Catégorie : English

  • Shadowlands – 1993

    Shadowlands – 1993

    C.S. Lewis, the world-renowned Christian theologian, writer and professor, leads a passionless life until he meets spirited poet Joy Gresham from the U.S.

    It’s French title « Les ombres du coeur » hardly reflects the « magic » and essential mystery of life which this film tries to unravel for us. « We read to know one is not alone » is a constant thread. This magnificent romance is filled with questions about the meaning of relationships and knowledge of oneself. Beautifully orchestrated by Richard Attenborough and its lead, magnificent actor Anthony Hopkins.

    A truely British romance  to which, with the academia of Oxford University and the Hertefordshire countryside, I constantly related, feeling profoundly British and left wondering why I cannot share this with my wife.

    A film experience that I have not yet fully digested.

  • Tisser une constellation

    Tisser une constellation

    It’s DONE! The Carina Nebula, as seen in one of the first @NASAWebb images… in cross stitch! 🛰️🤩

    Started in July a week after the image release, entire thing is 7” across for scale.

    Source : compte Twitter de Yvette Cendes

  • Orion fabulous views

    Orion fabulous views

    Pages d’images d’une mission pionnière autour de la Lune

    Page en évolution constante, réunissant des images officielles de la NASA et de la mission Artemis-I, de scientifiques, de sites web spécialisées (notamment SpaceFlightNow) et de réseaux sociaux (notamment Twitter). Plus certaines découvertes et réflexions personnelles.

    Date : 7 décembre

    La date anniversaire des 50 ans depuis le départ de la dernière mission lunaire avec des astronautes.

    C’était Apollo 17 avec l’équipage de Gene Cernan, Harrison Schmitt, et Ronald Evans. Voici ce que Ron Evans a immortalisé en quittant la Terre, ce qu’il a appelé « le bille bleue« .

    Cette image est devenue pour les mouvements naissants des défenseurs de l’environnement un symbole de la fragilité de notre planète.

    Date : 7 décembre : La NASA publie des images en haute résolution prises lors du passage derrière la Lune. Wow !!

    Date : 14 novembre

    A 7H54 ce matin heure de Paris, en pleine nuit en Floride, le décompte de 48 heures à démarré pour le décollage, ou précisément nouvelle tentative de décollage de la fusée géante SLS avec sa capsule lunaire Orion, lancement prévue mercredi. Les responsables de la mission Artemis-1 doivent aujourd’hui vérifier que de l’isolation thermique touchée par la récente tempête ‘Nicole’ ne puisse pas se détacher lors de l’ascension. Photo « objectif Lune » de la NASA

    16 novembre

    C’est parti! Jamais deux sans trois. La troisième tentative de lancement de l’ensemble lanceur SLS, plus grosse fusée au monde, et sa capsule Orion, à laquelle l’Agence Spatiale Européenne a grandement contribué, a été la bonne.

    Décollage à 7H47 heure de Paris. La mission Artemis-I, inhabitée, est en route pour un petit tour « around the Moon and back »! Bravo!

    PS: La dernière mise à feu de l’étage supérieur a bien eu lieu et Orion est maintenant sur l’orbite nécessaire pour se circulariser autour de la Lune.

    Date : 16th November

    Emplacement des caméras sur Orion

    Date : 16 novembre

    Magnifique !! Orion en route pour la Lune nous montre d’où il vient. Camera placée à l’extrémité de l’un des quatres panneaux solaires. Au total Orion a 16 cameras.👏

    Et nous, là-bas, sommes aujourd’hui 8 milliards de Terriens !

    Vision future

    Date 20 novembre

    L’homme vivra sur la Lune avant la fin de cette décennie – oui, oui décennie! C’est la vision de Howard Hu de la NASA, directeur du programme Orion – capsule dont le premier exemplaire inhabité vole vers notre satellite. Il était interrogé aujourd’hui à la BBC. Il prévoit que des astronautes pourront circuler avec un véhicule, récupérer de l’eau au Pole Sud, et extraire des minéraux. Il en est convaincu – mais une vision néanmoins très très optimiste

    Date : 21 novembre

    « Juste avant la perte de signal du vaisseau Orion. Pas de données pendant presque 40 minutes. La Terre est passé derrière la Lune. Le survol au plus près de notre satellite se fera à environ 80km. Dans une quinzaine de minutes, une mise à feu de 2 minutes et demi mettra Orion dans une orbite dite rétrograde très elliptique pendant six jours s’éloignant à 48000km de la Lune. Wow! »

    Pale blue dot

    Date : 21 novembre

    « Soulagement ! Confirmation de l’acquisition du signal du vaisseau Orion après son passage derrière la Lune. Une mise à feu du moteur principal OMS a mis le vaisseau sur une nouvelle orbite elliptique le menant jusqu’à 48000 km de notre satellite.

    Il parcourra cette orbite pendant six jours. Au plus proche le survol s’est fait à près de 80 km de la surface de la Lune.

    Et nouvelles vues du petit point bleu de notre Terre, prise par une des cameras. Une nouvelle version de la fameuse image et citation du « pale blue dot » de Carl Sagan.

    Date: 5th December

    Lunar second close flyby on Monday 5th December: As NASA’s Orion spacecraft approaches the moon, this 60x time lapse video, shows the capsule adjusting its orientation and configuring its solar arrays for the return powered flyby engine burn. (The video is interrupted by flashes of Artemis mission logo)

    L’image de début est prise lorsque Orion est à environ 1000 km de notre Lune.

    Le mince croissant de Terre avant le passage d’Orion derrière la Lune

    Ce n’est pas un « fake », une illustration de l’imaginaire d’un graphiste, mais la réalité, photo prise par une des 16 caméras de Orion: Le mince croissant de Terre dans l’ombre de la Lune, la grosse masse de cette dernière et à droite, la capsule, avant son passage hier derrière notre satellite. (Le croissant de Terre « pointe » vers le Nord). Époustouflant. Image NASA Artemis-I (bien sur)

    Explications : « Earth is the crescent thing in the distance. The big grey thing is the Moon. The crescent in the foreground at bottom left is the Orion capsule. The red thing is part of a reflection inside the camera lens from the Sun.« 

    Date : 5 décembre

    Artemis I : La capsule Orion réapparaît de derrière la Lune ayant déclenché une mise à feu qui la met sur le chemin de retour vers la Terre – dont ses caméras voient le mince croissant de notre planète.

    NASA says : « We’ve completed our return powered flyby burn and are heading home! » (The red dot is not MARS, (haha!!) but an artefact, a « lens flare ».)

