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Star Trek Episode 1.15: Shore Leave

AKA Rabbits and Pistols and Women, Oh My

Our episode begins on the bridge, where Kirk is looking over a pad with a yeoman while awaiting a report from a landing party. He gets a kink in his back, so the yeoman starts giving him a backrub, but since both she and Spock are standing behind Kirk he doesn’t realize who is giving him the backrub. This results in quite possibly one of the most infamous lines in all of Star Trek.

[ID: Kirk sitting in his chair on the bridge, his back being rubbed by a brown-haired yeoman, caught in a moment of realization as he says, “Dig it in there, Mr. Sp--” and sees Spock walking past him.]

As everyone does their best to pretend that didn’t just happen, the yeoman says that Kirk needs sleep. Kirk replies that he gets enough of that from McCoy. Presumably he means that McCoy has been telling him that he needs to sleep, and not that McCoy is somehow giving him sleep, although really, anything’s possible. Spock says McCoy is right—wow, get that one on tape—Kirk and everyone onboard need rest after what they’ve been through the past three months. (Exactly what that is is left to the imagination.) Everyone except Spock, of course. He’s fine. He’s always fine. Evidently Kirk is too tired to bother putting up a fight about this, because he tells Uhura to send the landing party report to his quarters and staggers off the bridge.

We then see said landing party down on the nearby planet, which is so unbelievably lush and green that it has actual trees and grass instead of a soundstage with some foliage stuck on.

[ID: McCoy and Sulu walking down a sunlit grassy lane with trees to the right and tall plants at the edge of a pond to the left.]

McCoy and Sulu are naturally quite awed at this incredible beauty. Sulu says that it has no people and no animals, making it perfect for relaxation. No animals? Wow, that must be a really interesting ecosystem—how did a whole planet evolve with no animal life, while still resembling Earth so closely? The plants would have to have evolved unique mechanisms for reproduction without animal life to help pollinate them, not to mention the effect that no herbivorous consumption would have and—right, sorry. No animals means a good vacation! That’s the important thing. I guess.

Anyway, McCoy thinks the planet is just the place for some relaxation time for the crew, if they can get Kirk to authorize shore leave there. It does seem like a nice place to chill out after a lot of stress, but I question the Starfleet policy of letting crews take shore leave on random newly discovered planets as long as they don’t appear to have sapient native life as determined by some people wandering around on a small portion of it for a few hours. There could be plenty of threats there that they just haven’t uncovered—or, on the flipside, a whole crew full of people beaming down to loiter around could wreck havoc on an alien ecosystem. But, eh, it’s just plants, it’ll be fine.

McCoy comments that “you have to see this place to believe it—it’s like something out of Alice in Wonderland.” Bones, my man, I don’t know what copy of Alice in Wonderland you read, but I don’t remember its primary feature being nice-but-totally-normal-and-physics-obeying parkland.

Sulu stops to get some samples of the plant life, while McCoy wanders off happily, obviously enjoying the chance to just have a nice stroll through nature and chew on a stalk of grass. That is, until he spots something...unexpected.

[ID: A large humanoid white rabbit standing among the foliage, wearing a checked red and yellow shirt, yellow waistcoat, and brown and gray neckcloth, with an umbrella tucked under one arm.]

The rabbit exclaims that he’ll be late and hops (sort off) off through the undergrowth. A moment later a young girl in a blue and white dress runs up and asks McCoy if he’s seen a rabbit around. All poor Bones can do is point mutely in the direction the rabbit went, and the girl gives him a curtsy and runs after the rabbit.

McCoy stands there in abject shock for a moment before managing to bellow for Sulu, who comes running. Despite being only a few yards away, Sulu was evidently too absorbed with horticulture to notice any of what just happened, and there’s now no sign of either rabbit or girl. He asks McCoy what’s wrong, but McCoy can’t seem to find the words, and really, can you blame him?

[ID: McCoy standing by the edge of a pond, holding a grass straw tensely and staring in front of him while Sulu puts a hand on his shoulder and asks, “What is it, doc?”]

“Oh god, this is it. I knew this job was going to drive me insane and it’s FINALLY HAPPENED.”

After the break we get a captain’s log from Kirk talking about how nice this planet they found is. You can tell he’s tired and kind of out of it from the way he rambles a bit, and takes a moment to remember the entire stardate. Despite this, the yeoman currently talking to him in his room notes that he isn’t in any of the shore leave parties. Kirk waves this off and dismisses her, but this does nothing for Kirk’s solitude because she is immediately replaced by Spock.

Kirk asks Spock which shore leave party he wants to go with, but Spock says he’s not interested in going at all. On Vulcan, he says, “to rest is to rest, to cease using energy. To me, it is quite illogical to run up and down on green grass using energy instead of saving it.” Well, it would be. Your planet doesn’t have any green grass. The idea of going outside to relax probably would be pretty foreign on Vulcan, which is generally rather lacking in environments that anyone would consider relaxing.

The conversation is interrupted by Uhura paging Kirk to say there’s a call from McCoy. Kirk genially tells her to open a channel, little suspecting what this conversation is going to be about.

McCoy—remarkably calmly—says that either all their sensor probes are defective, or he is. Kirk naturally asks him to explain, leaving McCoy in the unenviable position of having to describe what he just saw. Kirk takes the whole story to be a joke, while Spock stands there rolling his eyes to the heavens. It’s understandable enough; even for people with as many weird experiences as these guys, giant talking rabbits aren’t something you expect to encounter, although I have heard that they appear here and there, now and then, to this one and that one.

Kirk figures that this is a trick of McCoy’s to get him to come down to the planet—that he doesn’t think Kirk will come down for shore leave unless he’s baited with a bit of mystery. Which doesn’t sound terribly like McCoy, I have to say. He seems less likely to make up a weird story about a rabbit as part of a cunning plan to lure Kirk into shore leave, and more likely to just physically drag him down to the planet by the ear.

Spock, evidently deciding not to get involved in these weird human things, says that actually he did have something he came here to discuss. He’s checked Dr. McCoy’s log—pre-rabbit sightings—and apparently there’s a crew member aboard who’s being a bit of a problem.

“[He’s] showing signs of stress and fatigue, reaction time down nine to twelve percent, associational reading norm minus three.”

“That’s much too low a rating.”

“He’s becoming irritable and quarrelsome, yet he refuses to take rest and rehabilitation. Now he has that right, but we’ve found--”

“A crewman’s right ends where the safety of the ship begins. Now, that man will go ashore on my orders. What’s his name?”

“James Kirk.”

[ID: 1. Spock looking at Kirk with a look of mock surprise and innocence while saying, “James Kirk.” 2. Kirk stares back at Spock. 3. Spock saying, “Enjoy yourself, Captain,” with a decidedly smug smile. 4. Kirk staring at Spock, now with a GTA-style overlay saying ‘wasted’.]

Weeeeelll, there’s not a whole lot Kirk can do about that devastating takedown except swallow the pill and go take some shore leave already. Spock tells him that they’ve detected no animals, no artifacts, no force fields (? was that a potential problem?), it’s just a nice pleasant green planet. But even as he’s saying this we see, down on said pleasant green planet, a rock by a pond slowly move aside on its own to reveal….A GUN! No, not a phaser—an actual, old-fashioned revolver. Dammit! The NRA got here before us!

Unknowing of the terrible threat looming nearby, a couple of crewmen—a goldshirt woman and a blueshirt man—are investigating some of the plant life. The blueshirt is intent on scanning some ferns, prompting a complaint from the goldshirt that he’s too focused on work, work, work, and not appreciating the natural loveliness all around them. The blueshirt responds that he’s focused on work because they’re working—they’ve got a report to make to the captain and things aren’t going to be nearly so pleasant if it’s not ready on time. Right after he says that, who should beam down but Kirk himself, along with the yeoman. Oh man, speak of the devil. Don’t you hate it when you’re talking about your boss and he immediately materializes out of thin air in front of you?

