THE KEYS OF ENOCH ….. fabulous times before the Flood… waterways shows massive chambers, proportions of largest cathedral..enormous statues ..”prediluvian patriarchs” ..mother tongue…language of Light to tune the planet like a giant harmonic bell.

THE KEYS OF ENOCH ..... fabulous times before the Flood... waterways shows massive chambers,  proportions of largest cathedral..enormous statues ..”prediluvian patriarchs

The hangings are like a missed light on Lucifer’s forehead, it’s probably a pending question for a gargoyle game…. What is the deep understanding of the creature suspended on Freiburg Cathedral in Breisgau? Much rain fell and the question remained suspended to the scepticism of official historians? while a Green Serpent read JW Goethe and fed on the heart of this stone suspended above our consciences limited by many proud clouds. The gargoyles are used to evacuate the flow of three-dimensional logic. The layer of paint forgotten by the architects of the Spirit limited by the green moss that invades their sectarian thoughts.
Just after the Flood, at the dawn of the current cycle, an era that the Egyptians called ZEP TEPI, "The First Times", a mysterious group of "gods", appeared to introduce the survivors to the rudiments of civilization. From Thoth and Osiris in Egypt to Quetzacoatal and Viracocha in the Americas, traditions around the world are bringing the origins of contemporary civilization into this sophisticated group. The creatures hanging on the top are suffering a flood, they have been vomiting since the dawn of time, but unfortunately we have lost their flood of messages. The East has nourished this Rhine land for centuries, today we are in ethnocentric explanations…..

Despite the misleading popularity of Von Danikan journalism, evidence from around the world, indicates these people were the hi-tech survivors of the previous civilisation. Like the nuclear survival bunkers and secret research facilities of our civilisation, there were those who arose from the underground "cities of the Gods", after the dust settled. They were the "prediluvian patriarchs", like Enoch and Methuselah, the "giants and heroes of old", mentioned in Genesis.

The enigmatic gods ancient Summer, Egypt and India, all hail from the fabulous times before the Flood. Since the declassification of the new ground-penetrating radar 2 years ago, the most staggering data has emerged of complex and labyrinthine underground systems in various parts of the world. At places like Guatemala in the South Americas, tunnels have been mapped under the Mayan pyramid complex at Tikal, which extend a full 800 kilometres to the opposite side of the country. Investigators remarked, it was possible to understand how half a million Mayan Indians escaped the decimation of their culture.

In similar fashion, the SIRA radar was deployed in Egypt as early as 1978, mapping an extraordinary subterranean complex beneath the Egyptian pyramids. Arrangements made with President Sadat of Egypt, resulted in three decades of top secret excavations to penetrate the system. At a recent meeting in Australia, one of the key scientists on the Giza project, Dr. Jim Hurtak, showed film footage of work in progress called, CHAMBERS OF THE DEEP, due to be released at the end of the century. The film reveals the discovery of a vast megalithic metropolis, 15,000 years old, reaching several levels below the Giza plateau.

While the rest of the Nu-Age speculates about a hidden chamber under the left paw of the Sphinx, the legendary "City Of The Gods", lays sprawled beneath. Complete with hydraulic underground waterways, the film shows massive chambers, the proportions of our largest cathedrals, with enormous statues, the size of the Valley of the Nile, carved in-situ. Researchers, risking their lives with lights and cameras, carefully negotiated rubber dinghies across subterranean rivers and kilometer-wide lakes, to penetrate sealed chambers beyond. Already, remarkable caches of records and artifacts have been found. It is the legacy of a civilisation and a technology way beyond our own. A technology capable of creating a vast underground city, of which the sphinx and pyramids are merely the surface markers. The project scientist, Dr. Hurtak, likens it to the impact of contact with an advanced extraterrestrial culture. He described it as the discovery of the Fourth Root culture, the so-called Atlantean civilisation, destroyed by the last earth tumble. It presents unequivocal evidence that all languages, cultures and religions trace back to a single common source, which Dr. Hurtak refers to as the "Parent Civilisation".

The technology unearthed is way beyond machine technology, as we know it. As Arthur C. Clark once joked, "any technology beyond our own would seem like magic to us." According to Dr. Hurtak, this was a culture who cracked the genetic code and possessed the keys of the physical spectrum, the "Higher Light Physics" of the ancients… everything old Gilgamesh went searching for in his famous trek to the lost "City of the Gods" to search the tunnels beneath "Mt. Mashu" in the desert lands.