    Tweet de « VegasJake » : « Reality imitating Art« 

    Animation (répètée deux fois) de la mise à feu pendant 3:27 du Module de Service Européen pour remettre Orion sur le chemin du retour.

  • Artemis cameras – NASA

    Artemis cameras – NASA

    NASA’s Artemis I Cameras to Offer New Views of Orion, Earth, Moon

    During Artemis I, NASA’s Space Launch System (SLS) rocket will send the agency’s Orion spacecraft on a trek 40,000 miles beyond the Moon before returning to Earth. To capture the journey, the rocket and spacecraft are equipped with cameras that will collect valuable engineering data and share a unique perspective of humanity’s return to the Moon.

    There are 24 cameras on the rocket and spacecraft – eight on SLS and 16 on Orion – to document essential mission events including liftoff, ascent, solar array deployment, external rocket inspections, landing and recovery, and capture images of Earth and the Moon.

    On the rocket, four cameras around the engine section point up toward Orion, two cameras at the intertank by the top of boosters will capture booster separation, and two cameras on the launch vehicle stage adapter will capture core stage separation. The eight cameras will cycle through a preprogrammed sequence during launch and ascent.

    On Orion, an external camera mounted on the crew module adapter will show the SLS rocket’s ascent, providing the “rocket cam” view the public often sees during launches. Another camera will provide a view of service module panel jettison and solar array wing deployment. Four cameras attached to the spacecraft’s solar array wings on the service module will help engineers assess the overall health of the outside of Orion and can capture a selfie view of the spacecraft with the Earth or Moon in the background.

    “Each of Orion’s four solar array wings has a commercial off-the-shelf camera mounted at the tip that has been highly modified for use in space, providing a view of the spacecraft exterior,” said David Melendrez, imagery integration lead for the Orion Program at NASA’s Johnson Space Center in Houston.

    The arrays can adjust their position relative to the rest of the spacecraft, which will optimize the collection of sunlight converted into electricity to power Orion. This also allows flight controllers in the Mission Control Center at NASA Johnson to point the cameras at different parts of the spacecraft for inspections and to document its surroundings, including the Earth and Moon.

    Graphic showing the cameras on NASA's Orion spacecraft.

    The cameras on NASA’s Orion spacecraft.

    A specialized camera on the crew module adapter used for optical navigation and to help pinpoint Orion’s location in deep space will be used to collect imagery of the Moon during Orion’s closest approach to the lunar surface. Also affixed to the crew module adapter but pointed inward, another camera is positioned to capture imagery of Orion’s heat shield after the crew module separates from the service module before its re-entry into Earth’s atmosphere.

    Inside the spacecraft, three more wireless cameras can capture the perspectives astronauts will have on future Artemis missions, with one camera looking out the front pilot window and a second looking over the shoulder of the commander seat, where the instrument panel will be located on future missions. A third in-cabin camera will look out the top hatch window to provide views of launch abort system jettison during ascent as well as parachute deployment during landing and recovery.

    There are also two external high-speed cameras dedicated to monitoring parachute operations, which technicians will download and process after the flight.

    The images and video collected by the Orion cameras will come in a variety of formats, ranging from standard-definition to high-definition and up to 4K. Each is tailored for a specific use and dependent on the bandwidth available during the mission to send to Earth or recorded on board to be analyzed after the mission ends. Due to bandwidth limitations on the spacecraft that prioritize transmitting critical data to the ground, livestream video quality will be lower than the onboard recordings. As a result, some of the highest quality views may not be received until well after they are recorded and can be downlinked.

    The field of view of each camera has been optimized to look at the spacecraft, not deep space, and imagery for the Artemis I flight will depend on a variety of factors such as lighting, spacecraft orientation, and communication capabilities during different mission phases.

    “A lot of folks have an impression of Earthrise based on the classic Apollo 8 shot,” Melendrez said. “Images captured during the mission will be different than what humanity saw during Apollo missions, but capturing milestone events such as Earthrise, Orion’s farthest distance from Earth, and lunar flyby will be a high priority.”

    Orion also will carry cameras that are part of a technology demonstration, called Callisto. The Callisto payload includes three in-cabin cameras that will be used to test video conferencing capabilities and may enhance the public’s ability to imagine themselves inside Orion.

    Through Artemis missions, NASA will land the first woman and the first person of color on the Moon, paving the way for a long-term lunar presence, and serving as a steppingstone to send astronauts to Mars.

    Erika Peters

    NASA’s Johnson Space Center

  • Artemis I : Scientific American

    Artemis I : Scientific American

    Artemis I Launches U.S.’s Long-Awaited Return to the Moon

    The first flight test of the world’s most powerful rocket will send an uncrewed spacecraft to lunar orbit and back. Article in Scientific American on 16/11/2022 by Nadia Drake

    Artemis I Launches U.S.'s Long-Awaited Return to the Moon
    NASA’s Space Launch System rocket carrying the Orion spacecraft launches on the Artemis I flight test, Wednesday, Nov. 16, 2022, from Launch Complex 39B at NASA’s Kennedy Space Center in Florida. Credit: NASA/Bill Ingalls

    KENNEDY SPACE CENTER, Florida—Taller than the Statue of Liberty, the ochre rocket thundered into the sky around 1:47 A.M. ET, cleaving the darkness with a searing column of crackling fire and sending shudders through the ground near Cape Canaveral, Fla. Bound for the moon, it carried an uncrewed space capsule and a bounty of scientific payloads. But its most profound cargo is a psychic slice of the “American Dream”—a promise that, at least in spaceflight, the U.S. remains exceptional, with capabilities, ambitions and achievements as yet unsurpassed.

    Tonight’s launch should have been a triumph. And in many ways, it was. But it also marked the culmination of a long, difficult and frustrating campaign to get a beleaguered rocket off the ground.

    Still, thousands of visitors jammed the roads near Kennedy Space Center, many vying for coveted shoreline spots to witness what can still be rightfully called one of the biggest spectacles in recent history: The launch of NASA’s Artemis I mission—the first flight of the agency’s massive new Space Launch System (SLS) rocket and Orion spacecraft. For some of the spectators, it was their third trip to see this rocket launch from Florida’s “Space Coast,” the storied epicenter of U.S. spaceflight where Apollo astronauts last launched to the moon a half-century ago. And then there were the NASA leaders, the blue flight suit-clad representatives of the agency’s astronaut corps, and hundreds of caffeinated space reporters.

    “Well, for once I might be speechless,” launch director Charlie Blackwell-Thompson told her team after the launch. “What you have done today will inspire generations to come.”

