film-makers – Page 13

‘Live from the Moon’…and then Lost on Earth: Story of Apollo broadcasts

Apollo still photos were much better than broadcast images: how come?

In theory, it can happen to anyone recording moving images on tape or digital media: absent-mindedly or carelessly re-use the recording media, and thus lose the original content. If no copy exists, such an accident means an irrevocable loss.

But if the images were the most expensively shot in the whole of human history — literally costing billions of dollars and involving the genius and labour of half a million people over several years — we would expect these to be archived and preserved with great care, right?

Well, not necessarily — if the custodian is a government agency. On eve of the 40th anniversary of the first Moon landing by Apollo 11, the US space agency NASA dropped a bombshell: it admitted that the original recordings of that historic moment were accidentally erased years later.

One British newspaper called it “the scientific equivalent of recording an old episode of EastEnders over the prized video of your daughter’s wedding day”.

Can you see the men on the Moon? Well, only just... — Can you see the Moon on the Moon? Well, only just...

The loss became public when the Sydney Morning Herald broke the story in August 2096. “A desperate search has begun amid concerns the tapes will disintegrate to dust before they can be found,” it said.

While the media rushed with oops-style headlines like ‘One giant blunder for mankind’, NASA quietly investigated what really happened. Last week, they revealed the hard truth: the tapes were part of a batch of 200,000 that were degaussed – or magnetically erased — and re-used. It was a standard money-saving measure at NASA in those pre-digital days to reuse the 14-inch tape reels after several years in storage. Agency officials fear that the original Apollo 11 tapes were buried among an estimated 350,000 that were recycled in the 1970s and 1980s and the data was lost for ever.

But the historic visuals are not entirely lost: luckily, broadcasters who used NASA’s expensively obtained footage had archived their transmissions for posterity. For many months, NASA has worked with a leading digital imaging company in Hollywood to restore good copies of the Apollo 11 broadcast found in the archives of CBS News and some recordings called kinescopes found in film vaults at Johnson Space Center.

On 16 July 2009, NASA released the first glimpses of a complete digital make-over of the original landing footage that looked decidedly sharper and clearer than the blurry and grainy images of Neil Armstrong and Buzz Aldrin walking on the Moon.

And we have to admit, the new video is definitely better than the ones we’ve seen for 40 years!

Raw Video: Restored Video of Apollo 11 Moonwalk

Another montage of digitally restored Apollo 11 mission highlights:

The full set of recordings, being cleaned up by Burbank, California-based Lowry Digital, are to be released in September 2009.

Read technical details of how Lowry Digital is restoring NASA’s original footage of the Apollo 11 mission

I had often wondered why the original images from the Moon were so grainy: it wasn’t typical even for that time. And if NASA spent between US$ 22 to 25 billion on landing men on the Moon, surely they’d have harnessed the best available technology to capture and share their moments of triumph, I assumed.

Actually, the video coverage that was broadcast around the world — to an estimated audience of 500 to 750 million people — and has since been endlessly redistributed was not quite what came from the Moon. It was a diluted version. Stanley Lebar, the NASA engineer in charge of developing the lunar camera, now calls a “bastardized” version of the actual footage.

Here is the “as-it-happened” broadcast from CBS News that day, with the legendary Walter Cronkite anchoring to the biggest TV audience the world had known. (Footnote: You’ll see the first electronic “character generators” in use.)

The story is technically complex, but here’s the essence: live images from the Moon couldn’t be fed directly to the American TV networks using the NTSC broadcast standard. Audiences worldwide would be holding their breath that a delayed broadcast, even by a few minutes, would not have been as effective as ‘live from the Moon’. Under such time pressures, no conversions could be attempted. So a regular TV camera was pointed at the huge wall monitor at mission control in Houston.

This is known as kinescope, or telerecording: a recording of a television program made by filming the picture from a video monitor. That resulted in the grayish, blotchy images that everyone saw on their home TV sets. In other words, It was a copy of a copy, with significant quality losses in that process!

And what is now lost, permanently, are the tapes containing the original Slow-Scan Television (SSTV) tapes. Digitally remastering the CBS broadcast tapes is now offering us better images than we’ve been used to for 40 years, for sure, but they stem from an already adulterated source.

Scan-converted broadcast image of Armstrong descending the lunar module ladder taken at Goldstone tracking station. This was the image the world saw of the first human on the Moon. But a Polaroid picture of the Slow-Scan television image of Armstrong coming down the ladder reveals far greater detail. Image Courtesy: John Sarkissian/CSIRO Parkes Radio Observatory

A new documentary, released in January 2009, offers new insights into one of the most challenging feats in international live broadcasting – how those images from the Moon were delivered to TV audiences around the world. Produced by Spacecraft Films and directed by Mark Gray Live from the Moon: The Story of Apollo Television

It tells how for the first time in history millions of people could share, in real time, the experience of frontier exploration.

“Placing a man on the moon and returning him safely to the Earth was hard enough in 1969,” says Gray. “‘Live From The Moon’ tells the story of how television, still a technological toddler, was developed for space flight, and examines the impact of the iconic passages that were returned.”