Luckily for the crewmen—Rodriguez and Teller, Kirk calls them—he’s not here to crack the whip. Told that they’ve finished the survey, he tells them to submit it to Spock and then clock out and enjoy themselves. Incidentally, Kirk calls the goldshirt Teller, but she’s played by the same actress who played Martine last episode. The character was named ‘Mary Teller’ in the script, but once they got on set someone noticed that they had—again, somehow—accidentally cast someone who had already appeared as a named character, and changed her first name to Angela to match Martine...but as you can see, it’s a bit inconsistent. And a bit jarring, if she is the same character, to see her so bright and happy and with budding romantic tension between her and Rodriguez, considering what happened to her last week. It worked out pretty well when they did this with Riley, but this time, not so much.

At any rate, Rodriguez points Kirk over to where Sulu and McCoy were. Kirk and the yeoman head over there, talking a bit about how incredibly beautiful the surroundings are. The amount that this planet gets talked up in the episode initially struck me as a bit odd; don’t get me wrong, it’s quite nice and pretty, but I don’t think I would call it jaw-droppingly, impossibly gorgeous. But then, y’know, I see trees everyday. I can see trees right now just by turning my head about ninety degrees. If I spent the majority of my life in a spaceship, seeing the same gray, florescent-lit surroundings every day, breathing in sterilized air and rarely seeing any space more open than Engineering, I’d probably be awestruck at the first bit of green I saw in months too.

The captain and the yeoman find McCoy some way away, still standing by the pond and brooding over his sanity. Kirk is all ready to set into some teasing about rabbits and the sighting thereof, but while McCoy is still not entirely sure he didn’t hallucinate the whole thing, he’s got at least one thing a bit less easy to dismiss: large footprints in the dirt nearby.

[ID: Kirk kneeling in a dirt track, examining two sets of four-toed footprints.]

Those don’t look a great deal like rabbit tracks, but then, that didn’t look a great deal like an actual rabbit either. Kirk is, reasonably enough, not quite ready to commit to giant talking rabbits yet, but evidently something is going on here, so he calls up to the ship and tells the shore leave parties to stand by and not leave the ship. Right when they were about to disembark, too. You could probably hear the collective groan clear on the other side of the ship.

McCoy expresses some surprise at Kirk suspending the leave, since after all it’s only a giant talking rabbit that came from nowhere, what’s worrying about that? Kirk asks if McCoy can explain this whole business and McCoy has to admit that he can’t, and since neither can Kirk, he’s erring on the side of caution and not bringing the entire crew planetside until they figure out for sure that whatever’s going on isn’t dangerous. It’s probably not dangerous, but then again most people would say a quick checkup for a couple of isolated archaeologists probably wasn’t dangerous. A socially stunted teenage boy probably wasn’t dangerous. Someone beaming up with a bit of glittery space dirt on them probably wasn’t—you get my drift.

So nobody’s getting their vacation until Kirk gets some answers, but before they can start working on that there’s a sudden explosion of noise—gunshots. Which I don’t expect people from the twenty-third century could readily identify, but it’s obviously a big scary dangerous-sounding noise, so everyone takes off at a run to go see what’s going on.

What’s going on turns out to be...Sulu, standing in a clearing and happily firing off the revolver we saw earlier. Naturally Kirk is all “wtf, Mr. Sulu” and Sulu cheerfully explains that look! it’s a gun! isn’t it cool??? Apparently antique gun collecting is one of Sulu’s many side hobbies, and this one is a really cool old super rare gun that he’s been wanting for ages, which he just happened to find laying under a rock nearby. He seems weirdly unperturbed by a centuries-old Earth weapon—let alone the specific centuries-old Earth weapon that he just happened to want—turning up on a newly discovered, uninhabited and definitely non-Earth planet. Also, apparently Sulu’s interest in guns did not at any point include an accompanying interest in gun safety, since he thought it was a good idea to just start firing the thing off randomly for kicks.

Kirk puts his hand out and gives Sulu a stern “hand over the toy, young man” expression, and Sulu reluctantly gives it up. He tries to explain to Kirk how the gun works, but fails to mention the part about how you really shouldn’t just stick a loaded gun straight into your belt unless you want to shoot yourself in the leg, so naturally Kirk does exactly that.

Well at any rate, that confirms that there’s more going on here than one brief localized hallucination. Speaking of which, Yeoman Barrows suddenly spots more of the strange tracks they saw earlier, running right past them. Kirk orders Sulu to take Barrows and follow the new tracks AND NO MORE SHOOTING THINGS. Meanwhile, he and McCoy are going back to the glade to investigate the original set of tracks. Frankly I’m not sure how useful ‘the glade’ is as a place name on a planet that seems to consist of nothing but glades, but that seems to be what Kirk is going with. As the captain and the doctor head off, we see a strange antennae rise from the rocks and turn towards them.

Kirk and McCoy walk back to The Glade, chatting about how strange and obnoxious this whole situation is—can’t even go down for a spot of fresh air and sunshine without weird shit happening. Still, McCoy says, it could have been worse—Kirk could have been the one who saw the rabbit. At that Kirk laughs and asks McCoy if he’s feeling a bit picked on about all this, and McCoy admits that yeah, just because you know exactly what’s going to happen when you tell someone you saw a giant humanoid talking rabbit doesn’t make it fun.

Kirk says that he knows what it feels like because he got picked on a lot back at the Academy, though presumably not for rabbit-related reasons. Evidently, as he himself freely owns up to, Kirk was not just a serious student but a “positively grim” one, which made him an easy target for inter-student-body trolling. That Kirk was especially studious and strait-laced in his academic years is an aspect of his character that’s consistent throughout TOS (remember Mitchell’s remarks about Kirk being a “stack of books with legs”), but it’s one that seems to be easily forgotten about in favor of the assumption that Kirk must have been a wild, rule-breaking, carefree kind of student more interested in having dorm room hookups than passing tests. I’m just sayin’. Take notes.

At any rate, Kirk relates how there was one particular upperclassman named Finnegan who took special delight in taunting and pranking him—putting soup in his bed or a bucket of water on the top of a door. Which, honestly, as far as college pranks go that’s pretty lacking in creativity, but it clearly got to Kirk as evidenced by the fact that he’s still kinda sore about it some fifteen years later.

In the midst of all this reminiscing, they notice a new set of tracks—young girl tracks. Or, well, not that there’s anything about them that specifically says ‘young girl’, but since McCoy saw a young girl in the vicinity of the rabbit we can make a safe assumption. Kirk decides to split up; he’ll follow the Alice tracks, and McCoy can follow the rabbit tracks. McCoy’s amenable to this.

[ID: McCoy saying, “I got a personal grudge against that rabbit, Jim,” with a broad grin.]

Kirk hasn’t been alone for very long, though, when he hears a voice calling, “Jim!” He turns—and there, leaning against a nearby tree, is a young man wearing a silver shirt and an insufferable expression, accompanied, as all Irish people are legally obligated to be, by cheerful jig music. It is, or appears to be, Finnegan himself, in the flesh and just as fresh and smirking as he was at the Academy-- something he demonstrates by grasping Kirk’s shoulders in a brotherly fashion before walloping him with a punch that sends Kirk head over heels into the grass. As Kirk lays there stunned, Finnegan dances around laughing like a hyena and taunting Kirk to get up and fight back.

Now, Kirk, of course, is no longer an Academy freshman, but a decorated starship captain with ample experience in dealing with highly unusual circumstances and keeping his head in times of stress, so naturally his measured response to this impossible situation is to stay calm and evaluate what could be causing this and how dangerous—only joking, he gets up and charges at Finnegan with clear intent to strangle the bastard. I can’t really blame him, though. They cast Finnegan to perfection; the actor does a really good job at being an annoying little shit.

Before the fight can really get going, though, a sudden noise cuts across the clearing. Not gunshots, this time, but a terrified scream. Kirk immediately takes off in the direction of the sound, leaving Finnegan behind to jeer at Kirk for running from a fight.

As Kirk pelts across the grass he’s joined by McCoy, also running to see what’s going on. The two of them track the noise down to Barrows, sobbing and gasping on the ground next to a tree with her uniform all torn away from the collar on one shoulder, a rare case of the fragility of Starfleet uniforms being a problem for someone other than Kirk. And honestly I’d say Barrows gets a worse deal out of it, since the female crewmembers have so much less uniform to lose in the first place. Poor yeoman doesn’t get an undershirt, either, or, apparently, even a bra with straps.