    Nearly three months have gone by since NASA’s first two launch attempts, both of which scrubbed because of difficulty filling the mammoth SLS fuel tanks. Hurricane Ian foiled a planned third attempt when dangerous forecasts sent the rocket back to the safety of the Vehicle Assembly Building (VAB) in late September. And when NASA finally rolled the stack back to the pad in early November, Hurricane Nicole blew through—before the agency could return the rocket to shelter in the VAB.

    “I think it’s safe to say for all of us, we obviously would not have wanted to stay out there,” NASA’s Jim Free, associate administrator for exploration systems development, told reporters on Nov. 11. “The best place for the vehicle in those kinds of things is the VAB. We could not make it back to the VAB and be safe. So we stayed where we were.”

    The storm hammered the SLS with winds blowing at up to 100 miles per hour, tearing off sealants and presenting mission managers with an almost unthinkably bad predicament: Is it safe to launch a $4.1-billion rocket and spacecraft that have just weathered a category 1 storm?

    Ultimately, officials decided to roll the dice and go ahead with the launch. Now, if the entire Artemis I mission is successful, it will mark the first tentative step toward returning humans to the lunar surface.

    “This is a big moment of truth for NASA, similar to a ‘return to flight’ situation following a disaster,” says space historian Jordan Bimm of the University of Chicago. “Does NASA still have what it takes when it comes to human spaceflight? It’s been 11 years since NASA last launched a human-rated spacecraft, and this is an entirely new system, long in development.”

    NASA officials have said that several off-ramps exist, should Orion encounter challenges that threaten its survival. But if, after its 25.5-day journey, the capsule safely splashes down in the Pacific Ocean, the stage is set for Artemis II, which could carry a four-person crew into lunar orbit as early as 2024. From there, as the Artemis program unfolds, the SLS and Orion could put the first woman and person of color on the moon’s surface, construct a space station in lunar orbit, establish a crewed lunar outpost, and possibly send humans far beyond Earth’s cratered celestial companion—perhaps even to Mars.

    But the rationale behind the program, which is estimated to eat more than $90 billion of taxpayer money by the end of 2025, is hazy at best. Why, experts wonder, are we returning humans to the lunar surface? Is it for the sake of science? Is it for the sake of national pride? Or to satisfy an innate human longing for new horizons? And how many times are we willing to go through the trouble of getting these missions off the ground?

    “Pursuing the principles of ‘science’ and ‘exploration’ is wonderful and noble,” Bimm says. But he adds, the Artemis program as envisioned “reminds me of [British explorer George] Mallory saying he climbed [Mount] Everest ‘because it’s there.’ Which was a b.s. nonanswer.”

    According to Lori Garver, NASA’s former deputy administrator and a well-known critic of the Artemis hardware, the program’s pragmatic purpose is to secure the U.S.’s preeminence in spaceflight—although some of that seems to have been lost in the clamber to the moon. “To me, the goals are not destinations. The goals are what, as a nation, you want to achieve,” she says. “I think the U.S. has got a great leadership position in space, but we should be focusing on keeping that lead, widening that lead, instead of repeating stuff from the past.”

    Orion in the Spotlight

    Even before the first two scrubs, and the unfortunately timed hurricanes, the stakes were already sky-high for today’s launch, with more than $23 billion of SLS development costs to date along for the ride. Any rocket is inherently a delicately controlled bomb—with all of the accompanying risks—but of course, the SLS isn’t just any rocket. It is a heavy-lift system that, in future iterations, could haul in excess of 100,000 pounds of crew and cargo to the moon and beyond. And in its present form, it already produces 8.8 million pounds of thrust—more than that of the iconic Apollo-era Saturn V—as it slips Earth’s gravitational grip. And perched on top of that beast is a multibillion-dollar spacecraft: Orion.

    Ordinarily, the Orion capsule would be protected from any launch mishaps by an abort system tucked inside the pointy cap at the rocket’s apex—a set of three motors delivered by Northrop Grumman that can hurl the capsule away from a malfunctioning booster and do so with gusto: the main abort motor can propel Orion from zero to 400 miles an hour in just two seconds.

    “The launch abort system is designed to pull the crew capsule away in case there is an emergency on either the launch pad or during the ascent phase,” said Debbie Korth, Orion’s deputy program manager, to reporters during a briefing before the first launch attempt. “We’re talking very quick, really trying to outrun an SLS that might be having an issue during launch.”

    Doug Hurley, a former NASA astronaut and military pilot who flew space shuttle missions and commanded the first crewed mission of SpaceX’s Dragon capsule in 2020, told Scientific American that having an abort system is a relief for everyone aboard a rocket—and for their families back on the ground.

    “Getting on a rocket knowing that if the day turns horribly bad you still have a great chance of getting back to your family—it’s amazing. It’s something we didn’t have in shuttle,” says Hurley, now Northrop Grumman’s senior director of business development. “It’s an incredibly great piece of mind to have.”

    Because no humans are onboard for the Artemis I mission, Orion’s main abort motor is inactive. Thankfully, the SLS has so far done its job. After liftoff, the rocket survived its period of maximum dynamic pressure in the atmosphere, throttled up its main engines and delivered Orion to Earth orbit. Then the rocket’s core stage detached and began an ignominious descent to the bottom of the Pacific Ocean, leaving the crew capsule and the upper stage, called the interim cryogenic propulsion system (ICPS), to continue their journey.

    The mission’s next big challenge began about an hour and a half after launch. To reach the moon, the ICPS needed to precisely execute a long engine burn called translunar injection, or TLI. For 18 minutes, it fired its engines, accelerating the Orion spacecraft from 17,500 miles an hour to 22,000 miles an hour—the speed required to shrug off Earth’s gravity and instead cling to the moon.

    If the burn had gone awry, Orion could have missed the moon entirely. On this test flight, NASA officials were so keen to perform the crucial TLI that they were determined to go for it unless the maneuver was guaranteed to result in a loss of the spacecraft. “We would be ‘go’ on this flight for conditions that we would normally be ‘no-go’ for on a crewed flight, in the interest of crew safety,” said Mike Sarafin, Artemis I’s mission manager at NASA, during a late summer prelaunch briefing. “That is something that is unique to this uncrewed flight test, and we are going to press ahead and press uphill unless we’re almost for sure we’re going to lose” the vehicle.

    Post-TLI, Orion detached from the ICPS and sailed on to the moon in solitude. For the rest of its mission, the spacecraft will be flying under its own power using onboard navigation and propulsion systems.

    “There are certain cases that could come up that could cause us to come home early,” said NASA’s associate administrator Bob Cabana to reporters before the first launch attempt. “And that’s okay. We have contingencies in place.” But, he added, “the main objective that we really want to get out of this test flight, of course, is stressing that heat shield—getting a test of that new Orion heat shield at lunar reentry velocities.”

