Posts Tagged ‘Life Magazine’
May 19, 2015 | by Margaret Lazarus Dean
How America imagines its astronauts.
One of the things that makes the job title astronaut different from other jobs is that it existed in the collective imagination for centuries before it was ever actually anyone’s occupation. In the second century CE, Lucian of Samosata imagined travelers going to the moon and fighting a war with its inhabitants. In Jules Verne’s immensely influential 1865 novel, From the Earth to the Moon, the word astronaut is never used, but three men seal themselves into a metal capsule in order to fly to the moon. Many of the details Verne came up with were so outlandish as to invite ridicule if they had not become reality a hundred years later in the Apollo program, including a launch from Florida and a safe splashdown in the Pacific Ocean. Verne’s three space travelers behave in some ways we now associate with astronauts—they solve problems that arise on their mission, analyze new information they observe outside their windows, and do calculations to figure out their location and speed. On the other hand, they indulge in nonastronaut-like behaviors such as getting drunk, becoming histrionic about unexpected problems, and expressing doubt about the meaning of their journey, about whether they should be doing this at all.
One of the first uses of the word astronaut to refer to a human traveling in space was in Neil R. Jones’s short story “The Death’s Head Meteor,” in 1930.
The young astronaut entered the space flyer, closed the door, and was alone in the air-tight compartment just large enough to accommodate him. On the instrument board before him were dials, levers, gauges, buttons and queer apparatus which controlled and operated the various features of the craft. He turned on his oxygen supply and his air rejuvenator so that the air could be used more than once, after which he shoved his starting lever forward. The craft raced suddenly off the roof and into the cloudless sky above the vast city of the twenty-sixth century.
Jones was probably as surprised as anyone to learn how soon his new word became an actual job title, only twenty-nine years later. In between, during World War II, the first actual rockets emerged. This was the beginning of a new era in which the astronaut became a consistent character to tell stories about, if still speculative. Though the rockets weren’t ready to safely contain humans, their streamlined hulls brought with them a clearer image of the astronaut fantasy. Part fighter pilot, part frontiersman, the helmeted spaceman climbed into sleek machines and left Earth in the black-and-white television shows of the fifties. In 1954, Walt Disney created Man in Space, a series intended to promote his new Disneyland, which was set to open the following year. In the opening shot of the series, Walt himself speaks into the camera. “One of man’s oldest dreams has been the desire for space travel,” he tells us with an avuncular twinkle. “Until recently this seemed to be an impossibility.” Read More »
September 18, 2014 | by Sam Stephenson
Today is the fiftieth anniversary of Irish playwright Seán O’Casey’s death. Sam Stephenson tracks his appearances in W. Eugene Smith’s archive.
On August 15, 1965, W. Eugene Smith was up late, as usual, in his dingy fourth-floor loft in the wholesale flower district, a neighborhood desolate after dark. He was working on the first issue of Sensorium, his new “magazine of photography and other arts of communication,” a hopeful platform free of commercial expectations and pressures. He was editing a submission by the writer E.G. “Red” Valens, whom he had met in 1945 when both were war correspondents in the Pacific. Despite the late hour, Smith decided to give his old friend a call.
Valens’s wife answered the phone just before the fifth ring. She’d been asleep. She gave the phone to her husband. He’d been asleep, too.
“Good morning,” said a groggy Valens.
“You don’t stay up as late as you used to,” joked Smith.
He then apologized for calling so late. Valens wasn’t irritated. He even resisted Smith’s offer to call back at a more reasonable hour.
Thirty-six minutes and nineteen seconds later, the pair said good-bye and hung up. We know this because Smith taped the phone call. When he died in 1978, this clip was among 4,500 hours of recordings he made from roughly 1957 to 1966. Read More »
November 20, 2013 | by Sam Stephenson
In early March of 1955, W. Eugene Smith steered his overstuffed station wagon into the steel city of Pittsburgh. He’d been on the road all day, leaving that morning from Croton-on-Hudson, New York, where he lived in a large, comfortable house with his wife and four children, plus a live-in housekeeper and her daughter. He was thirty-six, and a fuse was burning inside him. He had recently quit Life, after a successful but troubled twelve years, and joined Magnum, and this was his first freelance assignment. He had been hired by renowned filmmaker and editor Stefan Lorant to shoot a hundred scripted photographs for a book commemorating Pittsburgh’s bicentennial, a job Lorant expected to take three weeks. On Smith’s horizon, however, was one of the most ambitious projects in the history of photography: he wanted to create a photo story to end all photo stories. His station wagon was packed with some twenty pieces of luggage, a phonograph, and hundreds of books and vinyl records—he was prepared for an eruption.
A hundred and eighty miles southwest of Pittsburgh, in Athens, Ohio, James Karales was finishing up a degree in photography at Ohio University. He had studied Smith’s work in class; Smith was a hero. While Smith was crawling all over Pittsburgh, day and night, several cameras wrapped around his neck, fueled by amphetamines, alcohol, and quixotic fevers, Karales was getting his diploma. Little did Karales know, his path and Smith’s were about to become one, and he would get an education no college could provide. Read More »
February 28, 2013 | by Sam Stephenson
A week before I began my holiday road trip in December, I learned that in 1936 Time Life’s founder and publisher, Henry Luce, and his wife, the flamboyant Clare Booth Luce, purchased a three-thousand-acre former slave plantation in Berkeley County, South Carolina, only twenty miles from the poverty-stricken region where Smith made his classic “Nurse Midwife” for Life in 1951. The Luces made Mepkin Plantation their vacation estate.
Did Smith know this? Is that why he fought so hard to celebrate the African American Maude Callen amid pages of Life’s whitewashed Madison Avenue ads, to shove the contradictions in Luce’s face? It’s hard to know, but I think probably not. Smith left behind voluminous bitter letters to replaceable bureaucrats, but I haven’t seen any to moguls. He tended to make dragons out of windmills.
What is known is that, in 1949, the Luces donated part of Mepkin Plantation to the Trappist Order of Gethsemani of Kentucky, creating Mepkin Abbey. When Henry died, in 1967, his body was laid to rest in the property’s gardens. After Clare’s death in 1987, her body was buried next to his. As a serial graveyard explorer, I knew I had to see these graves, which, together with Callen’s abandoned and crumbling clinic, form an unlikely set of Berkeley County monuments to Life magazine’s midcentury power. Read More »
September 15, 2011 | by Dawn Chan
It’s late August in Brooklyn, and two men are trying to figure out how to hoist a piano up to a third-floor window and then release it so that it smashes onto the sidewalk below. “I think the major issue is just balancing out its weight,” says one. They push open a door to the roof to explore their options. A security alarm goes off; they’re undeterred.
The two men, director Chris McElroen and “professional problem solver” Dan Baker, are part of the team behind Chaos Manor, a multimedia performance inspired by the unconventional life of W. Eugene Smith. In the 1950s, Smith, celebrated for his front-line World War II photography, found himself increasingly at odds with his Life magazine editors. He quit his job and, several years later, embarking on what some might call a midlife crisis and others a visionary project, left his wife and children and moved into a dilapidated Manhattan building frequented not only by “derelicts, hustlers, and thieves” (in the words of his biographer) but also by some of the “biggest names in jazz.” From his fourth-floor apartment, Smith spent the next eight years relentlessly documenting the sights and sounds around him. His forty thousand photographs and 4,500 hours of audio reels captured hundreds of musicians, including legends such as Thelonious Monk, Sonny Rollins, Bill Evans, and Roy Haynes. Read More »