Word: shows
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Dates: during 1970-1979
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...earlier life Star Trek was produced for $186,000 per show. Stars were holes punched in black paper, the crew was beamed in and out of the ship with simple light tricks, and the instrument boards were plywood. Whole shows were done on one set to save money. "I'd have blown my whole budget landing that big mother of a ship each week," Roddenberry says. These days he has a problem of affluence: how to update and add the newest wrinkles in special effects without losing "the elements that really count...
...parallel careers. Shatner stays active in summer stock and makes $5,000 plus for an appearance at a Star Trek convention. Leonard Nimoy, who can currently be seen as the sinister psychologist in Invasion of the Body Snatchers, will soon take to the road with Vincent, a one-man show based on the life of Van Gogh. Both actors are puzzled by the Star Trek phenomenon. "Frankly, I can't get a grip on what has happened," says Shatner. "I'll see a 60-year-old grandmother holding a six-year-old child, and both are fans...
...originally showed 55 hours, following the Bellamy family from 1903, at the beginning of the golden Edwardian age, to 1930, when both family and country had fallen upon hard times. Group IV plans to show 39 episodes, taking the Bellamys only up to 1914 and the start of World War I. The best news, however, is that eight of the 39 are the famous missing hours, those episodes that Masterpiece Theater unaccountably deemed inferior and therefore failed to show in the U.S. For those who love the Bellamys, the broadcast of the lost eight is a signal cultural event, almost...
...rights, the headline-grabber in this meet should have been the return to competition of sophomore "brickhouse" Julian Mack, but as is so often the case, sophomore superstar Bobby Hackett stole the show...
...standard. Serenade features Joe Farrell's tenor sax, an undersung quantity if there ever was one. Stanley Clarke performs a lengthy acoustic bass solo that is more a technical coup than a creative improvisation. His sheer enthusiasm makes the cut listenable despite serious intonation problems. Corea begins the show's finale with a 17 minute piano solo. His playing is so damned interesting that he very nearly carries off this whole venture by himself, and here, on his own, he imaginatively probes his Spanish roots and builds to the concert's climax...