    If Orion returns safely to Earth, it will create new possibilities for humankind’s off-world future—ones that necessarily involve the bulky, expensive Artemis hardware. “SLS and Orion working perfectly on the test flight will make it unstoppable for the next flight,” Garver says. “We absolutely march forward.”

    Lessons from a Lunar Return

    The next flight, Artemis II, would be similar in profile to 1968’s Apollo 8 mission, which carried three astronauts into lunar orbit and back. Scheduled for 2024, Artemis II would then be followed by an even more complex and historic mission, Artemis III, which would at last return humans to the lunar surface for the first time since 1972.

    But why NASA is following this ambitious schedule to press more boot prints into moondust is murky. “Unlike the Apollo missions, which had a clear and urgent political goal of demonstrating American technological mastery during the cold war, the driving motive behind Artemis is far less clear,” Bimm says. “The ‘why’ part has not been clearly formulated or articulated, and the lack of real urgency could see the entire Artemis program cut, handed over to private companies or transformed in some other way—even if everything goes smoothly.”

    Teasel Muir-Harmony, a space historian at the National Air and Space Museum and curator of its Apollo collection, adds that, in addition to technical prowess, the Apollo missions were meant to influence the political trajectory of independent nations during the cold war. Here, she says, “the idea for Artemis is not to change how the world thinks about the U.S. or to align with the U.S. We’re not doing this to win hearts and minds in the way we once were.”

    Even a burgeoning space race with China seems like a convenient excuse, at least as far as the lunar surface goes. “We’ve been to the moon; we’ve won that race,” Garver says. The very first Artemis astronaut to make lunar landfall, she notes, would merely be the 13th human to walk on the moon’s surface.

    David Parker, director of human and robotic space exploration for the European Space Agency, argues that visions of a thriving lunar outpost are a natural outgrowth of humankind’s tendency to push the boundaries of where we can live and work. On this planet, he says, we’ve seen something very similar with development in the Antarctic.

    “Robert Scott and Roald Amundsen raced to the South Pole in 1911, and then nobody bothered going to the Antarctic for another 50 years. Now we’ve got research stations there, doing every kind of research you can think of,” he told Scientific American. “It’s about expanding the places that human beings live and work.”

    Yet even without a strong sense of purpose, the SLS and Orion have broad, bipartisan political support. And the Artemis program, established in 2017, long after both the SLS and Orion had begun development, successfully endured the transition between presidential administrations—a perilous time when problematic federal projects are traditionally culled. Its survival, Muir-Harmony says, bodes well for its longevity, even though it has become something of a boondoggle for the space agency.

    Perhaps there are lessons to learn from the response to other late and over-budget projects in NASA’s portfolio—such as the James Webb Space Telescope, or JWST.

    “When you look back at the experience with Apollo, the experience even with JWST in the past few months and how that has brought together humanity around the globe with the excitement of learning new things…I don’t know how you don’t get excited about Artemis, to be honest with you,” says Daniel Dumbacher, who oversaw the SLS’s initial development while he was at NASA and now serves as executive director of the American Institute of Aeronautics and Astronautics.

    As with the SLS and Orion, contractors delivered JWST years late and billions of dollars over budget. It also needed to survive a risky deployment phase in which any of 344 single points of failure could have spelled disaster for the mission. But in the end, it worked. Now, as JWST’s sharp infrared eye reveals the cosmos in a new light, no one is complaining about its oversize price tag. Instead astronomers are dreaming up new questions they’d never thought to ask.

    “Maybe the Artemis missions will do the same with human exploration—help us build that new capability, sustainable on the moon, and then expand out to Mars,” Dumbacher muses. “It’s going to open up new economic opportunities for generations to come.”

    Maybe that will be the case—and maybe not. JWST had an express purpose—to peer as far back in time as possible, to see the universe as it was when the first stars and galaxies began emerging from the primordial gloom and to connect the dots between those infant structures and the living world we know. And there was only one way to do that: build a giant telescope, an instrument so big it would have to tuck itself into a rocket fairing and unfold in space.

    The SLS and Orion don’t check those same boxes. Although researchers have no shortage of ideas for leveraging Artemis’s rockets to accomplish transformative science, the lunar-return program lacks clear motivations, aside from political posturing and providing a concrete destination for its hardware to reach—hardware that was arguably designed foremost not for voyaging to the moon or Mars but for maintaining the momentum built up across the past half-century of sometimes fickle federal investment in civil spaceflight. In many respects, although the SLS and Orion are meant to lead the way to NASA’s bright future, they instead risk relegating the space agency to the past. There are, after all, other ways to put humans in deep space that are much cheaper and possibly more efficient. Yet if Artemis succeeds and returns humans to the lunar surface, perhaps the program’s critics will be as silent as those who’d rallied for the cancellation of JWST.

    “From my perspective, we owe it to the next generation—and the generations that follow—to continue pushing forward and pushing outward and to continue learning,” Dumbacher says.

    ABOUT THE AUTHOR

    Nadia Drake is a science journalist who specializes in covering astronomy, astrophysics and planetary science. Her byline has appeared in National Geographic, the New York Times and the Atlantic, among other publications.

  • The Airbus A380 and the Eurofighter

    The Airbus A380 and the Eurofighter

    An Airbus 380 is on its way across the Atlantic. It flies consistently at 800 km/h at 30,000 feet, when suddenly an Eurofighter with a Tempo Mach 2 appears.

    The pilot of the fighter jet slows down, flies alongside the Airbus and greets the pilot of the passenger plane by radio: « Airbus, boring flight isn’t it? Now have a look here! »

     

    He rolls his jet on its back, accelerates, breaks through the sound barrier, rises rapidly to a dizzying height, and then swoops down almost to sea level in a breathtaking dive. He loops back next to the Airbus and asks: « Well, how was that? »

    The Airbus pilot answers: « Very impressive, but watch this! »

    The jet pilot watches the Airbus, but nothing happens. It continues to fly straight, at the same speed. After 15 minutes, the Airbus pilot radios, « Well, how was that?

    Confused, the jet pilot asks, « What did you do? »

    The Airbus pilot laughs and says: « I got up, stretched my legs, walked to the back of the aircraft to use the washroom, then got a cup of coffee and a chocolate fudge pastry. »

    The moral of the story is: When you’re young, speed and adrenaline seems to be great. But as you get older and wiser, you learn that comfort and peace are more important.

    This is called S.O.S.: Slower, Older and Smarter.

    Dedicated to all my senior friends  ~  it’s time to slow down and enjoy the rest of the trip.

  • Artemis c’est parti !