Hurtak refers to a "language of light" and a great priest-scientist of the previous time cycle, named ENOCH, who is associated with the building of the Great Pyramid complex. Hurtak alludes to a grand spiritual science, a science which describes a genetic stairway to the stars. The priest-scientist ENOCH, is a prediluvian patriarch, one of the most famous and seminal characters of the previous time cycle. Father of Methuselah and great grandfather of Noah, Enoch is credited in the Bible as architect of the original Zion, the legendary "City of Yahweh", as well as inventor of the alphabet and calendar. Enoch is also history’s first astronaut, who "is taken aloft by the Lord" and shown "the secrets of earth and heaven". He returns to earth with the "weights and measures" for all humankind.

Known to the Egyptians as THOTH, the "Lord of Magic and Time" and to theGreeks as HERMES, "messenger of the gods", he is even remembered in the Celtic tradition as the enigmatic wizard Merlin, who disappears up an apple tree to mythic Avalon, seeking the secret of immortality and vowing to return. As one who attained immortality, the secret of how we "might become as gods", Thoth/Enoch promises to return at the end of time "with the keys to the gates of the sacred land."

In the controversial Dead Sea Scrolls, revealing the lost Books Of Enoch removed from the Bible by early religious leaders, Enoch describes a wondrous civilisation in the past, who misused the keys of higher knowledge and were unable to save themselves from the last cataclysm. Both literally and figuratively they lost the "keys", they lost all higher knowledge.Yet, Enoch, along with many traditions, even the Mayan legend of Quetzacoatal, promises a return of this knowledge at "The end of time", the end of the present time cycle.

Biblical Revelations promise "all will be revealed" at the end of the present world. The extraordinary discoveries in Egypt and other parts of the world, describe not just an advanced technology but, evolutionary path beyond our present state. Careful scientific examination of the world’s key pyramid sites, reveal them to be sophisticated harmonic structures, not only mirroring positions of the planets and stellar systems but, designed to mimic the chakras and harmonic cavities of the human body. Even each stone within the Great Pyramid is harmonically tuned to a specific frequency or musical tone. The sarcophagus in the centre of the Great Pyramid is tuned to the frequency of the human heart beat. Astonishing experiments, conducted by Dr. Hurtak and colleagues at the Great Pyramid and other sites in the South Americas, demonstrate the pyramids to be voice-activated "geophysical computers."

Intoning specific ancient sounds, the scientific team produced visible standing waves of light, above and within the pyramids and were even able to penetrate, hitherto, inaccessible chambers. Subsequent discoveries indicate the ancient priest-scientists employed some sort of harmonic sound technology within the temple structures. The lost Enochian knowledge reveals the mother tongue as a "language of Light". Known to the ancients as HIBURU, it is the primal seed language, introduced at the beginning of this time cycle.

Modern research confirms, the most ancient form Hebrew to be a natural language, the alphabetic forms emerging from the phosphene flare patterns of the brain. The same shapes, in fact, born of a spinning vortex. It is a true language of light, coursing through our very nervous system. Encoding the natural waveform geometries of the physical world, Hiburu is a harmonic language, mimicking the waveform properties of light.

The "keys" Enoch speaks of, turn out to be sound keys, keys to be vibratory matrix of reality itself, the mythic "Power of the World". The Enochian knowledge describes sonic equations, encoded within the ancient mantras and god names, capable of directly affect the nervous system and producing profound effect of healing and higher consciousness states. As the ancient texts declare, "If you would speak with the gods you must first learn the language of the gods."

DNA, the ancient cabalistic "Tree Of Life" portrayed in the Biblical Torah, is now coming to be viewed as a live vibrating structure, rather than a fixed tape recording. Many modern scientists, regard DNA as a shimmering, waveform configuration, able to be modified by light, radiation, magnetic fields or sonic pulses. The legacy of Thoth/Enoch suggests this "language of Light", the harmonic science of the ancients, could actually affect DNA. The evidence in Egypt, indicates this was the grand 6,000 year genetic experiment attempted by the Egyptians, the quest for immortality and the stars, a quest described by the great ones of old, a quest initiated by Gilgamesh so very long ago.