Barrows says, rather frantically, that she was just walking along when suddenly “he” appeared—a man in a cloak with a jeweled dagger. Kirk asks if she’s sure she’s not imagining all this. That’s pretty damn rich from a man who was fistfighting his inexplicably appearing college rival a couple minutes ago. What, does he think Barrows imagined this so hard it ripped her uniform?

She gets rather rightfully pissed and tells Kirk that no, she did not dream up being attacked, you jerk. McCoy comments that the man she’s describing sounds like Don Juan. Which is quite a leap since all he has to go on is “cloak and jeweled dagger,” which could potentially describe an incredible amount of characters. Hell, that could be Barrows’s D&D character. But no, apparently McCoy got it in one, because Barrows says that actually, as she was walking through the woods, “it was so sort of storybook...I was thinking, all a girl needs is...Don Juan.”

Really? I mean, I don’t mean to judge anyone else’s romantic fantasies. But, well, I could see walking through some beautiful woods and thinking the scene just needed a charming prince or maybe a unicorn or something. Not so much, “gee, it’s so beautiful around here, all a girl needs is to be violently assaulted by a fictional character legendary for being a womanizing sleaze.”

Well, anyway, that was weird. Hey, come to think of it, where’s Sulu? Shouldn’t he be around here somewhere? Barrows says that he ran after the cloaked fellow. Oh dear. New plan: Kirk tells McCoy to stay with Barrows while he goes to look for Sulu. As Kirk runs off, the mysterious aerial appears again, seemingly tracking him, but it goes unnoticed by everyone.

Kirk soon finds himself leaving the trees and meadows and jogging out into a rocky, desert-like area. It’s still pretty out there, though, with some wildflowers growing around, which Kirk stops to admire. Kirk. Kirk, buddy, I like flowers too, but you’ve got a crewman potentially in danger here. Maybe we could enjoy the foliage later.

A moment later, though, Kirk spots something a lot more distracting than a pretty flower: a pretty woman!

[ID: A white woman with blonde hair braided in a ring around her head, wearing a dress which is half white and half black with a pink flower design on the black half, standing in front of a cliffside surrounded by plants.]

Kirk stares in stunned rapture as the woman approaches. This is not just any woman; this is, judging by Kirk’s disbelieving murmur of, “Ruth…?” someone he knows, or knew. Random woman that Kirk knows who we’ve never heard of before? Gee, I wonder what connection he could possibly have to her. I’m going to guess she’s not his aunt.

“It is me, Jim darling, it is Ruth,” the woman says, and moves in to rub against Kirk’s cheek. Well, that’s an upgrade from Finnegan at any rate.

After the break Kirk gives a rather distracted captain’s log: still investigating this weird planet, lost a crewman but found a woman so it evens out. With a last vestige of professionalism he attempts to call McCoy, but the communicator isn’t working. Kirk is exactly as bothered by this as you would expect someone to be whose phone just broke right when they needed to call someone but really didn’t want to.

Anyway, back to more important matters: “How can it really be you, Ruth?” Kirk says it’s been fifteen years, but she hasn’t aged a day. He really seems quite emotional about all this. Kirk’s always courteous to the girls of his past, but he doesn’t usually get this worked up about seeing them again. Ruth must have been someone really special to him.

Sadly, the dreamy romantic atmosphere can only last so long before it gets shattered by reality, in the form of a communicator chirp, specifically. It’s McCoy, wanting to know if Kirk’s having any luck finding Sulu. You know? Sulu? Your crewman that you’re supposed to be looking for? Might be in danger? Remember him? Apparently not, because Kirk only manages a vague “hmm?” and then, when McCoy wants to know what the heck is going on over there, Kirk mumbles that he’s sure Mr. Sulu will be just fine. Maybe he’ll find a woman too! Or another gun. Whatever. He’s fine. It’s fine.

But Kirk just can’t get a break in here, because he promptly gets another call. This time it’s from Rodriguez, reporting that he just saw a flock of birds go overhead. “Don’t you like birds, Mr. Rodriguez?” Kirk asks, so Rodriguez has to remind him of that tiny little detail that there are no birds on this planet. Or at least, there aren’t supposed to be, according to all those scans they took.

Welp, Kirk says, guess those scans were defective, how bout that, funny ol thing, probably not important though...but, for all that he clearly wants to tell Rodriguez to go away so he can get back to Ruth Time, Kirk’s captain instincts are still hanging in there somewhere, so with a sigh he snaps out of it and tells Rodriguez to have all the search parties meet back at The Glade before hanging up. Ruth tells him to go do what he must and that he’ll see her again if he wants to, then walks off back into the desert, leaving Kirk alone among the rocks with only his memories...but just for like, five seconds, because he promptly gets another call.

This time it’s Spock, reporting that they’re getting some strange readings indicating some kind of ‘power field’ down on the planet, and that there’s “a highly sophisticated energy draining our power and increasing, beginning to affect our communications.” How energy can be highly sophisticated is beyond me, honestly (is it wearing a monocle? what?), but you’re the science expert there, Spock. Seems this energy might be coming from beneath the planet’s surface, possibly indicating some kind of industrial activity going on down there.

Well, I think at this point we can definitively say that Something Weird is going on down here. Kirk heads off back to The Glade in pursuit of answers, and as he leaves we see another aerial, sticking up from a rock and twirling attentively in his direction.

Meanwhile, McCoy and Barrows are having a cheerful meander through the woods. Lovely as the woods are, though, Barrows comments that she wouldn’t want to be alone in them. “Why not?” McCoy asks. I dunno, man, because she just got attacked by an armed man with distinctly dishonorable intentions? I think that’d put most people off a stroll through the woods, no matter how nice said woods are.

Barrows hasn’t been dissuaded from the romantic ideal entirely though, and says that in woods like this a lady should be dressed in some fancy fairy-tale princess duds. I was thinking ‘long pants and hiking boots’ myself, but whatever works for you.

McCoy replies that if she was so dressed she’d have “whole armies of Don Juans to fight off...and me, too.” Not sure if “let me just remind you of that scary encounter you just had with a threatening man” is the best approach to flirting, but going by the moment of tender hand-holding they proceed to have, I’d say Barrows is down with it. (Hmm...Bones...Barrows...kind of goes together. In a morbid way, but still.) Still, the whole thing doesn’t feel quite in character for Bones, which might be explained by this plot originally being intended for Kirk (of course) with McCoy swapped in later. Kirk and McCoy are pretty much interchangeable, right? Sure.

Barrows is quickly distracted from the hand-holding when she spots something in the trees nearby: the exact kind of fancy fairy-tale princess clothes that she was just talking about, hanging on some branches. Imagine that. She runs over to the clothes and holds the dress up to herself gleefully, exclaiming, “Look at me, doctor! A lady to be protected and fought over!” When McCoy suggests the clothes would look even better with her in them, Barrows isn’t sure if it’s a great idea, but decides to go for it. Now, uhhh, if Barrows wants to wear a pretty princess dress that’s entirely her prerogative, and I don’t blame her for wanting to change out of that awkwardly ripped uniform, but putting on a set of fancy clothes that mysteriously appeared in the woods? That sounds like an excellent way to get captured by faeries and I would not recommend it.

Barrows goes to change behind some bushes, brazenly ignoring the possibility of being kidnapped by the fair folk, and McCoy is very deliberately Not Peeking when he gets a call from Rodriguez. The communicator has gone all staticy and squawky, though, and McCoy only just makes out the message that they’re supposed to meet back in The Glade before Rodriguez cuts out, and no amount of shouting “ESTEBAN!” into the communicator gets him back. Which is a pity for Rodriguez, because the scene cuts to show us that he and Marteller are in quite the spot of bother: they’re leaning up against a tree, clutching each other, while a tiger prowls about nearby. Yes, a tiger. Not a dude in a tiger suit, or a dog with stripes painted on, or even stock footage of a tiger: an actual, real, 100% bonafide, quite expensive tiger. Rodriguez tries desperately to get ahold of McCoy again without setting off Shere Khan over there, but the communicator doesn’t pick up at all this time.