Here’s an excerpt from Space.com that reviewed the film:

To tell that story, Gray literally circled the Earth, shooting interviews at the deep space communication stations in California and Australia, as well as at space facilities and museums in Houston, Baltimore, Los Angeles, Princeton, Kennedy Space Center, Huntsville, Ala., Washington, DC and Weatherford, Oklahoma.

Along the way, he interviewed astronauts, flight directors, mission controllers, tracking station operators, historians and those who built the television cameras for the space program…. “Live from the Moon” is told with the insight of moonwalker Alan Bean; Apollo 10 commander Tom Stafford; flight director Chris Kraft; Neil Mason, who drove the Parkes Telescope; Westinghouse camera team leader Stan Lebar; and the voice of mission control Jack King, among others.

“Every single one of them believed that the TV was one of the most important legacies of Apollo. And many of them admitted candidly that they didn’t give the TV much thought during the actual missions,” recalled Gray.

She should have gone to the Moon…but wasn’t ‘monkey enough’?

She couldn't shatter the glass ceiling to space...

Exactly 40 years ago, on 16 July 1969, Apollo 11 blasted off carrying three American astronauts to the Moon. Four days later, history was made when Neil Armstrong and Edwin (Buzz) Aldrin, Jr., become the first human beings to set foot on another celestial body, while their colleague Michael Collins circled the Earth.

When Armstrong stepped on the Moon, he said: “That’s one small step for man, one giant leap for mankind“. Man on the Moon was very much the news highlight of 1969, and at the time, the term ‘mankind’ was understood to include women as well. The more gender-neutral term ‘humankind’ would come into popular use some years later.

Beginning with Apollo 11, the Apollo programme landed a dozen astronauts on the Moon, all of who returned safely – as did the astronauts of the disaster-stricken mission, Apollo 13. Without exception, all of them were white and male. While they were all highly qualified, disciplined and trained men who had worked long and hard to earn their places in history, they did not fully represent the diversity of their nation, let along of the planet whose emissaries they were portrayed to be.

Women, celebrated across cultures as holding half the sky, took a long time to travel beyond the sky to outer space.

Although a Russian (Valentina Tereshkova) had become the first woman in space early on in 1963, it took the Americans another 20 years to have their first woman astronaut: Sally Ride, who traveled to Earth orbit on the Space Shuttle in June 1983.

A recent British documentary reveals how America could have sent a woman to the Moon during the Apollo programme. It reveals, belatedly, one of history’s great might-have-beens.

She Should Have gone To The Moon (58 mins, 2008), written and directed by Ulrike Kubatta isn’t quite story that the American space agency NASA would like to be reminded of as it marks Apollo 11’s 40th anniversary.

Jerri Truhill, astronaut in training: Not 'monkey enough' for men who ran NASA?

The film tells the astonishing story of the pilot and pioneer, Jerri Truhill, who was trained in 1961, as part of NASA’s top secret Mercury 13 programme, to become on of the first woman astronauts. The documentary is a lyrical journey propelled by childhood aspirations, shattered dreams and a lifelong battle against female sterotypes and male prejudice.

Truhill tells how the women outperformed men in all the training tests (including water tank isolation) but how ultimately, the authorities, with the approval of President Johnson, stipulated that they would “rather send monkeys into space than a woman”.

In the film, the tough talking and sharp witted Jerri Truhill looks back at her compelling life via a phone call with the film-maker. This conversation becomes the catalyst for the director’s imagining of key events in Truhill’s potent narrative and inspires a journey to meet the heroine in Texas. Along the way the film-maker places herself in Truhill’s story, first wandering across the surreal landscape of White Sands and then suspended in zero gravity inside a water tank.

Included are staged scenes, dreamt-up moments from Truhill’s story, which evoke the popular melodrama of 1950s American cinema. These fictional moments bridge the gaps of time and distance between the filmmaker and her subject. Their stylised and dreamlike quality is counterpointed by shots from both Truhill’s and NASA’s film archive. The various strands produce the film’s heady timeline, as they circle through real and imagined spaces, past and present.

I can’t locate any part of the film that allows embedding on to WordPress blog platform. But you can watch official trailer for She should have gone to the Moon on IMDB

On LEEDVD.TV’s YouTube channel, I found this segment of another documentary named Rocket Girl, but Google does not bring up too much other info about this film.

Watch Rocket Girl, part 1

Read American National Public Radio’s coverage: Women’s Space Dreams Cut Short, Remembered

Read NASA’s own website profiles of women’s accomplishments in space

Seven of the “Mercury 13” gathered at the Kennedy Space Center in 1995. In the photo below, from left to right, are: Gene Nora Jessen, Wally Funk, Jerrie Cobb, Jerri Truhill, Sarah Rutley, Myrtle Cagle and Bernice Steadman. They came to watch Eileen Collins become the first woman to pilot a space shuttle. NASA has come a long way.

Mercury 13 women reunion in 1995 - NASA image

As I wrote in May 2009, the path-breaking TV series Star Trek, which started airing on television in the US in September 1966, was way ahead of reality. When neither the mainstream television nor the space programme reflected America’s true diversity, Star Trek created a multi-ethnic crew for the Starship Enterprise, roaming the universe in the 23rd century. It included an African-American woman, a Scotsman, a Japanese American, and a super intelligent alien, the half-Vulcan Spock.