The Egyptians were not fixated on the afterlife, as thought by early Christian translators but, focussed on creating a higher type of human. Along with many ancient cultures, they believed DNA came from the stars and was destined to return.The knowledge of Thoth/Enoch implies humans are meant to evolve beyond our present terrestrial form, as the Bible tells us, "we may become greater than angels".The Egyptians record stories of the "Star Walkers", occasional individuals who, like Enoch, travelled "beyond the Great Eye of Orion" and returned, to walk like gods amongst men.

Despite the bleaching of semi-divine beings from modern consciousness, could it be possible, as the ancient texts insist, we are destined to "become as gods"? are the Mayan "Lords of Light" and the Egyptian/Tibetan "Shining Ones" really a higher form of human? According to many earth legends, such beings are supposed to return regularly, at the beginning and end of each time cycle, the 13,000 year half-point of our solar system’s 26,000 year zodiacal orbit around galaxy centre. Because of conditions on our galactic orbit, these 13,000 year intervals or "worlds", seem to be separated by cataclysmic upheaval. According to the "calendar in stone" of the Great Pyramid, which describes the so-called "Phoenix Cycle" of our galactic orbit, the present time period ends (converted to our present calendar) in the year 2012 AD.

The Greek word PHOENIX, derived from the Egyptian word, PA-HANOK, actually means, "The House of Enoch". The Enochian knowledge suggests, these regular cataclysmic changes act as an evolutionary agent provocateur, to quicken the resident life forms to the next evolutionary phase, prior to exodus from the womb planet. Human evolution may proceed more rapidly than previously thought. The evidence now appearing, records civilisations before us, who mastered the physical continuum and progressed beyond this world. There were also those who failed.

We, too, have equal opportunity to make it or break it.The discoveries emerging from Egypt, describe the existence of a world wide pyramid temple system in prehistory, mounted like antennae on the key energy meridians, which were employed by ancient priest-scientists as a musical system to stabilize the tectonic plates of the planet… cataclysmic geology at it’s finest.

>From the mother tongue word JEDAIAH, meaning "the way of the Word" or "the power of the Word", the ancient JEDAI priests used the language of Light to tune the planet like a giant harmonic bell. Much is being rediscovered in the last days of this time cycle. In the words of Dr. Jay Franz, of the Omega Foundation, "even if we don’t dare to name it, there is a universal feeling of something impending on the world stage

lightparty.com/Spirituality/ThothEnoch.html

Posted by bernawy hugues kossi huo on 2019-01-20 11:06:41

Tagged: , mother tongue , stone , harmonic , evolutionary , extraordinary , Biblical Revelations , cataclysm , knowledge , higher , wondrous , controversial , Merlin , Hermes , messenger , humankind , secrets , the Lord , astronaut , alphabet , inventor , City of Yahweh , Zion , architect , Noah , characters , seminal , stars , stairway , time cycle , priest-scientist , language of light , City of the Gods , Higher Light Physics , spectrum , physical , code , genetic , magic , beyond , Parent Civilisation , common source , religions , Atlantean , culture , extraterrestrial 👽 , artifacts , waterways , hydraulic , labyrinthine , enigmatic , Flood , Methuselah , prediluvian patriarchs , previous , survival , hi-tech , group , sophisticated , mysterious , gods , The First Times , key , Deluge , ENOCH , freiburg , germany , cathedral , shadow , langage , underworld , gargoyles , gargoyle , gothic , goth

FAMOUS ASTRONAUT

FAMOUS ASTRONAUT

Photo taken by a fellow crewmember while Linden was working on a film crew as an audio engineer. This astronaut was a super nice guy.

Who is Linden Hudson?