    Artemis c’est parti !

    C’est parti! Jamais deux sans trois. La troisième tentative de lancement de l’ensemble lanceur SLS, plus grosse fusée au monde, et sa capsule Orion, à laquelle l’Agence Spatiale Européenne a grandement contribué, a été la bonne. Décollage à 7H47 heure de Paris. La mission Artemis-I, inhabitée, est en route pour un petit tour « around the Moon and back »! Bravo !

  • Martin Dean on Sun Radio – Worthing 1970

    Martin Dean on Sun Radio – Worthing 1970

    « Nostalgia is a senility illness« . But recalling one’s past, relocating past friends – thanks to Facebook – is a stimulating and enlightening experience when reviewed with the experience of a lifetime in radio and television.

    This has occured this very last week when I added a personal note on a Facebook page mentionning Sun Radio, a land-based pirate radio station that operated between 1969-1973 from Worthing along the Sussex coast from Brighton. I added: « I did a couple de shows on Sun Radio when I was a student at Sussex University. It was run by a guy called Chris ? I have forgotten my pseudo« .

    And the response from Chris Evans, himself, was to lead to a batch of memories, leading to this article: « Hi Martin. your pseudo was « Martin Dean » but you generally self id as simply « Martin ». I was only part of a team that ran Sun but thanks for the ‘big up’. Two of your shows survive in the Sun audio archive. Hope you are keeping well.« 

    Gee! Finding perhaps the very first radio programme that I hosted – (or as we said at the time ‘dejayed’) and which was broadcast well before I joined the BBC’s local radio station in Brighton was an enormous surprise. Exchanges with Chris led to two archive recordings of me, alias « Martin Dean » playing the hits on Easter Sunday 13-14hrs on 29th March 1970. and the following bank holiday Monday. [The complete recordings at the close of this post.]

    Sun Radio’s transmitter covered the beautiful Sussex downs and could be heard as far off as the Isle of Wight.

    If one does a Google search on « Sun Radio Worthing », one doesn’t expect to find much that is topical. Going back so far in time on the Internet is not very productive. But the search does come up with some « official » information, drawn from The National Archives.

    « Reference:     HO 255/1188 – Sun Radio, Worthing, UK: illicit radio transmission station: investigation by Post Office Radio Branch Officers. Date: 1969-1973 »

    Yes, we were pirates of the airwaves, extremely frustrated after the closure of the offshore radio stations, that independant local radio was not being legalised in Britain. Freedom was a constant lightmotif.

    The first officially approved independant radios LBC-IRN and Capital Radio in London did not open until 1973. And until then there was but the BBC monopoly. Incuding BBC Radio Brighton which I joined as a freelance journalist at the end, I think, of 1970.

     

    In fact there was probably an overlap between the days I contributed to Phil Fothergill’s « pop » programmes on Radio Brighton. And the jingles I produced for « Martin Dean » were probably recorded, without SUN Radio being aware, in clandestine night-sessions at the Beeb station. No other friends of those same years (Graham, Merbie, Mike, Mel… were involved in the clandestine programmes on Sun Radio. But we were certainly all of the same spirit, eagerly editing demo tapes of US « PAMs » jingles. I still have a dozen or so boxes of such tape demos.

    [On one of my personal jingles I recognise the voice of Ric Davies, a strong american accent student friend at Sussex University. He did some shows under a SUN radio alias of « Ron Saywell ». He later became a journalist on America’s WABC in New York.

    Listening to these recordins of myself behind a microphone 52 years ago, I reacted : « I had a lot of voice projection, or ‘punch’ which I find surprising. We were pretending to be super jocks like the offshore djs« .

    Chris has filled in with some context about the style of Sun Radio: « Great ,yes that was the intention to try at least to emulate the » best « of the offshore sound which in turn was based on Gordon McLendon’s KLIF (Dallas) which in turn had drawn on the programming of earlier Top Forty /Color Radio pioneers such as Todd Storz, Chuck Blore, Bill Drake et al. Sun basically went through 3 main presentation/branding styles. Your time with Sun was, basically version 2.2., it was intestinally « clutter radio ». This format ran until June 70. Version 3 launched in August 70 was rather different. It was a blend of Drake’s Boss Radio format (KHJ Los Angles) and the « Good Guys » format ,calling ourselves « Super Sun, the sound of Home Town Radio » or similar! The number of station jingles was drastically reduced, personalised jingles/drop ins, such as those you so well crafted , were dropped and we pulled right back on voice projection. News presentation was de-cluttered, zaps, bleeps. mainly gone. Sadly as far as I know no recordings of this programming format survive but some of the jingles/audio branding are still extant. The Good Guys is a very difficult concept to pull off, especially if you are a Top Forty pirate! It is said that the only Top Forty station to pull it off and go to the top of the ratings book was WMCA (New York) under the legendary Ruth Meyer« .

    Note : such an analysis today after so many years clearly demonstrates how strong an impact these early years had on Chris : on us all.

    Our passion for radio: for instance as fans of Radio Caroline and other offshore stations, for sliding the ‘pot’ open and talking behind a microphone, and for playing records (note : I ran the Sussex University’s disco), also stemmed from a great interest in the technical aspects of broadcsating and electronics.

    I had before going to university, built my own FM transmitter which broadcast « Radio Martin International » to the Wimbledon district where I lived. Other example : Just remember Mel’s career after Radio Nordzee, his company equiping and installing audio mixing consoles for radio stations.

    Chris Evans today likes to stress that SUN Radio was a team effort. « Please remember that Sun Radio was not run by me…….I was a member of a very small team that organised and managed it.  Interestingly through the 18 months plus of Sun’s first incarnation no one person was a member of that team for the whole of that period. I think we called ourselves the « inner circle ». And the number of members of that circle varied , at different times between 6 and 2. Then of course there was the next circle, where you would fit in, the presenting team was  usually 3. Carl Rivers, myself and another, for a few weeks that was you, thank you. There were 2, sometimes 3 guys who specialised in designing, building and testing the transmitters distinct from the 2 who operated the transmitter.
     
    Carl’s girlfriend, Sue Lord, did admin and then there were various dedicated guys whom at any one time never exceeded  3 in number These  were guys that had very limited if any programming/DJ ing skills or technical ability and were deployed in the vital role of transmission site security….. »the Scouts » as the Post Office called them. But the on site security team was usually 4 or 5 strong since  other team members, myself included would do that role as well as our other duties. In total, over 18 months the  number of people responsible for getting  Sun on air was 15 and that includes you and your friend Ron Saywell. The maximum number of team members at any one time was eleven.
     
