Starbirth, in progress

I saw this image on one of NASA’s Flickr streams and I had to share it. It’s a Hubble image of a star-forming region called the “Chameleon Cloud Complex”. Look how gorgeous this is!

Here’s some explanation:

The segment in this Hubble composite image, called Chamaeleon Cloud I (Cha I), reveals dusty-dark clouds where stars are forming, dazzling reflection nebulae glowing by the light of bright-blue young stars, and radiant knots called Herbig-Haro objects.

Herbig-Haro objects are bright clumps and arcs of interstellar gas shocked and energized by jets expelled from infant “protostars” in the process of forming. The white-orange cloud at the bottom of the image hosts one of these protostars at its center. Its brilliant white jets of hot gas are ejected in narrow torrents from the protostar’s poles, creating the Herbig-Haro object HH 909A.

More, including the full-resolution image, here.

 

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Godspeed, John Glenn!

(A repost from exactly ten years ago, because today is the SIXTIETH anniversary of John Glenn’s flight on Friendship 7! I’ve fixed a bit of wording and removed a dead link.)

Image credit: NASA

Sixty years ago today, astronaut John Glenn launched in a spacecraft called Friendship 7 and became the first American to orbit the Earth. Here’s a wonderful documentary, assembled by NASA after the mission’s end, detailing the events of Glenn’s mission, from pre-launch preparations to Glenn’s post-splashdown arrival on the aircraft carrier.

I watched this film way back in third grade, when our class was doing a research project on space; I remember Mrs. Grosbeck, our teacher, looking with some dismay at the two giant film reels for this movie and realizing that we’d have to watch it in two installments. (That’s something I recall from watching educational movies in school: seeing the teacher pick up the film reel, and noting its size which would therefore indicate its length. Big film reels, meaning longer films, made us happy. If it was a small one, someone in class would say something like, “Awww, a short one.” Good times!) I’ve looked for this film on YouTube and in other places a few times over the years, and I’m thrilled that it’s finally available. I could watch archival NASA footage for hours. It reminds me that there was a time when you could read about NASA and not see the phrase “budget cuts” in the next sentence.

I love the style of this film — listen to the portentous narration, loaded with patriotic fervor and the clear belief that space exploration is obviously what’s next. “Today, John Glenn and the Mercury team challenged space…and they won!” And while all this goes on, a stirring music score throbs away in the background. A documentary like this would be dismissed today as slavish propaganda, and I suppose, in a way, that it is…but you know what, I just don’t care. Our space program in the 1960s, even though we might wish it was less motivated by a desire to beat the Soviets, was a time of greatness that we achieved because we just plain wanted it. And it saddens me to think that our era of space exploration was so short that a landmark mission, fifty years ago, now seems almost quaint.

Come on, America! Why are we messing around? The stars are awaiting us!

Image credit: NASA

 

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Home again, home again….

And…we’re back!

But…where were we?

It was the weekend for our annual WinterHounds event, which is a meet-up for greyhound owners that takes place twice a year in the Finger Lakes. Lots of wineries participate, offering discounted tastings and/or purchases to people with greyhounds. There’s a summer event and a winter one, and we’ve been attending the winter one for several years now (we missed last year’s, because of reasons). It’s always nice to be able to get out of town for a few days, especially when winter is two-thirds done, and this year’s escape was no exception.

More notes on this year’s trip to follow, but for now, we’re back. And Carla (who, not being a greyhound and not liking car rides very much, did not go) is happy to have us home. (The Daughter stayed home, so it’s not as if Carla was stuck in her crate for three days! We’re not inhuman!)

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“I’d rather have fewer spectacular theaters than tons of cheap little multiplexes.” –Douglas Trumbull

Filmmaker and special effects guru Douglas Trumbull died earlier this month. His body of work is not large, but its influence is gigantic. For filmgoers of a certain age and a certain disposition to genre–say, 50ish and inclined to fantasy and science fiction–Trumbull’s work is likely as big an influence on how such stories are visualized as George Lucas’s Industrial Light and Magic.

