Apollo liftoff

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Forty years ago I was seven years old and this sight, dear reader, was the most thrilling thing in the whole world. Even now, seeing again the classic fisheye moment of Apollo 11’s launch sparks a buried flare of childhood excitement, resurrecting a deep obsession with astronauts, Saturn V rockets, command modules and lunar landing craft. In 1969 all I could do was gape in awe at our tiny black-and-white TV screen as it showed men going to the Moon right this minute!

Now I’m the same age as the astronauts of the Apollo missions I look at these photographs and feel at different kind of awe, at the courage required to sit at the top of a metal tower as tall as St Paul’s Cathedral filled with highly-combustible rocket fuel. And that’s before you get to the liftoff itself with its punishing g-forces, followed by navigating a vacuum for several days in a tin can controlled by less computer power than you’d find now in the average mobile phone. None of this occurred to me when I was seven, all that mattered was the fact that men were going to the Moon right this minute!

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I’ll return to those childhood obsessions later (no, you don’t escape that easily). Meanwhile the fortieth anniversary of the Apollo 11 mission is naturally generating a fair amount of web attention. NASA has a new site, We Choose the Moon, which augments their older archives. And New Scientist tells us Why the moon still matters. On the same site there’s also Brian Eno discussing the Moon missions and his 1983 soundtrack album, Apollo, which I’m listening to right this minute!

Apollo 11 at the Big Picture
Weaving the way to the Moon | The beatnik and the little old ladies

Previously on { feuilleton }
Earthrise
East of Paracelsus

Eno’s Luminous Opera House panorama

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I’m a bit late with this one but better late than never. Brian Eno’s illuminated transformation of the Sydney Opera House, part of the city’s Luminous Festival, was widely publicised last month but I never got round to checking it out properly. This week Thom drew my attention (thanks Thom!) to this panorama by photographer Peter Murphy whose marvellous view inside one of Yayoi Kusama’s mirror rooms I linked to in March. Looking on Murphy’s site I see he has another Kusama panorama showing a view inside Phalli’s Field (or Floor Show). And while we’re on the subject of Ms Kusama, she currently has a room at London’s Hayward Gallery as part of their Walking in My Mind series by different artists. You can see a reaction to that here.

Elsewhere on { feuilleton }
The panoramas archive

Callanish Standing Stone panoramas

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Following yesterday’s post, some panoramas of the standing stone complex at Callanish on the isle of Lewis in north west Scotland. The rest of Robin Wilson’s site is also worth exploring for his impressive range of views showing the beauty of Scotland in the summer months.

(Apologies to anyone having trouble accessing the site over the past 24 hours; ongoing server trouble is the short explanation. I’m as tired of the outages as I’m sure you are.)

Elsewhere on { feuilleton }
The panoramas archive

The recurrent pose 27

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Moss Roberts photographed by James Bidgood.

I missed this back in January, a great version of the Flandrin pose by James Bidgood, the justly-celebrated beefcake photographer and director of that micro-budget masterwork of gay erotica, Pink Narcissus (1971). The photo was part of a feature commissioned by Out.com which asked notable photographers to present a contemporary take on the Physique Pictorial style. Bidgood’s pictures strike me as the best of the bunch but then I’m biased, having recently bought Taschen’s republication of their splendid book of Bidgood photos from the 1960s. Luscious and kitsch, and—if you’re a fan of Bobby Kendall—highly recommended.

Via VMP.

Elsewhere on { feuilleton }
The recurrent pose archive

Previously on { feuilleton }
Let’s get physical: Bruce of Los Angeles and Tom of Finland
The Male Gaze
James Bidgood