CLASSICBANDS DOT COM said: “According to former roadie David Blayney in his book SHARP DRESSED MEN: sound engineer Linden Hudson co-wrote much of the material on the ZZ Top ELIMINATOR album.” (end quote)

(ZZ Top never opted to give Linden credit, which would have been THE decent thing to do. It would have helped Linden’s career as well. The band and management worked ruthlessly to take FULL credit for the hugely successful album which Linden had spent a good deal of time working on. Linden works daily to tell this story. Also, the band did not opt to pay Linden, they worked to keep all the money and they treated Linden like dirt. It was abuse. Linden launched a limited lawsuit, brought about using his limited resources which brought limited results and took years. No one should treat the co-writer of their most successful album like this. It’s just deeply fucked up.)
+++
Hear the original ZZ Top ELIMINATOR writing/rehearsal tapes made by Linden Hudson and Billy Gibbons at: www.flickr.com/photos/152350852@N02/35711891332/in/photol...
+++
Read Linden’s story of the making of the super-famous ZZ Top ELIMINATOR album at: www.flickr.com/people/152350852@N02/
+++
LICKLIBRARY DOT COM (2013 Billy Gibbons interview) ZZ TOP’S BILLY GIBBONS FINALLY ADMITTED: “the Eliminator sessions in 1983 were guided largely by another one of our associates, Linden Hudson, a gifted engineer, during the development of those compositions.” (end quote) (Gibbons admits this after 30 years, but offers Linden no apology or reparations for lack of credit/royalties)
+++
MUSICRADAR DOT COM (2013 interview with ZZ Top’s guitarist Billy Gibbons broke 30 years of silence about Linden Hudson introducing synthesizers into ZZ Top’s sound.) Gibbons said: “This was a really interesting turning point. We had befriended somebody who would become an influential associate, a guy named Linden Hudson. He was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing, starting in the studio and eventually to the live stage. Linden had no fear and was eager to experiment in ways that would frighten most bands. But we followed suit, and the synthesizers started to show up on record.” (once again, there was no apology from ZZ Top or Billy Gibbons after this revelation).
+++
TEXAS MONTHLY MAGAZINE (Dec 1996, By Joe Nick Patoski): "Linden Hudson floated the notion that the ideal dance music had 124 beats per minute; then he and Gibbons conceived, wrote, and recorded what amounted to a rough draft of an album before the band had set foot inside Ardent Studios."
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP (By David Blayney) : "Probably the most dramatic development in ZZ Top recording approaches came about as Eliminator was constructed. What had gone on before evolutionary; this change was revolutionary. ZZ Top got what amounted to a new bandsman (Linden) for the album, unknown to the world at large and at first even to Dusty and Frank."
+++
CNET DOT COM: (question posed to ZZ Top): Sound engineer Linden Hudson was described as a high-tech music teacher on your highly successful "Eliminator" album. How much did the band experiment with electronic instruments prior to that album?
+++
THE HOUSTON CHRONICLE, MARCH 2018: "Eliminator" had a tremendous impact on us and the people who listen to us," says ZZ Top’s bass player. Common band lore points to production engineer Linden Hudson suggesting that 120 beats per minute was the perfect rock tempo, or "the people’s tempo" as it came to be known.
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP by David Blayney: (page 227): "…the song LEGS Linden Hudson introduced the pumping synthesizer effect."
+++
(Search Linden Hudson in the various ZZ Top Wikipedia pages which are related to the ELIMINATOR album and you will find bits about Linden. Also the main ZZ Top Wikipedia page mentions Linden. He’s mentioned in at least 7 ZZ Top related Wikipedia pages.)
+++
FROM THE BOOK: SHARP DRESSED MEN – ZZ TOP By David Blayney: "Linden found himself in the position of being Billy’s (Billy Gibbons, ZZ Top guitarist) closest collaborator on Eliminator. In fact, he wound up spending more time on the album than anybody except Billy. While the two of them spent day after day in the studio, they were mostly alone with the equipment and the ideas."
+++
FROM THE BOOK: BEER DRINKERS & HELL RAISERS: A ZZ TOP GUIDE (By Neil Daniels, released 2014): "Hudson reportedly had a significant role to play during the planning stages of the release (ELIMINATOR)."