Trumbull was instrumental in the look and feel of such films as Close Encounters of the Third Kind, Star Trek: The Motion PictureBlade Runner, and, probably the granddaddy of them all in terms of lasting influence, 2001: A Space Odyssey. Trumbull also dabbled in directing, with a number of short films and two features, Silent Running (a rather dour environmental allegory that actually makes you care about some robots) and Brainstorm, the infamous sci-fi thriller about a scientist who invents a way to plug memories and images directly into the brain. Brainstorm isn’t a bad film, nor is it a great one, but it certainly deserves better than to be chiefly remembered as the film Natalie Wood was almost done making when she drowned.

Trumbull’s experience on Brainstorm led to him never directing a feature film again, and it’s not hard to see why, given the tragic death of Wood and the subsequent attempts by MGM to kill the production entirely. I can’t assess Trumbull’s directorial skill on the basis of just two movies, but I do know that he was a huge part of the visualization of science fiction at the time I was being shaped most strongly by it. Trumbull’s work tended to be on the less action-oriented side of the genre; he wasn’t much for the “Explodey Spaceshippy Goodness” side of things, but rather he was an excellent visionary at creating futures that were plausible and beautiful. Even in the case of Blade Runner, a noir thriller that takes place in a rain-soaked Los Angeles of seemingly unending darkness, Trumbull infused the bleak cityscape with a type of beauty.

Trumbull’s work on Close Encounters of the Third Kind is particularly legendary, in the way he uses bright bursts of colored light throughout to suggest the UFOs until the film’s climax, when he gives us the Mothership in all its glory:

I can look at this image and fill in the exact chord from the John Williams score at this moment….

You can watch this scene here. Remember that none of the actors had any idea what they were reacting to, so it was up to Trumbull to make their reactions worth it. Obviously, he nailed it.

And then there is his now-legendary work on Star Trek: The Motion Picture, a film whose reception was mixed at the time (and remains so to this day), a film whose transition from planned teevee series to feature film was no doubt pushed along by the wild success of Star Wars two years before. But ST:TMP was a different kind of movie than Star Wars, a film in which there’s no “pew pew” action, and in which the main developments are all conceptual. Trumbull’s effects work had to carry a disproportionate amount of the film’s emotional heft, and for me, they rose to the occasion. One sequence that occasionally gets cited as an example of the film’s visual excess is the long fly-by of the Enterprise, but I have never been one of that sequence’s detractors. Here’s a video where Trumbull discusses his approach to that scene, as well as the lighting of the Enterprise itself:

That is fascinating stuff: Trumbull discusses the technical aspects of the shot, but also the thinking that went into it, the nature of the sequence in terms of the film’s storytelling, and he even singles out Jerry Goldsmith’s amazing contribution.

Douglas Trumbull’s innovations and achievements may seem a bit quaint in this day of computers being able to shape just about any scene a human can imagine, but they were innovations. Before 2001: A Space Odyssey, the idea of a film showing a starfield that actually looks like what you see when you go outside on a cloudless night and look up, and then being able to pan across that starfield, was unheard of. Every Star Wars movie’s opening pan across the stars, after the opening crawl, is owed to Douglas Trumbull.

When I started looking up Trumbull’s career information for this post, I remembered his body of work being larger than it was. That shows just how big the man’s influence was. You really can’t tell the story of science fiction and fantasy filmmaking of the last sixty years without giving Douglas Trumbull a big credit for how things look and feel. His reach will endure. I know this because it already does.

Finally, I note that films to which Trumbull was attached, either as director or visual effects supervisor, always seemed to boast great filmscores. I leave with two examples.

 

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Something for Thursday

I’m not usually one to play the “Ahhh, they don’t sing ’em like that anymore!” card, but…no, they don’t sing ’em like that anymore!

Which isn’t a bad thing, because there is always great music in the offing. But still, I wonder what it was like, in a time when cars were bigger and shinier, and songs like this were on the radio.

Here are The Platters.

https://www.youtube.com/watch?v=IEzfhclKO8Q

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No, John Williams did NOT rip off Dvorak.