Blissfully unaware of the tiger trouble, McCoy watches Barrows emerge, all dolled up. Meanwhile, Kirk is talking to Spock and demanding some answers about all this. Spock is hesitant, but Kirk says it’s his job to provide answers. Cut him some slack there, Kirk. It’s pretty hard to come up with a good scientific explanation for giant talking bunnies and magic women. Well, one that doesn’t involve massive intoxicants, at any rate. Speaking of which, Spock wants to know if they’re really sure these haven’t been hallucinations. Kirk rather doubts that, since one of those ‘hallucinations’ clocked him across the jaw. A fair point, although I would also put forth the rather relevant detail that by now we’ve had multiple people seeing the exact same thing, not a common feature of hallucinations.

Spock wants to know if they should maybe beam down an armed landing party, who I’m sure would be terribly effective, but Kirk says no, there hasn’t been any real danger so far, just weirdness (he hasn’t seen that tiger yet). Right as he says that, he looks up and sees a flock of...are those geese? Oh shit, you better send that armed party down after all, Spock, things just got dangerous.

Meanwhile, Sulu (remember him?) is walking through a nearby canyon, probably wondering where the heck everybody is, when the ground behind him opens up like a trapdoor and a samurai jumps out and starts attacking him. Man, we were getting some perfectly good character development for Sulu this episode but now we’re back to “a samurai! because he’s Japanese! get it? get it?”

Sulu pulls his phaser on the samurai, but the phaser doesn’t seem to want to fire, and Sulu’s forced to make a run for it, right into Kirk, who is trying and failing to call McCoy. Sulu warns Kirk about the aggro’d samurai heading towards them—but he’s gone. No samurai to be seen. “Captain, you’ve got to believe me!” Sulu insists, and usually “you’ve got to believe me” is the best way to guarantee that someone will not believe you, but luckily for Sulu Kirk’s seen enough weird shit of his own today that at this point, sure, samurai, why not.

Sulu reports that he got a call from Rodriguez telling him to meet back at The Glade, but the communicators were acting up, and now it seems his phaser is out too. Kirk tests his, but it’s also dead. Great, now we don’t have any way to fight off the geese.

While they’ll mulling over this latest development, something appears up on a nearby outcropping of rock—the familiar human-shaped swirl of light of someone being transported. It appears to be Spock, but instead of the usual smooth materialization, he fades in and out several times before finally making it all the way. Just your periodic reminder that traveling through transporter is kind of terrifying.

Kirk wants to know what the heck, man, did he not just say to not send anyone else down? Spock says he had to come down because ship-to-planet communications are now completely out, and the mysterious power field is soaking up energy so quickly that he calculated that if they hurried they could just about get one person transported down before that went out too. Naturally he sent himself; I mean, he’s only the first officer, who better to risk sending through a shaky transporter beam? At any rate, that was the last of the transporter juice, so they’re all stuck down there now with no contact with the ship. The shuttles are conspicuously unmentioned by anyone—but then, if the energy-eating field is that strong, flying a shuttle into it probably wouldn’t end real well.

Back in The Glade, McCoy and Barrows have arrived (and McCoy has found another stalk of grass to chew on), but no one else is there yet. At least it doesn’t look like anyone is there yet, but McCoy thinks he hears something or someone moving around nearby. That makes Barrows nervous, but McCoy says her brave knight will protect her.

Over in the desert, Kirk, Spock and Sulu hear the tiger approaching, along with the ominous background music. They spread out to find the source of the noise, but there’s another problem in The Glade: a knight in black armor on a horse, charging towards McCoy and Barrows with lance at the ready. Barrows freaks, but McCoy is done with this shit. First a talking rabbit, then magic guns, and now this nonsense? He’s not having it. These damn things are all just hallucinations, and he’s going to prove it...by standing directly in front of the knight.

Under some circumstances, that might have been the correct option. Unfortunately for McCoy, these are not those circumstances, and Kirk and Spock come into The Glade (having, apparently, missed the tiger completely) just in time to watch their friend get hit in the chest by a very much not imaginary lance. The knight turns towards Kirk and Spock next; Spock tries to fire his phaser at it, but of course, the phasers aren’t working. Luckily Kirk still has that gun he confiscated from Sulu—which has somehow not gone off throughout any of these adventures--and it’s working just fine, fine enough to shoot the knight right off his horse. Dang, Kirk is a good shot with that thing, considering he’s never so much as encountered one before.

Everyone rushes over to McCoy, lying lifeless in the grass. That’s right, McCoy is dead. Oh god! McCoy! We hardly knew ye! Oh, I can’t believe this has happened. And so early on in the show, too. What a tragedy.

[ID: McCoy laying prone on the grass with a small bloody hole in his chest, while Kirk, Spock, and Barrows in her princess clothes kneel around him.]

Not that I have experience with these things but that seems to be a remarkably small and clean wound for a lance to the chest.

In shocked grief, Spock, Kirk and Barrows kneel around the body of their fallen comrade. Barrows is especially emotional, sobbing that it’s all her fault, until Kirk grabs her by the shoulders and sternly tells her to get a grip. I suppose he needs everyone to have a clear head since they’re still in a crisis situation but it seems a wee bit harsh. Poor Barrows. She’s had a really bad day. Although not as bad as McCoy’s day, I guess.

Sulu calls Kirk over to the body of the fallen knight, laying in the grass some way away. As soon as Kirk gets there it’s easy to see what got Sulu’s attention: underneath the visor of his helmet, the knight’s face is plasticky and clearly artificial (although the eyes are just a little unnervingly realistic).

[ID: A headshot of a knight laying on the grass with his helmet visor opened, showing the face of a white man with brown hair but with a flat, artificial sheen.]

“It couldn’t be alive,” Kirk muses. Kirk, don’t be mean to the stuntmen.

Spock comes over to scan the body—luckily his tricorder is still working (don’t ask why). He says that the knight is indeed not a corpse but a “mechanical contrivance” which has the same cell structure as all the plants around them. Which means that not only this knight, but everything on the planet has been manufactured. Oh my god. We’re in WESTWORLD.

So a mysterious black knight just appeared out of the blue, ran down poor McCoy, then got shot and turned out to be fake all along. Okay. Sure. To be honest, you could stick that sequence of events in the Arthurian canon and it wouldn’t stand out much.

Suddenly, just to add to all the weirdness, an airplane flies overhead. Somewhere else, Rodriguez and Marteller are watching it with astonishment. Rodriguez asks if Marteller remembers “the early wars and funny air vehicles they used” that he was telling her about. One wonders how that conversation came about. Was it before or after the tiger?

Anyway, Rodriguez brings this up because that, of course, is one of those very same airplanes he mentioned. Marteller asks if it can hurt them, and Rodriguez says it can’t unless it makes a strafing run. Naturally, the plane immediately makes a strafing run. The two run off, barely avoiding the hail of bullets, and escape into some nearby undergrowth, where Marteller falls over. Rodriguez kneels down, concerned, calling her name, but she doesn’t respond. I have no idea whether she tripped, fainted, or was shot and is now dead. It’s really not clear.

Back in The Glade, something weird (sorry, something else weird) has happened while everyone was distracted by the plane: McCoy’s body has vanished, along with the fake knight. Well, that’s great.

Spock has a hypothesis. He asks Kirk what he was thinking of right before he saw the people he mentioned. Kirk thinks back and says that he was thinking about being in the Academy and his youth and all that, and then Finnegan showed up. And speak of the devil—there he is again, Finnegan himself. Kirk demands Finnegan give him some answers about what’s been happening to them, but Finnegan just laughs and runs away.