Reality took a long time catching up. It was only in August 1983 that Guion “Guy” Bluford, Jr., became the first black American astronaut. Another nine years passed before Dr. Mae Jemison became the first African-American woman to go to space, when she joined a Space Shuttle mission in September 1992. In fact, she cited Star Trek character Uhura as an influence in her decision to pursue a career in space.

Multi-cultural crews did not become commonplace until the late 1990s, when the International Space Station became operational. Space travel has yet to reach the utopian ideals of Star Trek.

Images related to ‘She should have gone to the Moon’ courtesy Ulrike Kubatta. Other images courtesy NASA

Nollywood rising: Low cost, high volume film industry entertains Africa

Lights, camera...budget action! Image courtesy 'This Is Nollywood'

Here’s a general knowledge question: Everyone knows India’s Bollywood is the world’s largest producer of movies (by number). Which country’s movie industry comes second?

If you said Hollywood, that’s a dated answer. America’s movie industry used to be the second largest in the world — until an unlikely contender turned up from…Nigeria!

India remains the world’s leading film producer but Nigeria is closing the gap after overtaking the United States for second place, according to a global cinema survey conducted by the UNESCO Institute for Statistics (UIS).

Bollywood produced 1,091 feature-length films in 2006 compared to 872 productions (in video format) from Nigeria’s film industry, commonly referred to as Nollywood. In contrast, the United States produced 485 major films.

The three heavyweights were followed by eight countries that produced more than 100 films: Japan (417), China (330), France (203), Germany (174), Spain (150), Italy (116), South Korea (110) and the United Kingdom (104).

Nigerian filmmakers rely on video instead of film to reduce production costs. And as the survey points out, Nigeria has virtually no formal cinemas. About 99% of screenings occur in informal settings, such as “home theatre”.

The UNESCO survey reveals another key element of the Nigerian success story: multilingualism. About 56% of Nollywood films are produced in Nigeria’s local languages, namely Yoruba (31%), Hausa (24%) and Igbo (1%). English remains a prominent language, accounting for 44%, which may contribute to Nigeria’s success in exporting its films.

Nollywood’s rising has been chronicled in a 2007 documentary by Franco Sacchi and Robert Caputo. Called This is Nollywood, it tells the story of the Nigerian film industry – a revolution enabling Africans with few resources to tell African stories to African audiences. Despite all odds, Nigerian directors produce between 500 and 1,000 movies a year. The disks sell wildly all over the continent – Nollywood actors have become stars from Ghana to Zambia.

Says Zambia-born director Franco Sacchi: “When I first read about Nigerian directors producing hundreds of feature-length films with digital cameras, a week, and a few thousand dollars, I found the subject irresistible. Here was not only a rare positive story about Africa, but one that embodied the egalitarian promise of digital technology—anybody can make a movie. And Nollywood was virtually unknown.”

This is Nollywood takes us behind the sets and scenes in one Nigerian movie being made on the cheap — and fast. Acclaimed director Bond Emeruwa sets out to make a feature-length action film in just nine days. Armed only with a digital camera, two lights, and about $20,000, Bond faces challenges unimaginable in Hollywood and Bollywood.

Emeruwa says: “We are telling our own stories in our own way, our Nigerian way, African way. I cannot tell the white man’s story. I don’t know what his story is all about. He tells me his story in his movies. I want him to see my stories too.”

Watch This is Nollywood: Movie Trailer

I then came across this TED Talk by Franco Sacchi, where he takes us through Nollywood (at the time he gave his talk, the world’s third largest and now second only to Bollywood). He talks about ‘guerrilla film-making’ and brilliance under pressure from crews that can shoot a full-length feature in a week.

Welcome to Nollywood is another 2007 documentary film, directed by Jamie Meltzer, that looked at the Nigerian film industry. Its findings were similar to those of This is Nollywood. Traveling to the country’s chaotic capitol, Lagos, Meltzer spent ten weeks following three of Nigeria’s hottest directors, each different in personality and style, as they shot their films about love, betrayal, war, and the supernatural.

At around US$250 million per year (and rising), Nollywood’s capital outlay is far below that of Hollywood and Bollywood. For perspective, that’s a bit less than what it cost to make Spiderman 3 in 2007 (budget: US$ 258 million) — the second most expensive film made. See list of most expensive Hollywood films.

But what it lacks in capital, Nollywood more than makes up in numbers and mass appeal. As the Wikipedia notes, Nigerian directors adopt new technologies as soon as they become affordable. Bulky videotape cameras gave way to their digital descendents, which are now being replaced by HD cameras. Editing, music, and other post-production work is done with common computer-based systems.

As Colin Freeman wrote in the Daily Telegraph, UK: “While the likes of Serpent in Paradise and Evil Finger may not be as slick as their Hollywood counterparts, they offer one thing that the likes of George Clooney and Brad Pitt can never provide: characters and stories with which an African audience can identify.”

And according to The Economist, it all started in 1992, when Kenneth Nnebue, a Nigerian trader based in Onitsha, was trying to sell a large stock of blank videocassettes he had bought from Taiwan. He decided that they would sell better with something recorded on them, so he shot a film called “Living in Bondage” about a man who achieves power and wealth by killing his wife in a ritualistic murder, only to repent later when she haunts him. The film sold more than 750,000 copies, and prompted legions of imitators.