UPDATE 2/18/2022: Broken link fixed.

REPOSTING 2/16/2022 because…see addendum to text.

UPDATE 2/7/19: This post, for some reason, must rank highly on some Google search index or something, because it’s been a relatively consistent driver of traffic to this blog ever since I posted it, nearly four years ago. I have closed off commenting for this post because the only discussion that has ever really occurred here has been people showing up to assure me that yes, John Williams really does rip off everybody under the sun, and in all honesty I’m not interested in entertaining those discussions anymore. That said, it does strike me as interesting how many different composers of wildly varying background and voice Williams is accused of “blatantly stealing”, and how many times a specific piece by Williams is said to be a clear rip from half a dozen specific earlier works. It’s a heck of a composer who can clearly steal four or five different pieces (or so I’m told) just to craft one theme for a Harry Potter movie, innit? Anyhow, here’s the post.

This is one of the trustiest of annoying old chestnuts. What happens is someone hears Dvorak’s Symphony No. 9 (titled “From the New World”) for the first time, encounters the opening bars of the fourth movement, and immediately races to the computer to post the revelation for the ages that “OMG! John Williams totally ripped off Dvorak’s “New World Symphony” for the theme from JAWS!” This is the most common example of a thing that John Williams has ripped off, but there are a lot of them. A partial list of composers from whom Williams is obviously a plagiarist includes Tchaikovsky, Mahler, Wagner, Korngold, Steiner, Prokofiev, and Penderecki — in addition to the afore-mentioned Dvorak.

By comparison, here’s the Dvorak, and here’s the Williams. The similarities between the two are, to put it kindly, extremely superficial. Both start with low strings intoning a note, and then the note a half-step above it, and then the motif is repeated a few times. But Dvorak repeats it loudly and uses all the lower strings and goes at a quick tempo, building quickly and bringing in the rest of the orchestra before getting to his main theme. He also stays quite clearly in the same time signature.

Williams, however, starts off with similar notes…but slower, and much softer, and lower — I’m not even sure if he uses the cellos at all. It might be just the double basses at first. And then his insistent rhythm starts with those punching chords at off moments, so you’re not even sure what the time signature of the piece is. Williams’s sound is insistent and mysterious and somehow both mechanical and not — pretty much the opposite of what Dvorak does. And yet, “Williams ripped off Dvorak!” is one of those zombie nonsense notions that always comes back, despite being complete nonsense to anyone who bothers to pay attention.

ADDENDUM: I just saw this on YouTube. Clearly Williams was actually stealing the JAWS theme from Beethoven!

In cases like this, for years I’ve been recommending a wonderful essay by Leonard Bernstein called “The Infinite Variety of Music”, which appears in the book of the same title. The essay is actually the script of one of the wonderful episodes he used to do for the educational teevee program Omnibus. In this particular episode, Bernstein described how composers are able to create an astonishing variety of musical works from just thirteen notes of the Western tuning system, by reducing things even further and showing how a number of great composers wrote amazing pieces, many of which are very familiar, by using as their main motif the exact same four-note melody. It’s a worthy reminder that there’s a lot more to music than just what the notes are, and I’ve always found that essay to be a good remedy against the over-used canard that this composer or that composer ripped someone else off.

Of course, the problem with recommending an essay like that is that it’s in a book that isn’t always readily available…but I’ve recently discovered that the audio of that very program is on YouTube, with the musical examples helpfully included so you can see what’s going on as Bernstein speaks. I can’t recommend this highly enough. It’s certainly worth the 48 minutes to listen through. No, Bernstein doesn’t specifically address Dvorak or Williams (in fact, this program was likely recorded while Williams was still a studio musician and Steven Spielberg was a kid), but it does suggest a good way of listening to music to evaluate such silly claims.

Here’s the video:


Really, give it a listen. It’ll make you better at listening to music!

