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Official Great Works Draft (3 Viewers)

I'm out for the afternoon. I'm leaving the team in Bonzai's hands along with a copy of our mission statement, entitled "Prepare to Dominate!" Gllll

 
Not much - care to issue a ruling on Optics being too broad?
Initially, I say it's OK -- but I want to check something out before I give a [regis] final answer [/regis].
I'm OK with the term "Optics", but more precise term for the discovery would be the "Law of Refraction". Maybe a compromise: "Law of Refraction (Optics)"? "Optics" is super-broad, and much within the field can be has already been taken.
what was taken? Answer me that, riddler
Link
 
What I would like is to do what most of you guys do- show up here when it's time to make my picks, give comments on other picks, banter, and not have to always discuss the rules and get ripped everytime I try to do so. I'm not blaming anyone for ripping me; no doubt I can be at fault for a lot of it. I'm just exhausted by that and I don't want to do it anymore. The thought of 33 more rounds of people challenging picks, questioning the rules, questioning the order, and throwing insults in my direction doesn't seem fun to me anymore. I vote we select another person to be head commissoner for rounds 31-60. That's only fair.
Wow, you've made it sound so enticing.
 
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I have to leave for a few hours. Hopefully, by the time I get back, someone will have volunteered to take my place as commissioner?
:wall: What'd I miss?
Not much - care to issue a ruling on Optics being too broad? :no: Also, I would like everyone to note timschochet threatens to quit 400% more than I do...or maybe 500%, I'm losing track.
Are you officially challenging? Then we need a ruling from tim. tim...wait!!!
 
NEW RULE PROPOSAL - ROUND 50 FREE FOR ALL

Let's spice things up a bit folks. I say that for round 50, we turn off all clocks and ignore the draft order. Whoever is first to post their pick in round 50 gets that pick. Then, starting in round 51 we go back to picking in order.

Whaddya say folks?
hells yes
 
SKIPPED

23.05 - Doug B (requested skip)

24.16 - Doug B (autoskip)

25.05 - Doug B (autoskip)

26.16 - Doug B (autoskip)

27.05 - Doug B - (autoskip)

27.10 - Thatguy (autoskip until further notice)

27.17 - DC Thunder - OTC until :53

27.18 - Genedoc/Bonzai - On Deck

27.19 - Tirnan (autoskip if not here)

27.20 - Yankee23Fan (autoskip - in federal court)

28.01 - Yankee23Fan (autoskip - in federal court)

28.02 - Tirnan (autoskip if not here)

28.03 - Genedoc /Bonzai - In the Hole

28.04 - DC Thunder

28.05 - Scott Norwood

28.06 - Bob Lee Swagger

28.07 - MisfitBlondes

28.08 - Uncle Humuna

28.09 - Team CIA (autoskip)

28.10 - El Floppo (autoskip if not here in first 15)
DC timed out, no?
 
timschochet said:
Scott, are you seriously interested? Or shall we let Wikkidpissah do it?
I don't think a serious change like this can be made without all parties in agreement. Your willing to do so is showing a blatant disregard for this draft and i know that is not your intention.
 
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27.17-Stairway to Heaven-Led Zepplin-Song

I find it hard to believe that with all the Zep fanboys out on this board, nobody has taken this song. I know the Zep purists aren't big fans of it, and it has certainly been overplayed on the radio and by cover bands from Tuscon to Tucumcari, Tehatchipi to Tonapah, but it remains the iconic Zepplin song, and the most requested song on FM radio.

Written by Jimmy Page and Robert Plant in 1970-71, the song consists of several distinct sections, beginning with a quiet introduction on a finger picked 6 string guitar and three recorders[12] (ending at 2:15) and gradually moving into a slow electric middle section (2:16-5:33), before the faster hard rock final section (5:34 to the end). Page stated that the song "speeds up like an adrenaline flow".[2]

Written in the key of A minor and mainly in common time, the song opens with an arpeggiated, finger-picked guitar chord progression with a chromatic descending bassline A-G#-G-F#-F. John Paul Jones contributed overdubbed wooden bass recorders in the opening section (he used a Mellotron and, later, a Yamaha CP70B Grand Piano and Yamaha GX1 to synthesize this arrangement in live performances)[11] and a Hohner Electra-Piano electric piano in the middle section.