+++
FROM THE BOOK: ZZ TOP – BAD AND WORLDWIDE (ROLLING STONE PRESS, WRITTEN BY DEBORAH FROST): "Linden was always doing computer studies. It was something that fascinated him, like studio technology. He thought he might understand the components of popular songs better if he fed certain data into his computer. It might help him understand what hits (song releases) of any given period share. He first found out about speed; all the songs he studied deviated no more than one beat from 120 beats per minute. Billy immediately started to write some songs with 120 beats per minute. Linden helped out with a couple, like UNDER PRESSURE and SHARP DRESSED MAN. Someone had to help Billy out. Dusty and Frank didn’t even like to rehearse much. Their studio absence wasn’t really a problem though. The bass and drum parts were easily played with a synthesizer or Linn drum machine." (end quote)
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "After his quantitative revelations, Linden informally but instantly became ZZ Top’s rehearsal hall theoretician, producer, and engineer." (end quote)
+++
FROM THE BOOK: "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST): "With the release of their ninth album, ELIMINATOR, in 1983, these hairy, unlikely rock heroes had become a pop phenomenon. This had something to do with the discoveries of a young preproduction engineer (Linden Hudson) whose contributions, like those of many associated with the band over the years, were never acknowledged."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP (By DAVID BLAYNEY) : "The integral position Linden occupied in the process of building El​iminator was demonstrated eloquently in the case of song Under Pressure. Billy and Linden, the studio wizards, did the whole song all in one afternoon without either the bass player or drummer even knowing it had been written and recorded on a demo tape. Linden synthesized the bass and drums and helped write the lyrics; Billy did the guitars and vocals."
+++
FROM THE BOOK: "TRES HOMBRES – THE STORY OF ZZ TOP" BY DAVID SINCLAIR (Writer for the Times Of London): "Linden Hudson, the engineer/producer who lived at Beard’s house (ZZ’s drummer) had drawn their attention to the possibilities of the new recording technology and specifically to the charms of the straight drumming pattern, as used on a programmed drum machine. On ELIMINATOR ZZ Top unveiled a simple new musical combination that cracked open a vast worldwide market.
+++
FROM THE BOOK: "SHARP DRESS MEN – ZZ TOP" BY DAVID BLAYNEY: "ELIMINATOR went on to become a multi-platinum album, just as Linden had predicted when he and Billy were setting up the 124-beat tempos and arranging all the material. Rolling Stone eventually picked the album as number 39 out of the top 100 of the 80’s. Linden Hudson in a fair world shoud have had his name all over ELIMINATOR and gotten the just compensation he deserved. Instead he got ostracized."
+++
FROM THE BOOK: ​SHARP DRESSED MEN – ZZ TOP by DAVID BLAYNEY: "He (Linden) went back with the boys to 1970 when he was working as a radio disc jocky aliased Jack Smack. He was emcee for a show ZZ did around that time, and even sang an encore tune with the band, perhaps the only person ever to have that honor." (side note: this was ZZ Top’s very first show).
+++
FROM THE BOOK: "SHARP DRESSED MEN – ZZ TOP" BY DAVID BLAYNEY: "Linden remained at Frank’s (ZZ Top drummer) place as ZZ’s live-in engineer throughout the whole period of ELIMINATOR rehearsals, and was like one of the family… as he (Linden) worked at the controls day after day, watching the album (ELIMINATOR) take shape, his hopes for a big step forward in his production career undoubtably soared. ELIMINATOR marked the first time that ZZ Top was able to rehearse an entire album with the recording studio gadgetry that Billy so loved. With Linden Hudson around all the time, it also was the first time the band could write, rehearse, and record with someone who knew the men and the machines. ZZ Top was free to go musically crazy, but also musically crazy like a fox. Linden made that possible too."
+++
FROM THE BOOK "ZZ TOP – BAD AND WORLDWIDE" (ROLLING STONE PRESS, BY DEBORAH FROST, WRITER FOR ROLLING STONE MAGAZINE): "… SHARP DRESSED MAN which employed Hudson’s 120 beat-per-minute theory. The feel, the enthusiasm, the snappy beat and crisp clean sound propelled ELIMINATOR into the ears and hearts of 5 million people who previously could have cared less about the boogie band of RIO GRANDE MUD."