The rest, as they say, is now Nollywood history.

Read my August 2007 blog post: “If we don’t tell our stories, no one else will”

Michael Jackson: A tale of two moonwalks (and a ‘Thank You’ from the Ayatollahs)

While Apollo astronauts conquered the Moon, Michael Jackson took over the Earth...

What a pity that Michael Jackson missed the 40th anniversary of the first Apollo moonwalk by only a few weeks.

He was only 10 when Apollo 11’s Neil Armstrong took that historic first lunar step on July 20, 1969 and was probably among the 500 million people — the largest TV audience the world had known at that time — who watched it live. Fourteen years later, Jackson would invent his own kind of ‘moonwalk’.

First performed for his song ‘Billie Jean’ on a U.S. TV show in March 1983, Jackson’s dance technique that gives the illusion of the dancer stepping forward while actually moving backward gained worldwide popularity and became his signature move.

Like that historic ‘moonwalk’ 40 years ago, Jackson’s untimely death on June 25, 2009 created ripples that was felt worldwide. News of his sudden death crashed some news or social networking websites, and stalled others. Even the mighty Google, now the world’s largest media operation, slowed down; Google News was inaccessible for a while.

This is the opening of my latest op ed essay, inspired by the media and public reactions to Michael Jackson’s sudden death. Titled ‘King of Pop Moonwalks to Online Immortality’, it has just been published by the Asian Media Forum website.

I must admit that I’m more a fan of the original Apollo moonwalk than Michael’s version. I was three and a half years when the first Moon landing happened, which remains my earliest childhood memory that can be traced to a specific date.

Moonwalking all over the news - Cartoon © 2009 Creators Syndicate

All the same, as an observer of media and popular culture trends, I have always been interested in the Michael Jackson phenomenon. The crux of my new essay is captured in this para: “He was not the world’s first mega-star — in the zenith of their careers, the Beatles and Elvis Presley were similar globalised cultural icons. But two waves of communication technology, arriving in quick succession, propelled Jackson to unprecedented heights in popular culture: satellite television and the Internet.”

I look back at how these twin technologies transformed far-away Jackson into a local icon across Asia. I also recall a 2001 documentary named Michael Jackson Comes to Manikganj. Directed by Indian journalist Nupur Basu, it probed how far and wide satellite television was influencing and impacting culture, society and even politics of South Asia. (Full disclosure: I was interviewed on the film, along with nearly two dozen other South Asians.)

Read Nupur Basu’s own recent recollections of how she came across Michael Jackson in remote parts of South Asia, courtesy satellite TV.

The essay ends noting how Jackson could not quite ride the Internet wave the way he did the satellite TV wave. I share my thoughts on how the world’s online population — now over 1.5 billion people according to one estimate — reacted to the news that King of Pop was no more.

The news created a data tsunami of its own on the web, which incidentally – and half the world away – provided a much need respite for the Ayatollahs of Iran…Read the full essay and find out why!

Read earlier blog post: 26 June 2009: Michael Jackson (1958-2009): Mixed celebrity, entertainment and good causes

Communicating disasters on film: Experts, please don’t cross this line!

Experts should let film-makers produce professional films in simple terms that are more appropriate for public audiences, instead of trying to produce films that have little chance of being broadcast or distributed in other ways. There is a role for technical experts – but that’s not in the crafting and directing of films, but in providing the knowledge, clarifications and guidance to film-makers and journalists who are professionals in communicating complex issues to non-specialist publics.

Self-evident as it may be, these home truths are well worth reiterating every now and then — especially to experts and officials who keep forgetting them (sometimes with disastrous and expensive results!). So I was very glad to read that these points were emphatically made at a ‘film debate’ held in Geneva last week.

The occasion was a panel discussion, ambitiously titled ‘The role of film-makers in promoting climate change adaptation and disaster risk reduction stories’. It was held on 17 June 2009 as part of the Second Session of the Global Platform for Disaster Risk Reduction in Geneva.

Moderated by the well known journalist, writer and producer Edward Girardet, from Media21, Geneva, it involved five panelists drawn from media/communication sector and the disaster/humanitarian sectors. Among the panelists was my colleague Robert Lamb, director of One Planet Pictures, UK, and consultant producer with dev.tv, Switzerland.

The debate’s premise was simple: So far much of the thrust of the film industry, NGOs, UN organizations and media in portraying disasters and climate change has focused on outcome – which is more visually stimulating – rather than showcasing vital prevention and adaptation solutions. This is necessary, but not sufficient. What can be done to improve the interaction between the film/news industry and leading organizations dealing with disaster risk management and climate change adaptation on a daily basis?

Interviewing tsunami survivor in Tamil Nadu, India - image from TVEAP

This was similar to the approach we had in TVE Asia Pacific’s Communicating Disasters project in Asia (2006-2007). We too explored the common ground for these two sectors, with their distinctive needs, and asked how the two can support each other without stepping on each others’ toes.

The same discussion continued in Geneva. I’ve limited information on what actually transpired during the debate, and am hoping someone will soon write it up. For now, here’s a summary adapted from UN-ISDR daily coverage (the official language is theirs, not mine):

“More than 150 participants attended a thought-provoking film debate. The five panelists discussed how to enhance the interaction between the film/news industry and leading organizations dealing with climate change adaptation (CCA) and disaster management to increase CCA visibility which is very limited today in film productions.