The sections build with more guitar layers, each complementary to the intro, with the drums entering at 4:18. The extended Jimmy Page guitar solo in the song's final section was played for the recording on a 1958 Fender Telecaster (an instrument he used extensively with the Yardbirds)[11] plugged into a Supro amplifier,[13] although in an interview he gave to Guitar World magazine, Page also claimed, "It could have been a Marshall, but I can't remember".[8] Three different improvised solos were recorded, with Page agonizing about deciding which to keep. Page later revealed, "I did have the first phrase worked out, and then there was the link phrase. I did check them out before hand before the tape ran." The other guitar parts were played using a Gibson J-200 acoustic guitar and Fender Electric XII (12-string); these can be heard on the left and right recording channels respectively. For live versions, Page switched to a Heritage Cherry Gibson EDS-1275 6/12 Doubleneck guitar. The final progression is a i-VII-VI (natural minor) progression (Am-G-F), a mainstay of rock music.

Sound engineer Andy Johns recalls the circumstances surrounding the recording of Page's famous solo:

I remember Jimmy had a little bit of trouble with the solo on "Stairway to Heaven"... [H]e hadn't completely figured it out. Nowadays you sometimes spend a whole day doing one thing. Back then, we never did that. We never spent a very long time recording anything. I remember sitting in the control room with Jimmy, he's standing there next to me and he'd done quite a few passes and it wasn't going anywhere. I could see he was getting a bit paranoid and so I was getting paranoid. I turned around and said "You're making me paranoid!" And he said, "No, you're making me paranoid!" It was a silly circle of paranoia. Then bang! On the next take or two he ripped it out.[14]

According to Page, "Stairway to Heaven"

...crystallized the essence of the band. It had everything there and showed the band at its best... as a band, as a unit. Not talking about solos or anything, it had everything there. We were careful never to release it as a single. It was a milestone for us. Every musician wants to do something of lasting quality, something which will hold up for a long time and I guess we did it with "Stairway".[15] [Pete] Townshend probably thought that he got it with Tommy. I don't know whether I have the ability to come up with more. I have to do a lot of hard work before I can get anywhere near those stages of consistent, total brilliance.[16]

 
27.17-Stairway to Heaven-Led Zepplin-Song

I find it hard to believe that with all the Zep fanboys out on this board, nobody has taken this song. I know the Zep purists aren't big fans of it, and it has certainly been overplayed on the radio and by cover bands from Tuscon to Tucumcari, Tehatchipi to Tonapah, but it remains the iconic Zepplin song, and the most requested song on FM radio.

Written by Jimmy Page and Robert Plant in 1970-71, the song consists of several distinct sections, beginning with a quiet introduction on a finger picked 6 string guitar and three recorders[12] (ending at 2:15) and gradually moving into a slow electric middle section (2:16-5:33), before the faster hard rock final section (5:34 to the end). Page stated that the song "speeds up like an adrenaline flow".[2]

Written in the key of A minor and mainly in common time, the song opens with an arpeggiated, finger-picked guitar chord progression with a chromatic descending bassline A-G#-G-F#-F. John Paul Jones contributed overdubbed wooden bass recorders in the opening section (he used a Mellotron and, later, a Yamaha CP70B Grand Piano and Yamaha GX1 to synthesize this arrangement in live performances)[11] and a Hohner Electra-Piano electric piano in the middle section.