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Tone Poem Tuesday

Ugh! ‘Twas a crazy day at work and a busy evening at home, so I almost forgot entirely about getting this week’s selection posted. In fact, I’m not even posting this week’s selection; I’m saving it for next week. Meanwhile, here’s Mr. Bernstein, conducting Mr. Tchaikovsky. Enjoy!

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From the Books: Mike Royko

A repost, because somehow the subject of Mike Royko came up on Twitter. For many years he was my father’s favorite columnist. I remember him handing me the Opinion section more than a few times, saying, “Royko’s got a good one today.” Sometimes I got to return the favor.

For quite a few years, one of my favorite things in the newspaper was the syndicated column by Mike Royko. I loved his writing, and his style has come to mean “Chicago” to me in a very real way. Royko was also a favorite of my father’s, and one year for either Christmas or his birthday I gave my father a collection of Royko’s columns. I spotted another collection – or maybe it’s the same one – on the shelf at the library the other day (One More Time: The Best of Mike Royko), and I’ve been dipping into it with great pleasure. It’s a voice I’d forgotten about.

Royko’s writing, more than anyone else’s, evokes a newspaper for me. Often when reading him I can almost see him there, at a desk in a corner of some big newsroom in a big building in downtown Chicago, his typewriter keys clicking away while he smokes. I actually don’t know if Royko was a smoker, but his columns evoke an era when smoking wasn’t quite the demon it is now. His writing is the writing of a guy who haunted local taverns, and reading him makes me think of the smell of newsprint.

Royko was also perceptive and, in some cases, prescient, as when he wrote of Rupert Murdoch in 1984: “No self-respecting fish would want to be wrapped in a Murdoch paper.” I really wish he was still around right now; in this world of FOX News, a voice like Royko’s would be invaluable. He’d only be 79 today, if a brain aneurysm hadn’t struck him down in 1997. I’d love to know what Mike Royko would make of the state of journalism today, and the fact that one of the most important political commentators of our day – two of them, actually – are hosts of shows on a comedy network.

Royko could write gorgeous, lyrical prose, though, and this column of his — from November 22, 1979, on the occasion of the sudden passing of his first wife – is a prime example. I love how delicately he chooses his visual descriptors, which details to include and which ones to omit. I love the lack of proper nouns, and that he didn’t write this in the first person. The short sentences and short paragraphs are a Royko trademark, but they add up to a larger, and deeply beautiful, portrait in words of a beloved person gone too soon. A more loving tribute would be hard to think of.

The two of them first started spending weekends at the small, quiet Wisconsin lake almost twenty-five years ago. Some of her relatives let them use a tiny cottage in a wooded hollow a mile or so from the water.

He worked odd hours, so sometimes they wouldn’t get there until after midnight on a Friday. But if the mosquitoes weren’t out, they’d go to the empty beach for a moonlight swim, then sit with their backs against a tree and drink wine and talk about their future.

They were young and had little money, and they came from working-class families. So to them the cottage was a luxury, although it wasn’t any bigger than the boat garages on Lake Geneva, where the rich people played.

The cottage had a screened porch where they sat at night, him playing a guitar and her singing folk songs in a sweet, clear voice. An old man who lived alone in a cottage beyond the next clump of woods would applaud and call out requests.

One summer the young man bought an old motorboat for a couple of hundred dollars. The motor didnt’ start easily. Some weekends it didn’t start at all, and she’d sit and laugh and row while he pulled the rope and swore.

But sometimes it started, and they’d ride slowly along the shoreline, looking at the houses and wondering what it would be like to have a place that was actually on the water. He’d just shake his head because even on a lake without social status, houses on the water cost a lot more than he’d ever be able to afford.

The years passed, they had kids, and after a while they didn’t go to the little cottage in the hollow as often. Something was always coming up. He worked on weekends, or they had someplace else to go. Finally the relatives sold the cottage.

Then he got lucky in his work. He made more money than he had ever dreamed they’d have. They remembered how good those weekends had been and they went looking at lakes in Wisconsin to see if they could afford something on the water.

They looked at one lake, then another. Then another. Cottages they could afford, they didn’t like. Those they liked were overpriced. Or the lake had too many taverns and not enough solitude.