Kirk’s not going to stand for that. He’s had a bad enough day—verbally outfoxed by Spock, had a potential bit of lovely shore leave turn into a massive headache, one of his best friends is dead, and now this horrible little bastard is having a laugh at him. There’s only one thing to do—track down Finnegan and take out some aggression on him. He tells Spock to take Sulu and find McCoy’s body—and just, uh, leave Barrows somewhere, I guess—while he goes after Finnegan. Spock is a little taken aback by this sudden turn of events, but Kirk has run off before he has a chance to argue.

The chase takes Kirk back out to the desert. Finnegan keeps popping up in the distance, moving from place to place so quickly and inexplicably that it seems like he’s teleporting. All this time Finnegan’s peppy jig motif is playing, which is suitable enough for the immediate situation but a bit disconcertingly cheerful considering one of our beloved main cast members died and had his body stolen like two minutes ago.

Finally, Kirk tracks Finnegan down to a small ledge and once again demands that Finnegan give him some answers. Finnegan’s response to this is to jump off the ledge, onto Kirk. So begins a long fight scene in the desert dust. Kirk gives it a good show, but Finnegan seems indomitable. He knocks Kirk flat and then stands over him, taunting Kirk about how Kirk went and got old while Finnegan is still a twenty-year-old college student in fine fighting form. Well...a twenty-year-old in fine fighting form, at any rate. He’s got way too much energy to be a college student.

Despite being Super Old, Kirk gets back up and continues the fight. This time he’s the one who knocks Finnegan down, and Finnegan promptly starts moaning about how he can’t feel his leg and Kirk has broken his back. This is, of course, a trick, and as soon as he gets the chance he flips Kirk over onto his back. Somehow, between landing on the ground and getting a close-up, Kirk manages to rip his shirt clean off most of his torso.

[ID: 1. Kirk landing on his back in the dirt while Finnegan begins to get up from the ground nearby. 2. Kirk laying flat on his back, bruised, with his shirt torn off one shoulder almost to his stomach.]

how did you even do that

He lays there, seemingly unconscious, and Finnegan starts laughing about how Kirk can sleep now, sleep as much as he wants, sleep forever and forever. Oh. Uh. That got creepy.

Luckily for Kirk, a commercial break happens, and by the time it’s over, he’s recovered somewhat. He gets up and says, once again, that he wants answers. Finnegan tells him to earn them and throws dirt in his face, and they start going at it. Again. Seriously, this fight lasts for a long time.

Eventually, they come to a halt, both disheveled, bleeding, and covered in dirt. “Kinda makes up for things, huh, Jim?” Finnegan asks. I don’t know if the “things” are Finnegan’s bullying back in the day or everything that’s gone wrong today—or maybe both. Hard to say, because when Kirk questions him yet again, Finnegan says, “I never answer questions from plebes,” causing Kirk, clearly at his breaking point now, to bellow “I’M...NOT...A PLEBE!” as only William Shatner could.

Kirk asks Finnegan why the hell he’s here, magically still a cadet just hanging out on a supposedly uninhabited planet, which is pretty weird, y’know. Finnegan says he’s “being exactly what you expect me to be.” Which is more information than Finnegan’s provided so far, but not enough to dissuade Kirk from getting back up and finally giving Finnegan a right good sock on the jaw.

As he stands there catching his breath, Spock suddenly appears and asks if Kirk enjoyed his fight. Well, I say suddenly. It seems suddenly, but honestly he could have been standing there for the past ten minutes playing a trumpet and wearing light-up sneakers and I doubt Kirk would have noticed during that fight.

Kirk admits that yeah, actually, he did enjoy that. He’s been wanting to beat up Finnegan for years now and he finally got the chance and damn, it felt good. Spock says that this all fits into his theory: that these things and people are showing up because the Enterprise crew were thinking about them. You don’t say? I’m kind of amazed it took them this long to realize that, honestly. I mean, if something becomes relevant soon after I happened to be thinking about it I immediately notice it because that kind of thing strikes you as odd, right? And if something literally appeared in front of me right after I mentioned it, I think my immediate instinct would be to ask for something else just to see what would happen, which in this case would rather give the game away.

Anyway, Spock says that they must all control their thoughts, which is definitely a thing humans can do under pressure. He thinks that everything is being manufactured below ground and placed above via a system of secret tunnels, kind of like Disneyland. Then he starts talking about the tiger Rodriguez encountered—and said tiger immediately shows up nearby. Great job controlling your thoughts, Spock!

Apparently, Shatner wanted Kirk to wrestle this tiger, but basic sense prevailed and he was talked out of it. I wonder how that conversation went. “I gotta fight the tiger! It’s what this Kirk guy’s all about! I know, I’ve studied him!”

Luckily Kirk and Spock make their getaway without anyone having to fight the tiger. As they run back to The Glade, the airplane returns for another strafing run, so they have to outrun that too. Then, because I guess this is the part where all the previous bosses return and you have to fight them again, the samurai appears as well, but Kirk and Spock don’t have any time for that so they just push him over and keep going without even slowing down.

Back in The Glade, Barrows is in her uniform again and sadly hanging up the princess clothes on some branches. Her ripped collar seems to now be on the other side. Man, there’s just magic clothes all over this episode. And just to make Barrows’s day even worse, a leering mustachioed man appears in the brush behind her—Don Juan, one presumes. Man, somebody had a really weird idea of what women fantasize about.

Barrows screams and Sulu and Rodriguez rush over to rescue her—Sulu seems to be hoping that just kind of waving his hands around in the air will do the trick. Before yet another fight scene can break out, Kirk and Spock show up and tell everyone to stop this nonsense, at which point Don Juan just kind of obligingly leaves.

Kirk tells everyone to stand at attention and to not breathe or think. I hope he has some kind of plan beyond that because that is not a sustainable course of action. I mean, that’s how you get a giant Stay Puft Marshmallow Man. Or just some passed-out crew. Incidentally, Rodriguez is here, but Marteller is nowhere to be seen. What happened to her? Is she dead? Did he just leave her laying in the woods somewhere? I have no idea, because she never gets mentioned again.

So the crew lines up and tries desperately not to think about tigers or samurai or vintage guns or airplanes or Don Juan or fancy princess clothes or talking rabbits or old flames or college rivals or anything else, and while they’re doing this an old man in blue robes suddenly appears.

[ID: Kirk, still bruised with a badly torn shirt, looking in surprise at a kindly-looking white man with white hair, wearing a blue robe with gold leaf embroideries on the chest and cuffs.]

Dangit! Which one of you was thinking of an old man in blue robes?

The man, who seems to know everyone’s names, introduces himself as the caretaker of the planet. He apologizes for all their troubles and says that ‘they’ only realized just now that the Enterprise crew didn’t understand what was going on—that everything that happened was only meant to amuse and entertain them. On this planet, you can imagine any kind of experience you want, and it’ll happen. Spock calls it an amusement park, and then explains to everyone else that that’s ‘an old Earth term’ for a place where people went to have fun experiences. Wait, does that mean that amusement parks don’t exist anymore? Why not? When did we lose our amusement park capabilities? Man, I don’t know about this future, guys.

The Caretaker says Spock has got it right—this is basically one giant amusement park. The whole planet, in fact, was constructed for the Caretaker’s people to come and play. Sulu expresses surprise at the idea that a species that seems to be so advanced would still play games, but Kirk says that on the contrary, the more advanced the mind, the greater the need for the simplicity of play, and the Caretaker agrees. Okay, cool planet, guys, but have you considered maybe, I dunno, putting up some signs or warning buoys or something so random space travelers who don’t know what the place is about don’t stumble upon it and have a really bad day?

Speaking of having bad days, Kirk might have his answers now, but he’s not exactly happy about his best friend and CMO getting killed by what was more or less a rogue audio-animatronic. But then who should call out but the CMO himself, who comes strolling over, looking decidedly not dead. Also he has a couple scantily-clad women with him for some reason.

[ID: McCoy saying, “Possibly because no one has died, Jim,” as he stands in front of the pond arm-in-arm with two women wearing fluffy bikinis, feathers in their hair, and what looks like a feather boa wrapped around one leg; one woman is in pink and the other in yellow.]

McCoy says he was taken below ground for ‘repairs’ and that there’s a huge factory complex down there that can make absolutely anything. They even fixed his shirt! So McCoy is fine, and we can call off the mourning, what a relief. Phew. Really had me worried there.