+++
THE GREATEST ROCK REBRAND OF ALL TIME (by Jason Miller): "Sound engineer Linden Hudson researched the tempos at which the most popular rock tracks in the charts had been recorded. His data showed that there was something very special about 120 beats to a minute. Gibbons decided to record pretty much the whole of ZZ Top’s new album at that tempo. The result? 1983’s Eliminator. It was named after Gibbons’ Ford Coupé; it had been created through a unique combination of creative collaboration and data mining. And it was about to take the world by storm."
+++
ULTIMATECLASSICROCK DOT COM: "This new melding of styles was encouraged by Hudson, who served as a kind of pre-producer for ​EL LOCO … … Hudson helped construct ZZ Top drummer Frank Beard’s home studio, and had lived with him for a time. That led to these initial sessions, and then a closer collaboration on 1983’s ​ELIMINATOR.
+++
FIREDOGLAKE DOT COM: "I like Billy Gibbons’ guitar tone quite a lot, but I lost all respect for them after reading how badly they fucked over Linden Hudson (the guy who was the brains behind their move to include synthesizers and co-wrote most of their career-defining Eliminator record)."
+++
EMAIL FROM A ZZ TOP FAN TO LINDEN (One Of Many): "I write you today about broken hearts, one is mine and one is for you. I have been a ZZ Top fan since I was 6 years old. I purchased ELIMINATOR vinyl from Caldors in Connecticut with the $20 my grandma gave me for my birthday. I will spare the #1 fan epic saga of tee shirts, harassing Noreen at the fan club via phone weekly for years, over 40 shows attended. Posters, non stop conversation about the time I have spent idolizing this band, but more Billy G, as he has seemed to break free of the Lone Wolf shackles and it became more clear this was his baby. In baseball I was Don Mattingly’s #1 fan, Hershel Walker in football, Billy Gibbons in music. What do these individuals have in common? They were role models. Not a DUI, not a spousal abuse, not a drug overdose, not a cheater. Until I read your web page. I read Blayney’s book around 1992 or so, I was in middle school and I was familiar with your name for a long time. I didn’t realize you suffered so greatly or that your involvement was so significant. It pains me to learn my idol not only cheated but did something so wrong to another being. I now know this is where tall tales and fun loving bullshit and poor morals and ethics are distinguished and where I would no longer consider myself to look up to Billy. I love to joke and I love credit but I have always prided myself on ethics and principles… I hold them dear. I wanted to say, the snippet of UNDER PRESSURE you played sounded very new wave and I may like it more than the finished product. Well that’s all. You have reached ZZ Top’s biggest fan and I can let others know. Bummer. Cheers and good luck. James."​
+++
VINYLSTYLUS DOT COM: Much of Eliminator was recorded at 124bpm, the tempo that considered perfect for dance music by the band’s associate Linden Hudson. An aspiring songwriter, former DJ and – at the time – drummer Frank Beard’s house-sitter, Hudson’s involvement in the recording of the album would come back to haunt them. Despite assisting Gibbons with the pre-production and developing of the material that would end up on both El Loco and Eliminator, his contribution wasn’t credited when either record was released.
+++
INFOMORY DOT COM: ‘Eliminator’ is a studio album of the American rock band ZZ Top. It was released on March 23, 1983 and topped the charts worldwide. Its lyrics were co-written by the band’s sound engineer Linden Hudson while the band denied it.
+++
MUSICMISCELLANEOUS DOT COM: (ELIMINATOR ALBUM):
However, despite the album credits bass-player Dusty Hill and drummer Frank Beard were replaced during the recording process by synthesizers and a drum machine programmed by engineer Linden Hudson, who allegedly co-wrote much of the music with Gibbons despite receiving no credit at the time. Gibbons would later say of Hudson that “he was a gifted songwriter and had production skills that were leading the pack at times. He brought some elements to the forefront that helped reshape what ZZ Top were doing”. Hudson did no less than show the band how to stay relevant in an age where three guys from Texas with long beards (except famously for Frank Beard) and blues licks were one of the last things the contemporary market was demanding.