So they went back to the little lake. They hadn’t been there for years. They were surprised to find that it was still quiet. That it still had no taverns and one grocery store.

And they saw a For Sale sign in front of a cedar house on the water. They parked and walked around. It was surrounded by big old trees. The land sloped gently down to the shore. On the other side of the road was nothing but woods. Beyond the woods were farms.

On the lake side, the house was all glass sliding doors. It had a large balcony. From the outside it was perfect.

A real estate salesman let them in. The interior was stunning – like something out of a homes magazine.

They knew it had to be out of their reach. But when the salesman told them the price, it was close enough to what they could afford that they had the checkbook out before they saw the second fireplace upstairs.

They hadn’t known that summers could be that good. In the mornings, he’d go fishing before it was light. She’d sleep until the birds woke her. Then he’d make breakfast and they’d eat omelets on the wooden deck in the shade of the trees.

They got to know the chipmunks, the squirrels, and a woodpecker who took over their biggest tree. They got to know the grocer, an old German butcher who smoked his own bacon, the little farmer who sold them vine-ripened tomatoes and sweet corn.

They were a little selfish about it. They seldom invited friends for weekends. But they didn’t feel guilty. It was their own, quiet place.

The best part of their day was dusk. They had a west view and she loved sunsets. Whatever they were doing, they’d always stop to sit on the pier or deck and silently watch the sun go down, changing the color of the lake from blue to purple to silver and black. One evening he made up a small poem:


The sun rolls down
like a golden tear
Another day,
Another day
gone.
She told him it was sad, but that she liked it.

What she didn’t like was October, even with the beautiful colors and the evenings in front of the fireplace. She was a summer person. The cold wind wasn’t her friend.

And she saw November as her enemy. Sometime in November would be the day they would take up the pier, store the boat, bring in the deck chairs, take down the hammock, pour antifreeze in the plumbing, turn down the heat, lock everything tight, and drive back to the city.

She’d always sigh as they pulled onto the road. He’d try to cheer her up by stopping at a German restaurant that had good food and a corny band, and he’d tell her how quickly the winter would pass, and how soon they’d be here again.

And the snow would finally melt. Spring would come, and one day, when they knew the ice on the lake was gone, they would be back. She’d throw open all the doors and windows and let the fresh air in. Then she’d go out and greet the chipmunks and woodpeckers. And she’d plant more flowers. Every summer, there were more and more flowers. And every summer seemed better than the last. The sunsets seemed to become even more spectacular. And more precious.

This past weekend, he closed the place down for the winter. He went alone.

He worked quickly, trying not to let himself think that this particular chair had been her favorite chair, that the hammock had been her Christmas gift to him, that the lovely house on the lake had been his gift to her.

He didn’t work quickly enough. He was still there at sunset. It was a great burst of orange, the kind of sunset she loved best.

He tried, but he couldn’t watch it alone. Not through tears. So he turned his back on it, went inside, drew the draperies, locked the door, and drove away without looking back.

It was the last time he would ever see that lovely place. Next spring there will be a For Sale sign in front and an impersonal real estate man will show people through.

Maybe a couple who love to quietly watch sunsets together will like it. He hopes so.

Yeah, I miss Mike Royko.

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Brrrr!!!

It’s cold outside! This time of the year in The 716, we’re not usually suffering the kind of cold the Upper Midwest tends to get for weeks (or months) at a time, but we do get bursts of some seriously icy weather here and there. The real deep freeze around here usually won’t last more than a few days, but when it hits, as it’s hitting today–as I write this, it’s 20 degrees out and I woke up to 7 degrees at 7am this morning–it’s “hole up, layer up, and consume coffee and tea and soup” weather.

Not being dramatic. It really WAS this cold this morning!

Which makes me think about heat, and how we get it.