    Security was certainly interesting, fun and to some extent hazardous and called for swift (correct) decision making. I was present at 2 of the 3 PO raids. On the first raid I made « good calls » and so did everyone else. On the other raid I made some very bad decisions, in fact so did other team members while 2 of the team made the correct decisions.« 

    Below : Two complet « Martin Dean » shows for Sunday 29th March 1970 and the following Monday bank Holiday, each – beware – one hour long.

    SUN Radio operations involved pre-recording programmes and rebroadcasting the cassettes from a variety of locations, mostly houses, and rarely from a vehicle. The « Scouts » members of the team were on a constant vigil to identify vehicles of possible officials trying to hunt them down and seize the SUN radio transmitter.

    I understand that those involved in SUN Radio have never compiled a complete official history of the station’s activities.

    Police and Post Office staff seize equipment in one of several raids. Local press article

    Final thoughts. Adding to these very first steps in radio as a career, I must mention my participation as a close friend of « RLU Radio London UnderGround » (another land pirate but with a total diffrent style of programming) and its principal actor Richard Elen, recently re-discovered again via Facebook.

    The technical aspects of this activity were prolonged: first at Sussex University where I created the On-Camus closed-TV network with fellow student Barry Jackson (‘R.I.P’), then my freelance contributions to the BBC Brighton student’s programme ‘Contact’ (with producer Chris Walmsley R.I.P), and as Secretary of the Students Union the editing and publishing of the students paper. Not forgeting my work editing and producing material for Paul Hollingdale‘s syndication company.

    Just over a year as a freelancer in the BBC Newsroom (under editor Tony Talmage), I joined LBC London Broadcasting Company, producing the ‘AM early morning show for three years. I had forgotten, but Chris Evans reminds me that at the same time he also worked in the Sales & Production department at LBC’s Gough Square. With a financial crisis at LBC I then emigrated to France, and for over ten years was a foreign correspondent for Independant Radio News.

    The last part of my professional life has also essentially been linked to radio communication in a wider sense: in the space sector, doing commentaries for Arianespace launches from French Guiana, and as part of the Science Communication effort of the European Space Agency. In these areas I have produced countless web articles and videos dealing with the human and technical aspects of many missions, simplified for a wider public understanding and featuring the personal characters of their enginers and scientists. [see other articles on this site].

    But turning the clock back 52 years and keeping one essential comparison : my voice in later years has been much more subdued and « classically British » than those shows on Sun Radio. Yeah, man, hit it, Groove on!

  • Challeges for the BBC

    Challeges for the BBC

    Five challenges the BBC faces as it turns 100

    BBC radio announcer Robert Dougall at the microphone

    Published on BBC website on 18/10/2022, by Amol Rajan, Media editor

    As the BBC celebrates its 100th anniversary, our media editor looks ahead at the challenges it faces, from competition from streaming services to reaching young people on TikTok.

    Great institutions, like great literature, are often born from existential angst, as urgent responses to the prevailing horrors of their era. As with TS Eliot’s The Waste Land, released in 1922, so with the BBC.

    When Lord Reith – shot in the face in World War One – became the BBC’s first General Manager, he had the national interest at heart. A Scottish engineer in post-war London, he wanted to deploy the latest technology to rebuild a country ravaged by war.

    Today few people would suggest building a public media institution. Fewer still would fund it through a licence fee, seen by some as tax on households. And yet, as the plaudits for its coverage of the death of Queen Elizabeth II demonstrate, the BBC often remains world-class.

    Queen Elizabeth pictured at her coronation in 1953
    Image caption, Millions tuned in to watch the Queen’s coronation, broadcast by the BBC in 1953

    For a century, the BBC has been there for Britons at the big moments in national and international life. Churchill’s war broadcasts; Queen Elizabeth’s coronation; the World Cup in 1966; a man on the moon; the fall of the Berlin Wall; Ed Balls doing Gangnam Style on Strictly Come Dancing.

    Most people in Britain found out about these things through the BBC. But bringing the country together is now harder than ever, partly because of how Britain has changed, but mainly because of how the media has changed.

    For 100 years, the BBC has used the latest technology to secure its emotional contract with the people. It was born in the era of radio, and gave us the first glimpse of TV. A series of technological revolutions – the internet, smartphones, social media – have irreversibly weakened the BBC’s grip on our culture.

    These revolutions connect the major challenges the BBC faces today. Here are five.

    Trust

    Trust is easily destroyed, but not easily created. Frequent scandals – Jimmy Savile; Martin Bashir’s Princess Diana interview; many others – have eroded the public’s trust in the BBC.

    And this is the age of disinformation. In a world where lies spread faster than truth, the belief that accuracy is sacred has diminished. Social media has been catastrophic for the news trade.

    This is an opportunity for some journalists, who spend time, money, and effort ascertaining the truth, something most people still believe in. But declining trust is a threat to the BBC. People won’t pay for something they don’t trust.

    Cost

    With direct competitors valued in the hundreds of billions, such as Netflix and Disney, the BBC will struggle. Its funding is capped at around £5bn. The BBC is obliged to do stuff they don’t do (news, radio, religious programming), it’s tightly regulated and comes under relentless political pressure.

    Streaming services have also driven up staff and programming costs. Ultimately, the BBC will have to do less, which means it will have to work out what it can do that others can’t.

    Reaching young people

    Mel Giedroyc and Sue Perkins
    Image caption, Mel Giedroyc and Sue Perkins, former presenters of the Great British Bake Off, who did not move with the show to Channel 4

    There is a stark generational divide in consumption of BBC content.

    Britons aged between 16 and 24 spend more time on TikTok alone than watching broadcast television. In the past decade, the amount of time they spend watching terrestrial TV has fallen by two-thirds.

    The BBC’s worst nightmare is irrelevance. Losing Test cricket to Sky is one thing, losing Bake Off to Channel 4 is another. But there are limits. At the big moments, the BBC needs to remain indispensable. For now, it is.

    But the road to irrelevance is paved with TikTok videos, Netflix dollars and Spotify playlists.

    Universal appeal

    Nadia Jae behind a mixing desk
    Image caption, Nadia Jae presents the breakfast show on 1Xtra

    A related, but separate, issue is universality.

    To retain the licence fee, the BBC must appeal to all – or at least, as close to all as possible. This is why Director-General Tim Davie has prioritised restoring the BBC’s fragile reputation for impartiality.

    In a country as digital, diverse, and divided as modern Britain, appealing to all is extremely difficult. An institution that nurtures Antiques Roadshow must also grow the audience for 1Xtra. Critics call this « imperial ambition ».

    But even as the BBC acknowledges it is going to have do less, and focus on providing what the market cannot, its current funding model depends on proving it appeals across generational, geographic and gender divides.