Barrows, though, seems less than amused by the fuzzy girls and asks what’s up with that. McCoy mutters something about a cabaret he visited that had these chorus girls and, well, here they are. Really? That’s what you were thinking about, after being brought back from the dead by an advanced alien civilization in an underground factory? A cabaret you went to once? These people have weird priorities.

This is one part of the episode that strikes me as interesting because it’s quite different from how I would expect a more modern sci-fi story to handle it. The idea of a planet-sized super-advanced alien theme park that can generate whatever you’re thinking about is in itself not a story idea I’d be surprised to encounter today. But the idea that all these creations are mechanical replicas built in a giant underground factory kind of is. You’d expect a race as advanced as that to be using, I dunno, holograms or telepathic projections or just something that’s straight-up never explained. I mean, even by the time of TNG we have regular humans using holodecks, which do everything this planet can do with just hard light or whatever. It’s a sort of linear thought process, I think, which shows up more than once in Star Trek and plenty of other sci-fi, wherein the idea of super-advanced alien/future tech is expressed as “okay think of what we can do right now, and then imagine it could be done faster and better.” Rather than taking a sideways step to imagine some completely new technology, it’s basically “well we have factories that can produce artificial things, so the advanced aliens must have bigger factories that can quickly produce more lifelike artificial things.” Of course, all sci-fi is going to have that to some extent because it’s impossible to completely extricate our imaginations from our current understanding of the world. But sometimes it’s especially obvious.

McCoy, seeing Barrows’s expression, turns the fuzzy girls loose to go pester the rest of the crew. Kirk is curious about the Caretaker’s species, but the Caretaker gently says that he doesn’t think humans are ready to understand them yet. But Uhura calls Kirk to say that ship power and communications are back on, and the Caretaker says that the crew is free to take their shore leave on the planet if they want. Well, that’s nice of them. Not everyone would share their planet-sized amusement park with total strangers.

So Kirk tells the shore leave parties to start beaming down. Spock says that he’s had quite enough excitement and is going to go back and hold the fort on the ship, and Kirk almost overrules him and says that he’ll go instead because as the captain he’s not allowed to have fun. But then he sees Ruth approaching in the distance and decides that, you know what, he’ll stay after all. Personally it seems to me that knowing that the long-lost love you were smooching was actually a plastic simulacrum of them would kind of take the joy out of it, but hey, what do I know about these things. I just hope they explain the ‘anything you think of will immediately appear’ situation to everyone before they come down, or any crewmembers with an anxiety disorder are going to get a nasty surprise.

Some time later, everyone returns to the ship, looking quite refreshed and happy. As Kirk, McCoy, Sulu and Barrows come onto the bridge, Spock asks if they enjoyed their shore leave, and they all agree that they did, very much. “Most illogical,” Spock comments. I don’t know what exactly he finds illogical about that, but then that pretty much is Spock’s fall-back way of expressing disapproval regardless of how much sense it makes.

So everyone laughs, and they fly off, and we have a nice happy ending. The filming of Shore Leave itself was rather less happy. The original script was written by Theodore Sturgeon, but Roddenberry thought it contained too much fantasy, so he handed it off to Gene L. Coon for a rewrite—but in some sitcom-worthy misunderstanding, Coon somehow thought that Roddenberry wanted more fantasy. So Roddenberry himself wound up re-rewriting the script, but at that point they were so out of time that he was writing it while the episode was being filmed. I have no idea exactly what levels of ‘fantasy’ were involved in either version of the script that Roddenberry disliked so much. Unicorns? Werewolves? Women characters not getting harassed by mustachioed stalkers for no real reason? Who knows.

The script also called for an elephant along with the tiger, and an elephant was actually hired and brought to set, but various shooting difficulties meant that it never wound up getting filmed. No word on whether Shatner wanted to wrestle the elephant too.

You may also have noticed Kirk suddenly has a new yeoman seemingly replacing Rand. By this point, Rand had been written out of the series; Balance of Terror was the last episode she would appear in (in filming order, The Conscience of the King was the last episode Grace Lee Whitney worked on). Exactly why the decision was made to write Rand out so unceremoniously is not really clear to me, and there seem to be lot of differing viewpoints on it; one thing that is clear is that it was a huge blow to poor Whitney, who was abruptly dismissed from the show through no fault of her own. To be honest, I don’t personally think that Rand was written especially well most of the time, but I think that she could have been written well, which is what makes it such a shame that she was removed from the show without getting the chance to get any real character development. Within the show itself, there’s no reason given for Rand just being gone one day (people just appear and disappear at random on this ship), though I’m sure the EU has that covered. Personally I just hope she found a ship that was a lot less stressful to be a woman on. We’ll miss ya, Rand!

TREK TROPE TALLY: We’ve got one crewmember death, followed by one crewmember un-death, plus one truly incredible case of a Uniform Unformed with Kirk’s shirt magically destroying itself between shots. Next time we’ll finally see some shuttle action in The Galileo Seven.

#star trek #star trek TOS #star trek TOS season one #1.15 Shore Leave

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g-castel · 7 years

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My Top 10 Albums of 2016

I've been wanting to post this since January 1st lol, but I never got around to it haha. I need to be better about blogging. Well, I figured that since we are halfway through 2017 it would be good to share, once again, my top 10 albums of the year (last year). I've been doing this annually for a while now and it's been fun for me. Take a read if you'd like!

Top 10 + Honorable Mentions

Honorable Mentions

-Signs of Light (Head and the Heart)

-24K Magic (Bruno Mars)

-A Seat at the Table (Solange Knowles)

-WALLS (Kings of Leon)

-The Hamilton Mixtape (Various Artists)

-The Life of Pablo (Kanye West)

-Coming Home (Leon Bridges)

-Views (Drake)

-This is Acting (Sia)

-There’s A Lot Going On (Vic Mensa)

-22, A Million (Bon Iver)

-Telluric (Matt Corby)

-Wild World (Bastille)

-Bobby Tarantino (Logic)

-Oh My My (OneRepublic)

-Stranger Things, Vol. 1 (Kyle Dixon and Michael Stein)

Passion, Pain, and Demon Slayin’ (Kid Cudi)

A Moonshaped Pool (Radiohead)

Farewell, Starlite (Francis and the Lights)

Starboy (The Weeknd)

Sunlit Youth (The Local Natives)

indicates nearly making my list haha

Top 10

10. Home of the Strange

Young the Giant

The third studio album for Young the Giant, Home of the Strange, to me has pushed the band to become one that I will continue to listen to for the rest of my life. They are able to create a good range of styles. I think HOTS is able to listened to in so many different settings.

This California band has focused on the phenomenon of the diversity in ethnicity that the band possesses. The lead singer being, Indian-American, and other members being from across the globe plays a part in the album’s theme and dynamic.

I was super happy with songs like “Something to Believe In” (which sounds so perfect for a live performance) and “Titus Was Born”. If you are about to take a listen to Young the Giant for your first times, start from their first pieces of art and move towards their latest piece of art and you will see a fitting a beautiful revolution.

Also, go ahead and head to their Youtube channel where they post the “In the Open” videos that are stripped versions of their music and it’s record so raw and simple. Those videos have inspired me to do video work for music as well!

9. The Colour in Anything

James Blake

The music in James Blake’s album, just like before, is the some of the most unique current music. I have not found other songs out there that sound anything like his other than Bon Iver and Radiohead’s music this year.

So, so, so weird. if you’re gonna go listen this, because I said I like it, please be warned, it doesn’t mean you will, like you might hate it actually, and that’s okay. We tend to adhere to sounds that’s familiar and that coincides with our minds. This album, if you haven’t been a listener of James Blake’s previous works, will not do that for you. There are some odd sounds, weird time signatures changes, and he sings once again with beast vocoder vocals! Sometimes there are some horror silences behind nasally high frequency vocals.

It sounds like I am somewhat shoving you away from listening to this. However, do not get me wrong, I love The Colour in Anything!

Favorite Songs:

Meet You In the Maze

Points.