The sections build with more guitar layers, each complementary to the intro, with the drums entering at 4:18. The extended Jimmy Page guitar solo in the song's final section was played for the recording on a 1958 Fender Telecaster (an instrument he used extensively with the Yardbirds)[11] plugged into a Supro amplifier,[13] although in an interview he gave to Guitar World magazine, Page also claimed, "It could have been a Marshall, but I can't remember".[8] Three different improvised solos were recorded, with Page agonizing about deciding which to keep. Page later revealed, "I did have the first phrase worked out, and then there was the link phrase. I did check them out before hand before the tape ran." The other guitar parts were played using a Gibson J-200 acoustic guitar and Fender Electric XII (12-string); these can be heard on the left and right recording channels respectively. For live versions, Page switched to a Heritage Cherry Gibson EDS-1275 6/12 Doubleneck guitar. The final progression is a i-VII-VI (natural minor) progression (Am-G-F), a mainstay of rock music.

Sound engineer Andy Johns recalls the circumstances surrounding the recording of Page's famous solo:

I remember Jimmy had a little bit of trouble with the solo on "Stairway to Heaven"... [H]e hadn't completely figured it out. Nowadays you sometimes spend a whole day doing one thing. Back then, we never did that. We never spent a very long time recording anything. I remember sitting in the control room with Jimmy, he's standing there next to me and he'd done quite a few passes and it wasn't going anywhere. I could see he was getting a bit paranoid and so I was getting paranoid. I turned around and said "You're making me paranoid!" And he said, "No, you're making me paranoid!" It was a silly circle of paranoia. Then bang! On the next take or two he ripped it out.[14]

According to Page, "Stairway to Heaven"

...crystallized the essence of the band. It had everything there and showed the band at its best... as a band, as a unit. Not talking about solos or anything, it had everything there. We were careful never to release it as a single. It was a milestone for us. Every musician wants to do something of lasting quality, something which will hold up for a long time and I guess we did it with "Stairway".[15] [Pete] Townshend probably thought that he got it with Tommy. I don't know whether I have the ability to come up with more. I have to do a lot of hard work before I can get anywhere near those stages of consistent, total brilliance.[16]
I didn't know if this would fit in my theme so I didn't take it 5 rounds ago when I wanted to. Absolute steal here. Great great pick.
 
Frank James “Gary” Cooper - High Noon (Acting Performance)

The American Film Institute named Cooper among the AFI's 100 Years... 100 Stars, ranking near the top among his peers from the Classical Hollywood cinema period. His work in "High Noon" is considered his signature role. He was awarded the Academy Award for the performance.

We are thrilled to add this stoic, individualistic, emotionally restrained, but at times intense feather to our glorious peacock.

 
SKIPPED

23.05 - Doug B (requested skip)

24.16 - Doug B (autoskip)

25.05 - Doug B (autoskip)

26.16 - Doug B (autoskip)

27.05 - Doug B - (autoskip)

27.10 - Thatguy (autoskip until further notice)

27.19 - Tirnan (autoskip if not here)

27.20 - Yankee23Fan OTC

28.01 - Yankee23Fan On Deck

28.02 - Tirnan (autoskip if not here)

28.03 - Genedoc /Bonzai - In The Hole

28.04 - DC Thunder

28.05 - Scott Norwood

28.06 - Bob Lee Swagger

28.07 - MisfitBlondes

28.08 - Uncle Humuna

28.09 - Team CIA (autoskip)

28.10 - El Floppo (autoskip if not here in first 15)

 
27.17-Stairway to Heaven-Led Zepplin-Song

I find it hard to believe that with all the Zep fanboys out on this board, nobody has taken this song. I know the Zep purists aren't big fans of it, and it has certainly been overplayed on the radio and by cover bands from Tuscon to Tucumcari, Tehatchipi to Tonapah, but it remains the iconic Zepplin song, and the most requested song on FM radio.