I never really knew how our houses were heated when I was a kid, up to when we moved into our house in Allegany, NY, when I was nine. I assume those houses were forced-air furnaces, because I remember heat registers in the floor issuing warm air when we needed it. But when we arrived in Allegany, we switched to wood burning. (Our last house in Oregon had used wood too, and we’d actually moved the wood stove with us because my parents owned it, but I don’t recall it being the main source of heat in that house in Hillsboro…but again, I was nine and this was Hillsboro, OR, where it doesn’t get as cold as it does here, so maybe the wood stove was our primary heat there.)

For the balance of my young life, from fifth grade until I headed out for college, I lived in a house mainly heated by a wood stove. This was fine, but it wasn’t without its challenges. For one thing, it’s very hard, if not impossible, to achieve consistent heat with wood. It gets really hot, so you choke off the flame and let it die down a bit, and maybe open a window if it gets too hot. This cooling process takes a while…and then, when you want it warm again, you have to restoke the fire, which takes time again to heat back up. There was a constant dance of being a bit too cold or a bit too hot.

Sometimes, if the wood was especially wet early on in the season (we’d get a cord or two of wood delivered each fall), you simply wouldn’t get great heat. The way it usually worked was that when you got up in the morning, all that was left in that stove were coals, so you (meaning me) shoveled out some of it to make room for new wood, which you would then toss in. This wood took a long time to start burning, so it would be cold in the morning and it wouldn’t be warm again until after I was gone for school.

And then there were times when we’d go away for a day or two, returning on a winter’s night to a completely dead fire. Nothing to do then but build a new fire in the stove.

Another factor here was the house itself, which was long and narrow. The wood stove was at one end, and the bedrooms were all at the other, and we didn’t run fans to move that air around, so that back end of the house would stay hold. For this reason we got a supplementary kerosene heater for the back end of the house. My years in that house are probably why to this day I tend to be more comfortable in a cool environment than a warm one.

Eventually my parents got a gas furnace and forced air installed in that house, I think because there were huge savings when the gas company ran lines out that way. And I moved out for good a while after that. Our first apartment had a gas heater in the living room; again the “long and narrow” problem reared its head and we kept rooms in the back half of the apartment closed. Another apartment had hot-water baseboard heaters, so when the heat kicked on we’d hear the flow of water followed by a chorus of creaking pipes as the metal expanded.

Our house now has a forced air furnace, which is nice. Even nicer is the programmable thermostat, so I’m not forever changing temp settings (maybe once in a while). The program has four settings that I can set for specific times: Sleep (which runs overnight), Wake (first thing in the morning), Leave (how warm for while we’re at work), and Return (how warm we want it for when we’re home at night). It’s nice being able to let the house cool overnight, and then start warming up again when we’re getting up for our day.

One problem I discovered is that our thermostat has a “Recovery” system. I didn’t understand this system until recently. I have the “Sleep” temperature set for 62, and the “Wake” temp set for 68. Originally I set “Wake” to start at 6:15am, which I interpreted to mean that the t-stat would keep things at 62 until 6:15, at which time it would start heating the place up to 68 and then maintain that until the time when the “Leave” setting takes over. Problem is…that’s not how it works! I was noticing that the bedroom would start getting a lot warmer starting at 5:45 or so, warm enough to actually wake me up half an hour before the alarm at 6:15.

What was going on?

Well, that “Recovery” system was kicking the heat on around 5:30 or so, because the thermostat interprets the “Wake” setting–68 at 6:15am–not as “Start heating to 68 at 6:15”, but rather, “Make sure it’s 68 by 6:15″. So, to achieve what I wanted, I had to change the Wake time to 7:15! It took me a week to figure this out.

On weekends lots of times it’s all not applicable anyway, because a certain greyhound decides that he needs out to pee; thus, when this happens, I tend to get up and stay up. Which means, layers and coffee. And, on the really cold mornings, I get out my handwarmers, too.

Later this week we actually hit the lower 50s…and then back down to the 30s for next weekend. It’s a roller-coaster, it is! Heat management is fun, it is. It’s more fun than cooling, that’s for sure….

 

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Winter mornings

I took this a few days ago, while walking from The Car into The Store for my day’s shift.

We do have some strong sky color game in The 716, don’t we?

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