“Eight short films were presented during the session, among them a short trailer of ‘An Inconvenient Truth’ and a CCA film shot in Burkina Faso produced by Christian Aid. After identifying a number of challenges due to their formats and audiences, film-makers and experts agreed it was important to work more closely to make more films on the solutions offered by CCA.

“Film-makers suggested that experts should let them produce professional films in simple terms that are more appropriate to their audiences and focus on bringing expert knowledge to enrich the content of their current productions instead of producing films that have little chance to be broadcast or distributed.”

All this reminds me of a discussion we had around an earlier blog post where I asked: Anyone can make video film, right? So why do we need professionals?

‘Stars of Science’ shine brightly in the Arab World: Reality TV with a difference!

Reality TV with a purpose: Stars of Science on Pan Arab TV network

“I believe that every TV programme has some educational value. The cathode ray tube – and now the plasma screen – is a window to the world.”

So said Sir Arthur C Clarke, inventor of the communications satellite and one of the greatest science communicators of our time. He knew what he was talking about: he was not only a prolific and well-loved science writer, but also a genial host of popular science programmes on TV that made his a household name (and face) around the world.

I have sometimes wondered if he would still have endorsed the television medium so enthusiastically if he saw some of the reality TV shows that have become a staple of ratings-craving broadcasters in recent years. This obsession with reality TV – which presents purportedly unscripted dramatic or humorous situations, documents actual events, and features ordinary people instead of professional actors – has sometimes appeared like a race to the bottom.

I’m all for trying out new formats, and been telling my friends who are factual film-makers that we can learn a thing or two from the recent successes of some reality TV shows. I’m delighted, therefore, to hear about Stars of Science, a new reality TV show being beamed across the Arab world, where brainy youngsters compete to produce the best invention.

The weekly programme, which started airing on 16 pan Arabic TV channels from end May 2009, differs from existing reality shows: it will not emphasize and showcase the best voices, appearances or dance abilities, and instead seek out the best brains and problem solving skills.

Stars of Science rising over the Arab world

Throughout the five weeks the first series will air, young participants (aged 21 to 30 years) will have the opportunity to develop their inventions from mere ideas on paper to actual products that can be mass produced and sold worldwide. Throughout this processes, cameras follow their every move, capturing their successes – as well as their failures – as they are confronted by the many challenges that come with creating new technologies.

This show has an interactive format. During the final episode, to be broadcast live from Aspire Sports Academy in Doha, Qatar, on 26 June 2009, will have the two finalists given the opportunity to launch their ‎product. Viewers will vote by SMS and telephone to decide the winner of a US$300,000 grand prize.‎

The programme attracted more than 5,600 applicants from across the Arab world, from among whom 100 were selected to vie for the 16 positions on the air.

The newly inaugurated Science and Technology Park in Doha is hosting the reality show. State of the art workshops, classrooms and lounging areas have been built specifically for the show. The innovative programme is the initiative of Qatar Foundation for Education, Sciences and Community Development, who aim to “endorse a healthy competitive spirit, encourage creativity, team-building and innovative careers amongst the youth in the Arab world.

“The show has deliberately eschewed the cruelty of booting out losing candidates: instead, they are invited to team up with successful competitors,” says British journalist Ruth Sutherland, writing in The Observer, London. “Stars of Science encapsulates the huge faith Qatar puts in research and innovation; the contrast between it and our version of reality TV also says something about the arrogance of assuming western cultural values are automatically superior…”

Added on 27 June 2009: Watch Al Jazeera International’s news story on this series:
TV contest promotes Arab entrepreneurs

Al Jazzera: Audience offer opinions at ‘Stars of Science’ contest

Tiananmen + 20: Tribute to Tank Man, or the Unknown Rebel

One man vs. the mighty Red Army - photo by Jeff Widener for Associated Press

This is of the most famous photos of modern times. The official caption, given by Associated Press, reads: “An anti-government protester stands in front of artillery tanks in Beijing’s Tiananmen Square on June 5, 1989, at the height of the pro-democracy protests.”

It’s a moment deeply etched in the consciousness of our media-saturated world. The solitary, unarmed man was standing up against not just a brute of a tank, but the might of the entire Chinese Red Army, which had just cracked down ruthlessly on pro-democracy student protests.

It was on the morning of June 5 that the Tank Man appeared from nowhere. A line of 18 tanks were pulling out of Tiananmen Square and driving east along the Avenue of Eternal Peace. The previous day, the square had been cleared of students and much blood had been spilled. The streets were now empty except for soldiers.

Suddenly a man in a white shirt and black trousers, with a shopping bag in each hand, steps out on to the road and stands waiting as the tanks approach. The lead vehicle halts, assessing its options.

It moves right to go around him. The man waves the shopping bag in his right hand then dances a few steps to the left to block the tank again. The tank swerves back left to avoid him. The man waves the bag again and stepps to the right. Then both stop. The tank even turned off its engine.