The random interruptions of repeated lyrics into silence are interesting and I think they reflect perhaps the character of Blake or the anybody out there who shares the stories and feelings written in his lyrics. They’re brash and the noises are loud. & I DIG it.

8. Georgica Pond

Johnnyswim

Johnnyswim. The (Latin) American folk soul pop-duo have returned this year with a banger of an album. I think personally that this is the best work that they have done. This couple are two incredibly talented musicians and they’re chemistry in and out of the booth is something like the dynamic of a Shaq and Kobe.

“The longer you’re out on the road, it gets nicer to have [Abner Ramirez] there. Because he’s the closest thing to home I have,” Johnnyswim’s Amanda Sudano says. “Home is where he is.”

I watched the videos that they shared on Youtube giving commentary on a couple of the songs that were a part of the album. They talked about the process in the studio and the inspirations behind songs like “Drunks” and “Touching Heaven”. One thing I picked up from what they attempt to maintain is the loyalty to the authenticity of the craft.

This was an album that I listened continuously for maybe three straight weeks. I went through phases were song after song became my new favorite. That happens a lot of times when the record is good from start to finish.

I want to be friends with them, simple as that.

#goals

7. THREE

Phantogram

I was introduced to them years ago by my brother, who I could honestly give credit to for a lot of the music I listen to now. This album, THREE, yes, in all caps, was music that I had no clue they had in them.

I definitely used a few tracks on this album for workouts. This is the album that this year I felt comfortable bumpin with both my more conserved buddies and also with some of my hood friends. After Phantogram released some music with as Big Grams in the past, you can surely feel the influence of Big Boi, a former member of the hip hop legendary group, OutKast. The 808s on songs like “You’re Mine” and “Cruel World” are so fulfilling.

One song from this album you’ve probably heard if you haven’t heard of any of the songs on the list is the song “You Don’t Get Me High Anymore” They collaborated with other people to produce such a fire beat. The lyrics are weird and polarizing but that’s what’s great about it

On release day, I went through the entire record as I usually do with music and immediately sent Phantogram a fan girl tweet. I just had to tell them that they nailed this one and it is probably their best work yet.

6. Birds in the Trap Sing McKnight

Travis Scott

S’il vous plais. Those in favor of auto-tune, or at least okay with listening to it and not being baffled by the off-the-(traditional hip-hop)-wall that it is, take your time to listen to a few tracks of this album by the G.O.O.D. Music prodigy, Travis Scott.

I just know in 2017, this man Travis is going to blow UP! I do not know in what way, whether it’s with his music, or with his involvement with big name fashion clothing lines, he will find his way into having you know his name. It’s just the loud and abrasive nature that he possesses.

Birds in the Trap Sing McKnight to me was like a real intro to the world, though it isn’t his first album. When Ye signed him, he was doing a bunch of writing and waiting his turn to get on the map. Kanye finally did what he does best and gave him more pushes and connections. I’ve never seen someone with so much energy. Hip hop gone be alright.

Usually, I listen to albums from front to back, but I know that’s not how everyone does it. So, if you do not have much time and want to take a peek of the record, check out these three, “goosebumps, through the late night, and way back”.

5. The Human Condition

Jon Bellion

Mr. Jon Bellion, out of New York, is the next Chad Hugo, No I.D., and Timberland, all put together, who also sings and raps on the music he produces. Riding that “come up wave”, he will be a name that pretty soon will have a bigger font size on next summer’s festival lineups, guaranteed.

This early 20s MC, is just a pure talent to say the least, and outside his talent, is seemingly a phenomenal character. He has worked so hard to make it to where he is in his music career, but has managed to stay as humble as he was when he was making beats in his college dorm room. The Human Condition was crafted and along with Bellion is the band, A Beautiful Mind, who were all buddies who have all committed to sticking together if one of them made it big in the industry which is such a noble thing to see. They have a natural chemistry.

Bellion says a lot of the people who inspired his sounds were the Neptunes, Kanye, and derivation.

So I can’t write this without giving one person credit for introducing me to him. My roommate Jeff did everything he could that season to make sure the whole world new about Jon Bellion. He played songs from previous EPs to prepare for the album release over and over. While he showered, I could here the songs including the pre-release singles. We ended up seeing Bellion live…twice actually.

I’m excited for his future, collaborations, and ideas he execute to change the way people see music. He’s got that much potential in my opinion. The dude is straight out of New York. If you haven’t heard the album yet, let me just tell you it is very evident. Jon Bellion is a multitalented artist. He’s got his hands on everything, being well-versed with the keys, vocals, and he’s got some bars too. He’ll break it down with the MPC pad too like his idol Kanye. Even on stage during his tour, homie would bring the pad to center stage and loop up the layers of his songs and the sing over the top of it brilliantly.

Bellion’s, like many of us, is also a closet nerd and loves cartoons and animation. One of his big dreams, which he might as well soon see come into fruition is to work with Pixar on scoring a film. I hope this happens! He’s a dreamer, he’s got a newfound faith, and has got a colossal muse. This artist is someone who is just peeking his head out of his egg and we have no idea what he will do once he starts flying.

4. 4 Your Eyez Only

J. Cole

This album is the cure.

Mr. Jermaine Cole. He is such an people’s person. I liked the fact that after he finished touring for 2014 Forest Hills Drive, he said “I’m out.” He had a withdrawal from the public eye. Just wanting to have a normal human experience here in America, he laid low, didn’t really share much on social media and rode his bike around the city. It gave him a fresh mind to intake life and be creative, especially in a tough all-around year like 2016. Seeing artists do that is a breath of fresh air to me. Fame is just something he doesn’t care about.

In the album, there’s a few times Cole rhymes from different perspectives apart from himself. What we have here is a real lyricist, and wordsmith. He chops up words perfectly to make them fit meter after meter. I honestly think he’s getting better and apart from Kendrick, no one out there is stopping him from being the most influential lyricist in urban culture. His mass appeal comes naturally, though he does not care about it or give into it.

Ed Sheeran said in an interview recently on the Breakfast Club that in the likes of the hip hop genre, right now he is really liking this J.Cole album. Reason why I say this is cause, Ed, too took a page from this book and, took a year off from music and celebrity living and just vacationed and traveled.

You can feel it in these songs. The calmness in the beats. There is something retro about the drums, the flows are mellow, and the vibes make me want to go for a soothing walk with headphones, or take a subway into a city like NY. I don’t know if any of that makes sense, but once you listen to a song like “Ville Mentality”, you’ll know.

3. We Got it From Here…Thank You 4 your service

A Tribe Called Quest

They’re Back! Mr. Abstract, Phife the Five Footer, Ali! The return of the historic and legendary hip hop group, the pioneers for all current rappers today, the one, the only, TRIBE CALLED QUEST.

Here is Phife Dawg. The Five Foot Assassin is what he used to go by. He founded this group back with Q-Tip I believe when they were in high school. Hip Hop was already on the rise and established, but it had no real characters that were unique and funky. Them comes along these gentlemen along with other members of the Native Tongues who brought a energy to the hip hop scene that was crazy and untouched. They weren’t talking about money and drinking. It was all conscious writing and fun creativity. This band is why I am a hip hop fan today.

Tribe to me is like the mantle of the earth if Hip Hop was looked at as the planet. And the core would be jazz. We hear it in all of their records, and after the band split in 1998 and after 18 years…it took the death of co-Founder Phife, for the men to get into a studio and make some powerful music for the people, for themselves, and for their lost brother, Phife.

I think it takes bravery to return. They’re a bunch of old men. They know there’s a new audience of hip hop lovers out there who don’t even know them. They know that a lot of people aren’t really gonna feel their music and rhythm. So, I commend their boldness in return and with their humility in asking a great conglomerate of artists from Jack White to Talib Kweli to help join them create their final album to send strong messages on things as simple as how it is to be a black man in America.

This band has left an impeccable legacy and imprint on hip hop music forever.

2. i like it when you sleep for you are so beautiful, yet so unaware

The 1975

You’re probably like.

Wait, what…huh?!?