Posted by lindenhud1 on 2018-09-22 18:44:42

Tagged: , famous , astronaut , shuttle , arm , shuttle arm , french , america , usa , snapshot , nasa , hubble , hubble_repair

Steven F. Udvar-Hazy Center: Space exhibit, collection of astronaut camera gear

Steven F. Udvar-Hazy Center: Space exhibit, collection of astronaut camera gear

Assorted cameras used in human spaceflight.

Some of these will be cataloged in the National Air & Space Museum’s
aerial cameras and human spaceflight collections database.

Posted by Chris Devers on 2011-05-30 22:51:14

Tagged: , Eye-Fi , Chantilly , Virginia , United States , Smithsonian , Smithsonian Institution , Air and Space Museum , National Air and Space Museum , Steven F. Udvar-Hazy , Steven F. Udvar-Hazy Center , Dulles Airport , Dulles , Fairfax , VA , Udvar-Hazy , camera , cameras , Nikon , Hasselblad , space , suit , spacesuit , astronaut , cosmonaut , NASA , Canon , camcorder , digicam , Apollo , Gemini , Mercury , Space Shuttle , exif:aperture=f/3.5 , exif:exposure=0.02 sec (1/50) , exif:exposure_bias=0 EV , exif:filename=DSC_9875.JPG , exif:flash=Off, Did not fire , exif:focal_length=18 mm , exif:iso_speed=800 , exif:lens=18-200mm f/3.5-5.6 , camera:make=NIKON CORPORATION , camera:model=NIKON D7000 , exif:orientation=Horizontal (normal) , exif:shutter_count=11382 , exif:vari_program=Auto(Flash Off) , meta:exif=1350345851

ZERO-G REVIEWS – MOVIES (MOON) “AEROSPACE”

ZERO-G REVIEWS - MOVIES (MOON)

"ONE SMALL STEP FOR SAM, ONE GIANT LEAP FOR SAMKIND"

What (you ask) has this magazine cover to do with the Science Fiction movie "Moon"?

Well, it’s one that I just happen to have in my collection, a copy of which I spotted in the film….

Here’s my review:

MOON

Feature Film
Directed by Duncan Jones
Screenplay by Duncan Jones and Nathan Parker
97 minutes
United Kingdom

Zowie! Let’s get that out of the way. Yes, Duncan Jones, co-writer and director of the British Science Fiction movie “Moon” is David Bowie’s son and if you want to think of the film’s plot as revealing the ultimate fate of Major Tom, go right ahead I won’t stop you.

Budgeted at five million dollars, “Moon” cost a lot less than a NASA lunar mission, or indeed a NASA moon shot toothbrush but, as with the slightly more pricey genre hit, “District 9”, provides an astonishingly big bang for its paltry space-credits.

Well, perhaps not so much literal pyrotechnics, as this is more cerebral Science Fiction, rather than space war, super hero slugfest or giant robot rampage. (Which is not to say that they can’t be brainbusters as well.) Rather, “Moon” is set on the title satellite within futuristic spitting distance of today. We’re mining dear old Selene naked (Down lads! Naught to do with the star of "Underworld"!) essentially raking through the moon dust for Helium 3, celebrity isotope of the century because of its potential use in nuclear fusion reactors. Here splendidly realised (in a tidy montage at least) and providing 70 percent of Earth’s energy needs. Korean based Lunar Industries Ltd. is a big mining concern that maintains a semi-automated one-man station on the moon station. Why they don’t shift over to total mechanisation given the high level of sophisticated robotics otherwise on display is one of the film’s few sticking points. Never mind, perhaps there’s a property rights derived legal necessity that requires the base have an actual human living and working on site. If so, you’d think that Occupational Health And Safety wouldn’t let them get away with a lone operator! With good reason too, as solo Astronaut Sam Bell, very near the end of a gruelling three year contractual tour of duty, is looking and acting increasingly seedy. Taking his character on what turns out to be an existential quest to find himself is actor Sam Rockwell, who’s shaping up into a rather noteworthy genre star.

Rockwell was Crewman Number Six from “Galaxy Quest”, Zaphod Beeblebrox in the “Hitch-Hiker’s Guide To The Galaxy” movie, and even played Batman in the short film “Robin’s BIg Date”. He’s also rogue industrialist Justin Hammer in “Iron Man 2”. The “Moon” role is an actor’s challenge that results in one small step for Sam, one giant leap for Samkind. Rockwell quirkily paints a ‘Dorian Gray’ portrait of an off world working stiff coming messily unglued at the space suit seams. As who wouldn’t, with nothing to do but service dust harvesters, build intricate scale model buildings and watch reruns of “Bewitched” and “The Mary Tyler Moore Show”. Even his technical reading mater is dustily dated, I spotted a copy of the old weekly aviation encyclopaedia “Take Off” on his space bunk. What sad ubergeek would still have that? It’s issue # 15 and came out in 1988. Very interesting article on carpet bombing Germany with B-17s, as well as a spiffing reference guide to business jets, including (Tee hee) the “Rockwell” Sabreliner Series. (Sometimes, I even let Arnold J. Rimmer borrow my copy.)