Then more things happened.
Watch a video montage of this breathtaking standoff, captured by western journalists filming from a safe distance:

Watch first few minutes of the 2006 PBS documentary on the Tank Man incident and aftermath:

Twenty years on, the identify of the Tank Man remains a mystery. There are conflicting reports on who he was, and what happened to him after that single, defining act of defiance. Practically all we know is that he wasn’t run down by the tanks, and was instead arrested a few minutes later by the Chinese authorities. Naturally, there are few official comments on the incident or the Tank Man.

But during those few minutes, when individual soldiers hesitated and refrained from running him over, the Unknown Rebel secured his worldwide fame. He probably wasn’t doing it for any notion of posterity – in all likelihood, he was horrified bystander who’d seen the carnage in the preceding days and felt, as we do from time to time, that enough was enough.

And unlike most of us, he decided to risk his life to register his protest. In April 1998, Time magazine included the “Unknown Rebel” in its feature entitled Time 100: The Most Important People of the Century.

Charlie Cole, a Newsweek photographer who captured the moment, says: “Personally I think the government most likely executed him. It would have been in the government’s interest to produce him to silence the outcry from most of the world. But, they never could. People were executed at that time for far less than what he did.”

He adds: “I think his action captured people’s hearts everywhere, and when the moment came his character defined the moment rather than the moment defining him. He made the image, I just took the picture. I felt honoured to be there.” Read the full account by Charlie Cole

Read the recollections of the four photojournalists who captured this historic moment

A ground level view of Tank Man preparing for his showdown with tanks - photo by Terril Jones In early June 2009, a fifth photographer shared his own image of the incident – disclosing photos that had never before been circulated. Associated Press reporter Terril Jones revealed a photo he took showing the Tank Man from ground level, a different angle than all of the other known photos. (Tank Man is the second from left, in the background.) Jones initially didn’t realise what he had captured until a month later when printing his photos from that momentous week.

As we celebrate the memory of the Tank Man – and his defiance of brutal, oppressive use of state power to crush dissent – we must also salute the courage and resourcefulness of photojournalists and TV reporters who risked their own lives to capture this moment for posterity. Tank Man became iconic only because his act was frozen in time by those bearing witness. All too often, states – from Burma to Zimbabwe, and others in between – ensure that there is no one to bear such witness when they unleash the full force of police, armies and weapons on their own people.

There can be no doubt that Tank Man was not the first of his kind, nor would he be the last. Other ordinary men and women have found uncommon courage to stand up against injustice and state brutality wielded in the name of national security, law and order or anti-terrorist crackdown. But in the absence of witnesses – whether professional journalists or citizen journalists – the rest of the world will never know.

From Nyota Uhura to Michelle Obama: The inspiration continues!

Actress Whoopi Goldberg was a child of 10 when the original series of Star Trek started its first broadcast on NBC in the US in September 1966. The futuristic science fiction series – about a spaceship travelling across space and time in the 23rd century in search of new civilisations – was to leave a lasting impression on many members of her generation.

In Whoopi’s case, it went beyond just general inspiration. Something in the show seemed incredible to the African-American child growing up in a land where colour and race were still divisive factors. She recalls running around the house, screaming: “Hey mom, look! There’s a negro woman on TV — and she ain’t cooking dinner!”.

‘That woman’ was the character Nyota Uhura, played by Nichelle Nichols. This anecdote is captured in the 1997 documentary Trekkies, which explored the global fandom inspired by the show, which has gone on to become a franchise covering several TV series, 11 feature films (including the latest ‘origins’ film released on 8 May 2009), an animation series, as well as numerous books, video games and computer games. As Forbes magazine once noted, the allure is comparable only to that of Star Wars.

Uhura featured as the communications officer on board the USS Enterprise in Star Trek: The Original Series, Star Trek: The Animated Series, and the first six Star Trek films. She is significant as one of the first major black characters on an American television series and for engaging in a then-taboo interracial kiss with Captain James T. Kirk (William Shatner). In the 2009 film, a younger Uhura is portrayed by actress Zoë Saldana.

The inclusion of Uhura, a black woman, in a critical technical position was certainly idealistic in the mid 1960s when the American civil rights movement was still agitating for equal rights for African Americans. She one of the first black women featured in a major television series not playing a servant; her prominent supporting role as a female black bridge officer was unprecedented.

As I’ve just noted in another blog post: “At a time when there were few non-white or foreign roles in American television dramas, Gene Roddenberry created a multi-ethnic crew for the Enterprise, including an African woman, a Scotsman, a Japanese American, and—most notably—an alien, the half-Vulcan Spock. In the second season, reflecting the contemporaneous Cold War, Roddenberry added a Russian crew member.”

But was the character, donning a sexy mini skirt uniform, somewhat tokenistic? Perhaps. But it still had considerable inspirational value – which is never to be under-estimated.

In fact, after the first season of Star Trek, Nichols had become frustrated at her relative lack of lines. At one point, she considered quitting the show, but was talked out of this decision by the civil rights leader Dr Martin Luther King, Jr.. MLK told her that a show that depicted a black woman working alongside whites in a position of importance was important for the goal of racial equality.

Another version of the story has MLK telling Nichols that he was a big fan of the series, and she “could not give up” since she was playing a vital role model for black children and young women across the country. It is also often reported that Dr. King added that “Once that door is opened by someone, no one else can close it again.”