    Politics

    The BBC has always infuriated governments, of all hues. Today, there are two big differences.

    First, the hostility from government is much more relentless, thanks in part to social media and today’s culture wars.

    Second, the BBC’s most committed enemies can use the streaming revolution to make their case, by saying the licence fee is no longer fit for purpose. Their agenda is ideological; their argument is based on technology.

    There remains a strong objection in practice to the licence fee in practice: namely, the threat of criminal sanction.

    Today, those who take this view can add a strong objection: it is unfit for the era of YouTube and Instagram.

    Ellie Simmonds and Nikita Kuzmin on Strictly Come Dancing
    Image caption, Strictly Come Dancing is hugely popular on BBC One

    Together, these challenges present an existential threat.

    Only a brave soul would bet on the BBC’s current funding model surviving the next few decades.

    But as recent weeks have shown, it remains widely cherished and able to do some useful things exceptionally well. Its current leadership has a plan to address the challenges.

    Even as it slowly shrinks in relative terms, the BBC has to use the latest technology to secure a new contract with the people, persuade them it is worth paying for, and keep opponents at bay.

    This centenarian’s best hope is to go back to the enlightened vision of that lanky son of a preacher man who founded it. As Lord Reith knew in 1922, quality, not quantity, is the BBC’s best hope.

  • Frida Kahlo – Exhibition V&A

    Frida Kahlo – Exhibition V&A

    Unlocking the hidden life of Frida Kahlo

    A page which has remained on my desktop for years, to read and re-read regularly whilst brething in the pictures of a fascinating artist. From the BBC website published 18th June 2018 and written by Lindsay Baker.

    Frida Kahlo (Credit: Nickolas Muray / Victoria and Albert Museum)

    (Image credit: Nickolas Muray / Victoria and Albert Museum)

    An exhibition in London displays thousands of the iconic artist’s clothes and possessions alongside her paintings.

    “I paint self-portraits because I am so often alone, because I am the person I know best,” said the Mexican artist Frida Kahlo. And Kahlo’s iconic, cult status owes much to her striking self-portraits, in which she captured and interpreted her own distinctive visual identity. So much so, in fact, that a new exhibition asks: was Kahlo’s unique personal image as central to her myth and persona as her art? And what can her personal style and belongings tell us about her life and her art?

    Intriguingly, until 2004, Kahlo’s clothes and other personal items had been locked away for 50 years in the Blue House, the casa-estudio or home and studio in Coyoacán just outside Mexico City that the artist shared with her muralist husband Diego Rivera. Following Kahlo’s death, Rivera had locked the 6,000 photographs, 300 personal items and garments, plus 12,000 documents, away in the bathroom of the house. When they were finally revealed, it took four years for historians to sort and catalogue them, and for the first time, these artefacts and clothes have left the Blue House to be displayed at London’s Victoria and Albert Museum.

    Frida Kahlo’s iconic status owes much to her striking self-portraits, like this one, with an Olmec figurine, from 1939 (Credit: Nickolas Muray/Victoria and Albert Museum)

    Frida Kahlo’s iconic status owes much to her striking self-portraits, like this one, with an Olmec figurine, from 1939 (Credit: Nickolas Muray/Victoria and Albert Museum)

    In the exhibition Frida Kahlo: Making Her Self Up, the artist’s dresses and other personal effects are displayed alongside her paintings, showing the intimate connection between the two.  She is presented as a kind of performance artist, whose whole self or identity was an extension of her art. Kahlo’s flamboyant Mexican dresses and bold floral headpieces are displayed, along with the hand-painted prosthetics and corsets that helped support and mask her physical disabilities. Much more was understood after the discovery of the objects about Kahlo’s accident. Items such as her medicines and orthopaedic aids help illuminate her story, and some of her supportive bodices and spine braces, including corsets that she painted with religious and communist symbols and imagery relating to her miscarriages.

    The thousands of photos, garments and documents had been locked away for 50 years in the Blue House, just outside Mexico City (Credit: Alamy)

    The thousands of photos, garments and documents had been locked away for 50 years in the Blue House, just outside Mexico City (Credit: Alamy)

    Kahlo’s powerful style is as integral to her myth as her paintings – Circe Henestrosa

    Exhibition co-curator Circe Henestrosa tells BBC Culture that the construction of Kahlo’s identity “around her politics, ethnicity and disability” is the central thesis of the show. “The exhibition aims to provide a personal, political and cultural context for Kahlo’s story. Kahlo suffered a devastating near-fatal accident at the age of 18, which rendered her bed-bound and immobilised. Much more is understood about Kahlo’s accident after the discovery of the objects in the Blue House, and the show illuminates this story through her medicines and orthopaedic aids.”

    Many of the objects – such as her corsets and prosthetic leg – reveal more about Kahlo’s near-fatal accident at the age of 18 (Credit: Victoria and Albert Museum)

    Many of the objects – such as her corsets and prosthetic leg – reveal more about Kahlo’s near-fatal accident at the age of 18 (Credit: Victoria and Albert Museum)

    With the discovery of the artist’s personal effects, new insights are revealed about how Kahlo’s personal style was in part guided by her disabilities. “Clothes became part of her armour, to deflect, conceal and distract from her injuries,” says Henestrosa. “Kahlo endured multiple operations in both Mexico and the United States and had to wear orthopaedic corsets made of leather and plaster. Her corsets were necessary for medical reasons but she also elaborately decorated them. The traditional indigenous dress style she adopted allowed her to conceal these items under long skirts and geometric cut blouses.”

    Objects are on display alongside paintings, including Self-Portrait on the Border Between Mexico and the United States of America (Credit: Modern Art International Foundation)

    Objects are on display alongside paintings, including Self-Portrait on the Border Between Mexico and the United States of America (Credit: Modern Art International Foundation)

    “I think Kahlo’s powerful style is as integral to her myth as her paintings. It is her construction of identity through her ethnicity, her disability, her political beliefs and her art,” says Henestrosa, who also curated the first ever exhibition of the artist’s wardrobe, at the Frida Kahlo Museum in 2012. By the time Kahlo adopted the traditional Tehuana dress, she wanted to look quintessentially Mexican, explains Henestrosa, and the Tehuana dress comes from the Tehuantepec Isthmus, a matriarchal society in the southeast of Mexico.