There aren’t many other faces to take the focus off Rockwell’s cleverly star-crossed performance, though I did notice that Matthew Berry has a minor, as opposed to a miner, role. Berry is well known to surreal genre buffs for being in “The IT Crowd”, “Garth Marenghi’s Darkplace” and “The Mighty Boosh”. Blink, and you’ll miss him here!

Poor Garth is well upstaged by the voice of Kevin Spacey, whose genre credits include: “Superman Returns”, “Seven”, “Outbreak”, “K-Pax”, “Austin Powers In Goldmember”, “Fred Claus” and the upcoming “The Men Who Stare At Goats”. It’s just as well he’s a voice actor too, (in “A Bug’s Life” at least) because he’s the calmly spoken GERTY, the base’s built-in HAL -9000 like computer/robot assistant. Actually Kubrick’s “2001” and its implacable Right Stuffy Space Rangers has a little less to do with the gritty tone of “Moon” than films like “Silent Running”, “Outland”, “Dark Star” and, at an existential stretch, “Solaris”. So, regarding rogue robots, you won’t find too many echoes of Duncan Jones’ bachelor degree in philosophy thesis: “How to Kill Your Computer Friend: An Investigation of the Mind/Body Problem and How It Relates to the Hypothetical Creation of a Thinking Machine.”

No, it’s not robot revolution that’s at the heart of Lunar Station Sarang’s (the Korean word for ‘love’) increasingly over pressurised troubles. Still, that entirely unflappable, too reasonable voice is one more reason to go over the edge and stay there. The film’s effectively evoked atmosphere is a low budget marvel and everything in the production design, from the womb like padded space suits to the cramped lunar rovers and the unyielding confines of the base itself, serve to bottle up the long suffering main character’s angst; as the human condition turns in on itself backed by a constant, air conditioned hum. (Craftsmanship like this doesn’t just happen, take a bow Production Designer Tony Noble, Costume Designer Jane Petrie and all your clever artisan Selenites!)

As an occassional propmaker myself I couldn’t help but keep an eye out for the usual recycled flotsam and jetsam being used in the sets, but for a film this low budget I was quite surprised that even I had trouble identifying the usual junk, apart from a few repainted plastic cutlery draw liners and packaging discards. I also suspect extensive reliance upon real miniatures and models tweaked with computer jiggerypokery also helped keep costs down. Oh, and Luna’s 1/6th Earth gravity is generally well depicted outside on the surface, with ‘moon hopping’ being the preferred (presumably wire rigged) mode of walking and roostertails of dust taking a long, stately time to fall. INSIDE the base, however, the filmmakers either worked around or ignored the issue. Given the questionably high level of biotechnology on display perhaps ‘The Company’ also makes artificial gravity generators?

I’m not sure if the main idea has enough juice to warrant an additional two planned sequels without serious tinkering but for the most part “Moon” is a deliberately slow paced, reflectively sturdy Science Fiction film, though veteran buffs will probably twig to what’s going on quickly enough. No real matter, the ending still feels organic to the plot, even if the ‘grand gesture’ finale doesn’t quite deliver on the measured build up. In a year that also yielded up the splendid “District 9”, “Moon” is a most impressive debut feature. You’ve really made the grade Mr Jones, protein pills all round!

Rob Jan
Zero-G

Here’s the podcast:

rrrfm.libsyn.com/index.php?post_id=536589#

Posted by zero g on 2009-10-17 07:53:15

Tagged: , ROB JAN , ZERO-G , 3RRR FM , MOVIE , FILM , CINEMA , REVIEW , CRITIC , S.F , SCIENCE FICTION , SCI-FI , ALIENS , MAGAZINE , RADIO , SPACE , E.T , Sci Fi or Die! , Starship of the Imagination , Science Fiction Unleashed , The Film & Television Cafe , MOON , LUNA , LUNAR , SELENE , DUNCAN JONES , ZOWIE BOWIE , HELIUM 3 , FUSION , KEVIN SPACEY , GERTY , MINING , SPACE MINING , TAKE OFF , AVIATION , AEROSPACE , MAJOR TOM , SPACE ODDITY , DAVID BOWIE , ASTRONAUT , Sci-Fi Catchall , IRON MAN 50TH ANNIVERSARY , IRON MAN 50TH BIRTHDAY