After NBC executives cancelled Star Trek in 1969, Nichols went on to star in other roles — and also worked for NASA in a campaign to encourage African Americans to join the space service. Among those she helped recruit was Dr. Mae Jemison, the first African-American woman to fly aboard the Space Shuttle, in September 1992. Jemison has cited Star Trek as an influence in her decision to pursue a career in space.

Goldberg: From inspiration to a regular role

Meanwhile, things came full circle for actress Whoopi Goldberg, who was to get her own regular role in Star Trek: The Next Generation whose original run lasted from 1987 to 1994. In this successor series, she played the recurring El-Aurian female character Guinan.

Things have also moved on in the real world, where Barack Obama is now the President of the United States, with Michelle Obama as one of the most influential – if not powerful – women in the world. On 28 April 2009, CNN ran a story titled Why Michelle Obama inspires women around the globe. It noted: “Those who focus on Michelle Obama’s impact on America are underestimating her reach. The first lady is inspiring women of color around the globe to look at themselves, and America, in fresh ways.”

There is no linear link between Nyota Uhura and Michelle Obama, and the real world has very far to go to reach the utopian ideals of Star Trek. But the very fact that we have the Obamas where they are is an assurance that things can slowly move towards Gene Roddenberry’s grand vision.

Star Trek: Advocating a world of equality, tolerance and compassion

I’m exactly as old as Star Trek: we were both born a few months apart in 1966 (I’m older by seven months). But because we grew up on opposite sides of planet Earth in the pre-Internet era, our worlds didn’t collide until we were both well into our teens. From then on, I’ve been a Trekkie/Trekker since.

I can’t wait to see the latest (11th) Star Trek movie that opened on 8 May 2009. It’s an ‘origins’ movie – a chronicle of the early days of Captain James T. Kirk and his fellow USS Enterprise crew members. Read plot on Wikipedia.

Our world was very different when the one-time US Army pilot, screenwriter and TV producer Gene Roddenberry created Star Trek, the original series. It started airing on the US network NBC in September 1966. The Space Age was less than a decade old, and only a few men (and a couple of women) had made short trips to near Earth orbit. The great Space Race was in full swing, and NASA was spearheading the largest peace-time operation in history, aimed at landing men on the Moon and getting them safely back before the decade was out.

Star Trek, in contrast, offered ambition and hope. Every week at the appointed time, the United Star Ship Enterprise and its intrepid crew took viewers roaming around the universe. The stories appealed as much for insights into the infinite possibilities (and combinations) of life, technology, compassion and power at a cosmic scale, as for its glimpses of the near-Utopian human society in the 23rd century.

As Manohla Dargis, said this week reviewing the latest Star Trek movie (2009) in The New York Times: “Initially aired in 1966, Star Trek was a utopian fantasy of the first order, a vision of the enlightened future in which whites, blacks, Asians and one pokerfaced Vulcan are united by their exploratory mission (“to boldly go”), a prime directive (do no harm) and the occasional dust up.”

According to Dargis, the enduring appeal of Star Trek and the global cult following it inspired is “a testament to television’s power as myth-maker, as a source for some of the fundamental stories we tell about ourselves, who we are and where we came from.”

And, we might add, where we are headed. The show was unique, for its time, for its portrayal of diversity and unity among the wider cast of characters. As the Wikipedia notes: “The show was unique, for its time, for its portrayal of diversity and unity among the wider cast of characters. As the Wikipedia notes: “At a time when there were few non-white or foreign roles in American television dramas, Roddenberry created a multi-ethnic crew for the Enterprise, including an African woman, a Scotsman, a Japanese American, and—most notably—an alien, the half-Vulcan Spock. In the second season, reflecting the contemporaneous Cold War, Roddenberry added a Russian crew member. “

This utopian scenario needs to be contrasted with the prevailing reality of the American Space Programme. No American had ventured beyond near Earth orbit in 1966, and NASA was struggling to catch up with the Russians. Yet, by the time Star Trek original series finished its initial run in September 1969, Neil Armstrong and Edwin Aldrin had returned safely and triumphantly from the Moon. In the event, the Apollo programme landed a dozen astronauts on the Moon, all of who returned safely – as did the astronauts of the disaster-stricken mission, Apollo XIII. Without exception, all of them were white and male.

It took many years for reality to catch up with Star Trek‘s vision, and then, only just. Although a Russian (Valentina Tereshkova) had become the first woman in space early on in 1963, it took the Americans another 20 years to have their first woman astronaut: Sally Ride, who traveled to Earth orbit on the Space Shuttle in June 1983. A few weeks later, in August that year, Guion “Guy” Bluford, Jr., became the first black American astronaut. Multi-cultural crews did not become commonplace until the late 1990s, when the International Space Station became operational.

It wasn’t just racial equality and harmony that Star Trek advocated in its subtext. While bringing intellectually stimulating entertainment, it also celebrated values like compassion and tolerance. In the Cold War world locked into Mutual Assured Destruction (MAD), Star Trek gently reminded viewers that mutual co-existence was a viable option…if only enough effort was invested in it.

As space visionary and science fiction grandmaster Sir Arthur C Clarke noted in a 40th anniversary tribute to the series in 2007: “Appearing at such a time in human history, Star Trek popularised much more than the vision of a space-faring civilisation. In episode after episode, it promoted the then unpopular ideals of tolerance for differing cultures and respect for life in all forms – without preaching, and always with a saving sense of humour.”

