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Alexander "Sandy" Courage 1919 - 2008

Posted by Whitmore, May 30, 2008 09:29am | Post a Comment


Alexander "Sandy" Courage, composer of the original 1960’s Star Trek television theme has died in Pacific Palisades. He was 88.

Born Dec. 10, 1919, in Philadelphia, Courage graduated from the Eastman School of Music in Rochester, N.Y., before enlisting in the Army Air Force in 1942, a month after Pearl Harbor, serving as a band leader on California military bases during the Second World War.

His career as a composer started at CBS Radio in the mid 1940’s; eventually Courage moved over to MGM as an orchestrator/arranger in 1948.

Over the next decade or so, he worked as an orchestrator on a string of classic movie musicals, including Annie Get Your Gun, Singing in The Rain, Show Boat, The Band Wagon, Seven Brides for Seven Brothers, Kismet, Oklahoma, and Gigi. But by the late 1950s, Courage was scoring soundtracks, including two classic westerns-- The Left Handed Gun and Day of the Outlaw, as well as some early rock and roll exploitation films-- Shake, Rattle and Rock!, Hot Rod Girl and Hot Rod Rumble.

He began composing for television in 1959, writing themes and incidental music for hundreds of television shows including The Untouchables, Laramie, Daniel Boone, M Squad, Lost in Space, Land of the Giants, The Waltons, Falcon Crest, and Flamingo Road.

But his greatest claim to fame came with the theme and eight-note brass fanfare opening to Star Trek, the legendary sci-fi series which ran from 1966 to 1969. Originally using electronic/orchestral sounds for the arrangement, Courage later used a wordless melody line for the second and third seasons, sung by soprano Loulie Jean Norman. The Star Trek theme has since then become one of the most recognizable melodies ever in film and television history. One interesting note -- in those halcyon disco days in the early 1970’s, Nichelle Nichols, who played the role of Uhura in the original series, recorded a dance version -- a must have for record and sci-fi geeks everywhere!

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RETURN OF THE REPRESSED DURING A COMMERCIAL BREAK

Posted by Charles Reece, May 17, 2008 09:45pm | Post a Comment
During the commercial breaks for Ebert & Roeper, I like to tune in for short doses of Star Trek: The Original Series. Viewing decontextualized scenes kind of gives me a surrealist's perspective on the show, which is invariably better than sitting through an entire episode. Tonight I was privy to a Freudian distillation of the past 40 years of culture wars in a 2 minute scene that would surely please Breton

Some witch woman looking like she was a tad too skinny for a Russ Meyers movie seduces Kirk by getting him high on the herb. Is it, as she claims, the power of her mind that pulled Kirk to her, or something more primitive? Meanwhile her blond hippie boyfriend contemplates shooting Captain Penis in the back with a musket, but throws his gun down and runs off screen.


The conflicted/castrated/liberal male is replaced by a big, woolly, horned creature, which I've since learned is a mugato. The beast threatens to impale the woman  and beat  Kirk to a pulp.

star trek mugato

Kirk might be all libido, but he's libidinal energy that has been cathected into more acceptable cultural roles, such as empire-building. In other words, he's a father figure, and as such he solves the problem in a civilized manner: by pushing a button and phasering the monstrous fucker out of existence. With the surplus sexual energy repressed, order is restored, and this planet's version of Reagan is surely just around the corner.

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(In which Job has a normal day, except for the hospital part.)

Posted by Job O Brother, May 27, 2007 03:44pm | Post a Comment

I’m sorry.

I haven’t written to you in ages, I know. It’s awful of me, but don’t take it personally – I have a really good excuse, and it has the added bonus of being true.

Saturday began normally enough. I woke up about and hour before my alarm went off, percolated some java, weaned my cat off my calf muscles and onto a bowl of kibble, shaved, brushed, exercised and watched the abortion episodes of “Maude”. Nothing remarkable.


Looking natural never looked so unnatural: Bea Arthur greeting you as Maude.

I left home to walk to Amoeba Music Hollywood fifteen minutes earlier than necessary; again, totally normal – I am chronically early to everything.

I was greeted at the door by a big hug from Karen and carefully made my way back to the jazz / classical / soundtracks / New Orleans / gospel / comedy / new age / blues room amidst a maze of potential accidents as created by our early morning cleaning staff.

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(In which Job flirts with science-fiction with, as yet, unknown results.)

Posted by Job O Brother, May 9, 2007 12:08am | Post a Comment
I’m doing something I’ve always wanted to.

No, not renting out a room in Disneyland’s Haunted Mansion (you would not believe what they’re asking for a studio, which doesn’t even include holograms of ghosts eating cake!)

I’ve begun watching “Doctor Who”, starting with the original series, which ran from 1963 to1966 and stared William Hartnell as a particularly unsexy lead.

Some of you know I am a sucker for British television, though the love is not unconditional. I would no sooner sit through an episode of “Are You Being Served?” than a lecture on safe-sex from a 19th century French poet.

Still, many of my favorites (“League of Gentlemen”, “Absolutely Fabulous”, “Black Adder” to name a few) hail from the Isles, and I do expect a certain sophistication from its programming. It’s not that I need obscure historical references in order to evoke a giggle, I just appreciate that, as opposed to many US shows, not every actor looks like they live at Hefner’s mansion, and not every joke is accentuated by obvious pauses, eye-rolling, and orchestrated laughter from a studio audience.

So far the show is good fun. Because of its spookiness and languid pace, I can only convince myself to watch it at bedtime, which is a minus.

It’s not uniformly entertaining. The scenes which focus on the core characters (the Doctor, his granddaughter Susan, and her school teachers, Barbara and Ian) are enjoyable and emotionally complex enough to be intriguing, though the actress playing the granddaughter seems to sometimes forget she’s on a TV show and not a West End production of Electra.

Inevitably there must be scenes which focus on the antagonists. In the first storyline, these happen to be a bunch of primitive cavemen, who may not know how to make fire, but manage to speak modern English better than most US high school students. These scenes tend to run long, so far.

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