Written by Jimmy Page and Robert Plant in 1970-71, the song consists of several distinct sections, beginning with a quiet introduction on a finger picked 6 string guitar and three recorders[12] (ending at 2:15) and gradually moving into a slow electric middle section (2:16-5:33), before the faster hard rock final section (5:34 to the end). Page stated that the song "speeds up like an adrenaline flow".[2]

Written in the key of A minor and mainly in common time, the song opens with an arpeggiated, finger-picked guitar chord progression with a chromatic descending bassline A-G#-G-F#-F. John Paul Jones contributed overdubbed wooden bass recorders in the opening section (he used a Mellotron and, later, a Yamaha CP70B Grand Piano and Yamaha GX1 to synthesize this arrangement in live performances)[11] and a Hohner Electra-Piano electric piano in the middle section.

The sections build with more guitar layers, each complementary to the intro, with the drums entering at 4:18. The extended Jimmy Page guitar solo in the song's final section was played for the recording on a 1958 Fender Telecaster (an instrument he used extensively with the Yardbirds)[11] plugged into a Supro amplifier,[13] although in an interview he gave to Guitar World magazine, Page also claimed, "It could have been a Marshall, but I can't remember".[8] Three different improvised solos were recorded, with Page agonizing about deciding which to keep. Page later revealed, "I did have the first phrase worked out, and then there was the link phrase. I did check them out before hand before the tape ran." The other guitar parts were played using a Gibson J-200 acoustic guitar and Fender Electric XII (12-string); these can be heard on the left and right recording channels respectively. For live versions, Page switched to a Heritage Cherry Gibson EDS-1275 6/12 Doubleneck guitar. The final progression is a i-VII-VI (natural minor) progression (Am-G-F), a mainstay of rock music.

Sound engineer Andy Johns recalls the circumstances surrounding the recording of Page's famous solo:

I remember Jimmy had a little bit of trouble with the solo on "Stairway to Heaven"... [H]e hadn't completely figured it out. Nowadays you sometimes spend a whole day doing one thing. Back then, we never did that. We never spent a very long time recording anything. I remember sitting in the control room with Jimmy, he's standing there next to me and he'd done quite a few passes and it wasn't going anywhere. I could see he was getting a bit paranoid and so I was getting paranoid. I turned around and said "You're making me paranoid!" And he said, "No, you're making me paranoid!" It was a silly circle of paranoia. Then bang! On the next take or two he ripped it out.[14]

According to Page, "Stairway to Heaven"

...crystallized the essence of the band. It had everything there and showed the band at its best... as a band, as a unit. Not talking about solos or anything, it had everything there. We were careful never to release it as a single. It was a milestone for us. Every musician wants to do something of lasting quality, something which will hold up for a long time and I guess we did it with "Stairway".[15] [Pete] Townshend probably thought that he got it with Tommy. I don't know whether I have the ability to come up with more. I have to do a lot of hard work before I can get anywhere near those stages of consistent, total brilliance.[16]
Good pick DC. Was hoping I could squeak it through two more rounds back to me. :bag:
 
I'm going to take a composition here to close out round 27.

One of the best known symphonic movie themes, it is a classic example of a leitmotif, a recurrent theme associated with characters or events in a drama. I know it is way too early to take it, but I had it in my head last night, and figured what better way to kick off my Composition selections.

ETA: I select, The Imperial March by John Williams. You know you are all jealous. Bach, now who's he?!!

 
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So, I have one more song spot. I have 5 songs I could take all within theme. And then there is one that is not quite in theme as it was written by an English band. But America was a colony of the former English empire, we speak close to the same language, and this song is a top 20 hit in this country for its genre. Not to mention that it was one of the songs of my wedding, so I'm taking it.

Turn up your radio, tell your coworkers you are going to heaven for a few minutes, sit back and enjoy.

I select, Kashmir. The good one. The powerful make your knees shake one that makes the gods shiver. Not that craptastic money grab pulled by Puff P Diddy Daddy D puffy hair honey comb.

 
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I'm going to take a composition here to close out round 27.

as i did with others, i'll warn you that, being a leitmotif, it would be better judged in the song category. if you want to take the soundtrack as a composition, i will accept it. may accept movie soundtracks as a single composition - will not take the scores of musicals though. i will defer to tim (as the play judge) as to how he feels about musical cast recordings as albums. if he feels it will contaminate the pool of his category, i wont.
 
