle to be heard over the forces of darkness.
This original version was rewritten into an unfunny comedy by the line producer Gene Coon apparently unaware that Uncle Miltie was also a serious dramatic actor and a good one. It t was so bad that I complained to Roddenberry.
“This is so lousy, Gene, that you should kill it!” I told him. “You can’t, you shouldn’t, shoot this thing! Read it and weep!”
Gene did, and he agreed with me. I killed my second Star Trek, which, down through the years has cost me tens of thousands of dollars in lost residuals.
Rumor has it that the Phase II guys have gotten their hands on the script and are planning on filming it.
Bleeding Cool has squirrelled out news of an upcoming crossover that might send certain minds reeling. That in May, IDW are to publish a Doctor Who/Star Trek: The Next Generation crossover series. Featuring The Doctor, Rory, Amy, Captain Picard, Worf, Data, Geordie LaForge, Deanna Troy, Will Riker and the rest. And that this art, featuring the Doctor, Rory and Amy on the bridge of the Enterprise is a cover that will be used in the series.
What? Dr Who and Star Trek? What the hell is a bush leaguer like dr who doing with a Grade A series like Star Trek?
via Bleeding Cool.
The Concert was in Landau, Germany. The Band is the Symphonic Wind Band of Landau (Community Band).