He then added, in characteristic style: “Over the years, the sophistication of storylines and special effects has certainly improved, but Star Trek retains its core values – still very much needed in our sadly divided and quarreling world.”

The Enterprise will be cruising the galaxy for centuries to come...

Pete Seeger turns 90 on World Press Freedom Day: Thank you for the protest music!

Pete Seeger: Still singing protest at 90...

Today, 3 May, is once again World Press Freedom Day. It is recognised by the UN, and observed by media professionals and media activists worldwide to ‘draw attention to the role of independent news and information in society, and how it is under attack’.

By happy coincidence, today also marks the 90th birthday of Pete Seeger, American folk singer and a pioneer of protest music. Since media freedom is inseparable from the democratic rights to dissent and protest, I will devote this blog post to salute Pete and his many decades of music for worthy causes — ranging from the American civil rights movement and opposing the Vietnam war to saving the environment and nuclear disarmament.

I won’t go over the basic biographical or career information, which is easily found online. Wikipedia has a good entry, and PBS shows a career timeline which has covered some of the most momentous events of the past century. There are approximately 200 songs (music and lyrics) that Pete wrote or with which he is associated – including “Guantanamera,” “Where Have All The Flowers Gone,” “If I Had A Hammer,” “Turn Turn Turn,” “Wimoweh,” “We Shall Overcome”.

Pete is a hero for at least three generations of music lovers and freedom lovers around the world who believe in human rights, human dignity and democratic freedoms. Armed with nothing more than his banjo and melodious voice, and driven by the courage of his conviction, this small, gentle man has stood up to mighty leaders, generals and officials.

Never underestimate the power of one determined man...

Pete is celebrated as much for his artistic and cultural achievements as for standing resolutely for his political beliefs and for lending his voice and music in support of causes be believed in. In 1955, he was called before the now infamous House Un-American Activities Committee, but refused to name personal and political associations on the grounds that this would violate his First Amendment rights. He said: “”I am not going to answer any questions as to my association, my philosophical or religious beliefs or my political beliefs, or how I voted in any election, or any of these private affairs. I think these are very improper questions for any American to be asked, especially under such compulsion as this.”

This defiance resulted in sustained harassment, persecution and professional isolation. As his recent PBS biography noted, “Standing strong for deeply-held beliefs, Seeger went from the top of the pop charts to the top of the blacklist and was banned from American commercial television for more than 17 years. This determined singer/songwriter made his voice heard and encouraged the people of the world to sing out along with him.”

‘If you love your country, you’ll find ways to somehow to speak out, to do what you think is right,” Pete says in this powerful documentary looking back at over half a century of activist singing and music.

Watch opening segment of PBS AMERICAN MASTERS series: Pete Seeger: The Power of Song, directed by Jim Brown and first aired in February 2008

Watch more PBS interviews with Pete Seeger and some of his archived performances from yesteryear

Having pleaded under the First Amendment during the communist witch days of the 1950s, Pete repeatedly paid tribute to the far-sighted American pioneers who introduced the First Amendment guaranteeing the freedom of speech.

“As some judge said, if there is any fixed star in our firmament, that is the First Amendment,” he says in a talk-cum-performance at the Ford Hall Forum. In this audio-only piece, he talks the privilege of living under the First Amendment. He recalls his experience being questioned by the House Unamerican Activities Committee, encounters with censorship, and his relationship with fellow singer Woody Guthrie. It runs for nearly an hour, but is worth every second.

For someone like Pete Seeger who sang alongside Dr Martin Luther King, Jr., and other civil rights movement leaders and activists, it must have been deeply moving to be able to sing at the concert to mark President Barack Obama’s inauguration on 20 January 2009 at the Lincoln Memorial.

Watch Bruce Springsteen sing along with Pete Seeger on Woody Guthrie’s “This Land Is Your Land”. As he often does, Pete invites the euphoric audience to sing along!

One of my favourite Pete Seeger songs is “Turn! Turn! Turn! (to Everything There is a Season)”, often abbreviated to “Turn! Turn! Turn!”. It’s a song adapted entirely from the the Book of Ecclesiastes in the Bible (with the exception of the last line) and composed to music by Pete Seeger in 1959. Seeger waited until 1962 to record it,

Pete Seeger tells how he came to write “Turn Turn Turn.”

I have always believed that we have to get creative and resourceful when the basic freedoms of conscience and freedom of expression are under siege from despotic rulers and fanatical extremists. When we are not allowed to express in factual prose, we must turn to creative prose. And when prose fails, we still have verse, lyrics, satire and drama — the possibilities are only limited by our imagination. This is why I celebrate activist artistes like Pete Seeger, and invoke the memory of activist-poets like Adrian Mitchell and Ken Saro-wiwa. When the barbarians are at our gates and we feel surrounded by the unrelenting forces of hatred, intolerance and tribalism, they remind us that Another World is Possible — but we have to believe in it, stay the course and find ways to sing, dance and laugh our way out of gloom.

And here’s Pete singing another one of my personal favourites, a song that powered the civil rights movement and has since inspired and sustained struggles for social justice around the world: We Shall Overcome.

New York Times editorial appreciation on 5 May 2009: Still Singing