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Good pick DC. Was hoping I could squeak it through two more rounds back to me. :goodposting:
As I said, I was just surprised that it hadn't been taken in the first five rounds.
the only thing that causes it to be ranked behind WTTJ in my estimation is this:If there's a bustle in your hedgerow Don't be alarmed now It's just a spring clean for the May queen
nuh uhIf there's a bustle in your hedgerowdon't be a law manit's just a sprinkling for the maid queen
 
I'm going to take a composition here to close out round 27.

If I can have the whole soundtrack as a composition I'll take it. Anyone who has heard it knows that variations of the theme are heard in many of the other movements. I just didn't think I was allowed to take the whole thing as one composition. Believe me it works for me to have the Empire Strikes Back soundtrack as my first composition.
 
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Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."

 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."
You forgot to add a :nerd: or three.
 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."
:nerd: :hot:
 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."
I'm the TV show judge so I have to be impartial.That said, GREAT PICK! I still can't get myself to take a TV show, but that was a top one.

 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series
only Bosch's "Garden of Earthly Delights" is a more horribly wonderful slice of media than Star Trek.
 
Since Wikkidpissah has given me about 100 hints to do so, I will move Eine Klein Nachtmusic to the "song" category and choose two more compositions later.

 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."
I'm the TV show judge so I have to be impartial.That said, GREAT PICK! I still can't get myself to take a TV show, but that was a top one.
Great :bye:
 
So, WP, how do you feel about A Little Night Music as a song?

And how do you like God Bless The Child and Like A Rolling Stone, while we're at it?

Show me some love...

 
I have to congratulate wikkid on opening the composition category as he has. It's too stuffy a category without the flexibility given. Good job. With that said, my pick is now a very solid one to me and not taken too early at all. :bye:

 
I have to congratulate wikkid on opening the composition category as he has. It's too stuffy a category without the flexibility given. Good job. With that said, my pick is now a very solid one to me and not taken too early at all. :thumbdown:
Yankee/Wikkid, how do want me to write this pick up?? Star Wars Score?
 
Space: the final frontier. These are the voyages of the starship Enterprise. Its five-year mission: to explore strange new worlds, to seek out new life and new civilizations; to boldly go where no man has gone before.

Star Trek - TV Series

Team Genezai proudly adds this gamechanger to our roster. Spawning a rabid cult following, critical praise, and a mainstream audience, Star Trek owns a unique place in TV history. Obviously ahead of its time, it's hard to overstate Star Trek's cultural impact.

Star Trek is one of the most culturally influential television shows – and perhaps the most influential science fiction TV series – in history. The original series, which aired in the late sixties, has since spawned five successor series, eleven movies, a plethora of merchandise, and a multi-billion dollar industry collectively known as the Star Trek franchise (now owned by CBS Television Studios).

The conflicts and political dimensions of Star Trek form allegories for contemporary cultural realities: Star Trek: The Original Series addressed issues of the 1960s,[3] just as later spin-offs have reflected issues of their respective eras. Issues depicted in the various series include war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism and feminism, and the role of technology.[4] Gene Roddenberry stated: "[by creating] a new world with new rules, I could make statements about sex, religion, Vietnam, politics, and intercontinental missiles. Indeed, we did make them on Star Trek: we were sending messages and fortunately they all got by the network."
What round are you targeting World of Warcraft?
 
The weakness of Star Trek is that it had no original staying power. The original TV show only ran, what, 3 years? So that does hurt it. However, I'm thinking you have to take into account the entire new universe of entertainment it created. Whole new worlds were created due to it and the spinoff machine that it was in almost unmatched. Factor in the movies, books, and its powerful grasp on our culture, and it is simply one of the most important tv shows in history.

 
If Yankee gets hit by a communist driven truck I call judge on TV category.

So far, I would rank Star Trek in bottom 3.

 

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