    “Frida understood the power of dress from a very early age,” the curator explains. “As a result of her polio at the age of six, she was left with a withered and shorter right leg, something that led her to choose long skirts. She began wearing three to four socks on her thinner calf and also wore shoes with a built-up heel to mask her asymmetry. This shows how she established a relationship between her body and dress from a very early age. Through the use of her self-portraits and the use of traditional Mexican dresses to style herself, Kahlo dealt with her life, her political views, her health struggles, her accident, and her turbulent marriage.”Frida is said to have used her self-portraits and traditional Mexican dresses to help her deal with her life and struggles (Credit: Victoria and Albert Museum)

    Frida is said to have used her self-portraits and traditional Mexican dresses to help her deal with her life and struggles (Credit: Victoria and Albert Museum)

    The sense of unlocking hidden treasures is central to the exhibition, as its co-designer, Tom Scutt, tells BBC Culture: “There is such a spirit of time and place about this unique exhibition. The action of unlocking a room in the Blue House to discover all these belongings of Frida’s is echoed in the notion of arriving at an exhibition as a visitor and discovering the belongings oneself. Because of this, the exhibition holds an indisputable, magical charge.”

    ‘Duality, reflection, repetition’

    The exhibition explores Kahlo’s childhood, and includes an album of architectural church photographs by her German father Guillermo Kahlo. Also shown are early photos and paintings of Kahlo and Rivera with their circle of famous friends, including Leon Trotsky. Kahlo’s cultural pride following the Mexican Revolution (1910-20) is also further illuminated by the previously hidden items – her interest in the arts, crafts and traditions of the indigenous people of Mexico was a passion. The period of the 1920s and 30s saw what became known as a ‘Mexican Renaissance’, with the country attracting artists, writers, photographers and film-makers from all over the world. Photographs by Edward Weston and Tina Modotti taken in the 1920s are also displayed. And there is a wall of ex votos from Kahlo and Rivera’s collection. The small, tin votive paintings that were offered up to the saints, were an influence on Kahlo’s art.

    Garments displayed include the traditional huipil (embroidered tops), rebozos (shawls), long skirts and jewellery (Credit: Victoria and Albert Museum)

    Garments displayed include the traditional huipil (embroidered tops), rebozos (shawls), long skirts and jewellery (Credit: Victoria and Albert Museum)

    Garments on show include rebozos (traditional Mexican shawl),  huipiles (embroidered square-cut top), enaguas and holanes, long skirts, and jewellery including Columbian jade beans and modern silverwork. There is a resplandor, a lace headdress traditionally worn by the women of Isthmus, alongside a portrait of Kahlo wearing it. And also on show is the artist’s original Revlon red lipstick and the kohl she used to define her famous, signature monobrow.

    The aim was to create a pedestal in which the subject can speak for itself, says Scutt: “We hope we have created an experience that carries with it echoes, ghosts of ideas that are reminiscent of the influences in her life but always to have avoided pastiche. It should feel as much 2018 London as it does 1940s Mexico.

    The artist’s original Revlon red lipstick and the kohl she used to define her famous, signature monobrow are on show (Credit: Victoria and Albert Museum)

    The artist’s original Revlon red lipstick and the kohl she used to define her famous, signature monobrow are on show (Credit: Victoria and Albert Museum)

    “Frida’s life was full of duality and complex opposite ideas, the notion of looking at oneself in the mirror to paint a self-portrait therefore became central [to the exhibition],” says the designer. “It is this duality, reflection, repetition that we have tried to expand across the exhibition to give visitors a sense of the duality within her. I was also keen that we gave a sense of looking at the world from a different angle. There is a photograph that starts our exhibition of Frida reflected in the mirror that hung above her on her four-poster bed.

    During Kahlo’s lifetime she was sometimes viewed as ‘exotic’ or patronised, ‘othered’ but today – her intersectional, and complex, self-constructed identity is better understood and is inspiring – Circe Henestrosa

    “I really enjoyed the distorted world view that that image threw up and the ripples of what it means on a wider view about artistry and disability. I was very keen that the experience somehow embraced and reflected the notion of having a different perspective on the world, thus there are echoes throughout of tilting, leaning, sloping and angled surfaces that crack open and emit light from within. We took inspiration from Frida’s garden podium and I looked a lot at Mayan pyramids to examine the crossovers of this idea and pre-Columbian architecture. In this way we have attempted to fuse the very personal experience through Frida’s eyes, with a much wider sense of the world around her.”

    ‘Inherently modern’

    Matt Thornley of Gibson Thornley Architects, who co-designed the exhibition with Scutt, says that Kahlo’s “complexity” is central.

    “The outward image of Frida is so powerful,” he says. “The photographic portraits are bursting with colour and life, as are her paintings. The exhibition explores this but also her physical fragility and inner strength. It is these complexities that make her such an interesting and enduring figure.

    And like the artist herself, the design of the exhibition is “inherently modern” says Thornley. “It acts as a backdrop to the objects and paintings that describe key events in her life. The exhibition explores Frida’s roots and her position within the wider context of art, culture and politics in 1920s and 1930s Mexico. However we didn’t want to imitate the imagery associated with this time. Instead the team were interested in exploring themes directly associated with her life. Working on the exhibition has allowed us to learn so much more about her – her strength in the face of personal adversity, her bravery and also humour.”

    The exhibition explores the artist’s power, but also her physical fragility (Credit: Nickolas Muray/Victoria and Albert Museum)

    The exhibition explores the artist’s power, but also her physical fragility (Credit: Nickolas Muray/Victoria and Albert Museum)

    Kahlo’s individualism, energy and modernity have made her an undisputed icon. But will she continue to influence future generations? Co-curator Circe Henestrosa thinks so: “Definitely,” she says. “Frida Kahlo is the very model of the bohemian artist: unique, rebellious and contradictory, a cult figure that continues to be appropriated by feminists, artists, fashion designers and popular culture. As a woman, an artist, an icon, Kahlo has achieved a rare, almost universal, acclaim. In a society often obsessed with tearing down the walls of the private self, Kahlo is the very embodiment of the ethos du jour. The dress choices she made reflected an intuitive ability to use a bold visual image in a time when men dominated the art world, and it was through art and dress that she conveyed her political beliefs at the same time that she dealt with her disabilities.”

    And one thing is certain, Kahlo’s feminist and countercultural passions chime perfectly with current times. As Henestrosa puts it: “During Kahlo’s lifetime she was sometimes viewed as ‘exotic’ or patronised, ‘othered’ but today – her intersectional, and complex, self-constructed identity is better understood and is inspiring. So this is the message we want to convey in this exhibition. She was a Mexican, female artist who was disabled, looking for a place as a female artist in a highly male-dominated environment in Mexico City. Aren’t we fighting as women for the same today? How much more relevant, and refreshing for our times she can be?”

    Frida Kahlo: Making Her Self Up is at the Victoria and Albert Museum, London from 16 June 4 November 2018.