And I’m sorry to put them so high, but I am not at the same time. I keep finding myself DRAWN to each and every track on this record. For a sophomore album, they definitely found the best way to expand but at the same time stay inside the realm that they created for the fans that is kind of the this imaginary “1975” world.

Kickstarting with a perfect “first single” in Love Me, to being the iliwysfyasbysu era was a pretty cool statement made because we just knew that they were bursting forth with a different brand. You’ll know what I mean if you go ahead and watch the music video. Musically, they’re was some experiments and that is always fun for me to hear. I wish I could know the terminology for what is being used to make that sort of grungy, wavy, synthy guitar sound to start and end the song, but it’s sexy and reminds me for some reason of Halloween?

Matty said that their London shows this year in the O2 were the biggest shows they did and since Vevo put on a sweet video production for it up on Youtube, I had to lay down and watch the hour-long concert. shows.

I found myself listening to the record over and over. Music doesn’t just make it into my top three just that. I really have got to like it. And I enjoy the music, simple as that. All visuals for the album certain vibe. They made a change to their brand and new look to their socials, beginning with a complete 180 of all their black and white monochrome look. It was hit with a hard flavor of flamboyant, loud, pink. That’s right, pink.

(Which, quick input, 2016 was the year of pink. Big year for pink)

Previously, on their first studio album, though they’ve been doing music for over a decade, the artwork of the album, singles, and live show light show were all bright whites and black contrasts.

Then at the end of May, we were introduced to the regeneration of the young (not-so-young) band, the 1975.

The lyrics, on almost every song, so vulnerable and loud, are what mostly impresses me about the record. Matty writes about a lot of things he deals and is trying to make sense of in morality, psychology, drugs, religion and love. Though the song titles are not as obviously direct with the messages like the first album, this album hit at so many questions that we as humans ask, or should ask.

Matty Healy’s intellect kills me. I would definitely put him in my top ten with musicians I would desire to have one or two tea time conversations with. I feel like there would be things we could teach each other. Just listening to what he has to say in interviews became quite a hobby of mine, especially the interviews where he was sober. He has interesting things to input about, love, politics, Jesus, and whatever makes the world go round. I found every lyric and every emotion put into the musically was very intentional.

They have definitely built an experience surrounding what is deemed, the 1975. It’s their own world. Everything about it. The social mediums. The twisted yet attractive persona of the lead. The sounds of the guitar that you hear in “She’s American”. It’s not much different than what you hear in “Settle Down” or even “Chocolate”. My point is, you know you’re entering the 1975, when you enter the 1975; it’s distinct.

There’s something special about that.

These are my lads.

my pics from the show*

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Processed with VSCO

1. Coloring Book

Chance the Rapper

Mixtape? Album? Whatever you call it, this body of work takes the crown for me of this year’s best musical work. Gospel and hip hop are the largest influences in my musical upbringing so, for others, this was just a good album. For me, however, this hit me in my heart strings, where my hair rises, and the bumps on my skin appear. The horns and the choir vocals are what told me that I was home.

The evolution of this young Chicago artist is major as I’ve been following Chancellor since 2013 to who he’s become today as a Grammy-nominated star. When he jump started his musical career with his 10 Day mixtape, he was just a shorty making beats in his city, snatching stages at the open mics. He released his first song on Soundcloud in 2011. The 2013 XXL freshmen article is where I realized this man was gonna blow up one day. He and his overalls, nose piercing, and whippersnapper attitude is what drew me. He was put on by Gambino, when he asked Chance to go on tour with him when Gambino had nothing but Royalty and was working on Because of the Internet.

Back then, lil Chano was a little more immature, a high school dreamer who opted out on college and grew on his experimentation of drugs. So many things has changed in a matter of three years lemme tell you.

He and his girl now have a DAUGHTER. Which he just recently is letting the world get to know through his social media platforms. “My daughter look just like Sia, yah can’t see her.” He and his friends who have been working on music producing and writing for other artist called “The Social Experiment” compiled an album for free called SURF, which ended up being a top three album for me last year if you read blog post last year. Finally, he’s cut down on the trippy drugs; he used to think that they would be his thing and something to be known for, but realized it was not something of value to him anymore. The growth mostly is shown in the music by far.

After the mixtape dropped and while Chano and his gang went of tour, they announced the Magnificent Coloring Day Festival, a festival in Chicago to end the tour. It was a day where he invited many of his musical friends, including Francis and the Lights, Alicia Keys, John Legend, Skrillex, Chicago’s own Common, Lil Uzi Vert, and his mentor Kanye West. He had the city of Chicago ‘doing front-flips’!

Undoubtedly, it can be said at least in hip hop, that the is his year. It’s definitely Chance the Rapper’s season in hip hop as much as it can be denied. Last year was Drake season, this year is Chance’s season, maybe next year is someone else’s. Chano had one of the HOTTEST VERSES ON arguably biggest song in hip hop in 2016, Ultralight Beam. He helped heavily on Hamilton mixtape. He has sold out stadiums, became the first independent artist to do Saturday Night Live, performed at ESPYS for the late Muhammad Ali, and got the Grammys to open up categories for non-selling, stream only artists. 2016, as you can see below, was his year.

I’ll get to the main reason why Chance is my guy later, for right now let’s quickly talk about the music. Diversity in his features is what I thought was cool with him at first. In ’13, he spit a verse on James Blake’s, “Life ‘Round Here” and I was like, shoot this new cat messes with people like James Blake AND Action Bronson?!? I need hop on this train before it’s too crowded. Chancellor, along with his brother and other Chicago rappers, has a way with the way he says his words. Poetically he makes them fit into patterns of time rhythms that sets a unique flow almost every time. But there’s also a slight Chicago twang to his voice, especially when he was younger.

One thing I respect is that, this man was blowing up while still being flat out broke in relation to how big of a name he was becoming. He was only making his cash off of merchandise and touring, and doing features I guess. I mean maybe not anymore, I’m sure he’s well off, but it was just cool to see that someone could continue independence and be like, nah it’s really not about the money, Imma give this here music for free.

The Social Experiment.

These guys right here are the Social Experiment. #SoX

They stuck it out with along with Chance, not as a surrounding band, but as a group with equal say into decisions. Head by Nico Segal on the left aka Donnie Trumpet, they made music for the people and were a collection of songwriters for man artists out there and did it for fun. They are now the band of friends that Chance plays, and probably will always play with on tour.

Aint that something! :’)

He’s Happier. It’s evident. If you listened the drug-influenced, young whippersnapper Chance the Rapper was during 10 Day, and his Acid Rap era, and dug deep into the reasonings for his anxiety and hurt in his young life, you’d see a difference in who we’re being blessed with today. He, growing up in Chicago, has seen lots of violence including the murder of one of his friends. Chance has rededicated his life to the Lord and has changed abundantly. It’s so obvious in his tone and poise nowadays. He’s still fun and buck, but man Chano is a transformed person.

So one of the real reasons I love this dude is his social involvement. Time and time again you’ll read that he has had a upbringing with educators and strong women in his life. His father worked in politics and was part of being running the campaign for Barak Obama to get into the presidential office. So, Chance learned a thing or too about how to meet peoples’ needs. He has donated and promoted giving warm, thick coats to the homeless during the winter through an organization in Detroit. These coats turn into a sleeping bag so it is designed especially for those who have no homes. He speaks up against violence like we all do, however, I love seeing someone with a platform like his, give a nonviolent voice of reason. In his community, the city of Chicago, Chance also hosts an open mic night every month called, Open Mike, which is near and dear to him because that’s how he began and how he realized he wanted to pursue music. He wants to give other young kids to opportunity to dream as well.

Anyways, that’s all.

I realized I’ve talked about him for a while now…I’ve tried to be very unpretentious over the year with Coloring Book…but personal blog so.

Anticipating Albums

Colony House

John Mayer

Lorde

Drake

Ed Sheeran

Lupe Fiasco

Paramore

Snubs (the eh’s)

Joanne (Gaga)

Lemonade (Beyonce)

ANTI (Riri)

Awaken, My Love (Bino)

JEFFREY (Thug)

matty and chancellor.

bye.

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