My dad spent more than 30 years, from the 1960s to the late 1990s, at NASA Langley Research Center, which turns 100 this year. During that time he worked on Apollo-adjacent technologies, atmospheric and environmental satellite based sensors, and diagnostic equipment for hypersonic jet engines.
That’s a grossly inadequate description of what he worked on. I got to know his work on coherent anti-Stokes Raman spectroscopy and its applications to high temperature sensors pretty well, because that’s what he was working on when I was in high school. And I’m old enough to remember his overnight or weekend trips to Wallops Island to fly missions to measure ocean environmental characteristics with lasers in the late 1970s, before funding for NASA environmental research was cut during the Reagan years. But he was also at the center when it was a hotspot of research for the Apollo program. I’ve driven by the huge concrete pad dwarfed by towering girders above where Neil Armstrong practiced manually steering the Apollo landing craft to a safe touchdown—skills he ended up using for Apollo XI.
Looking forward to watching this documentary about the center (narrated by none other than William Shatner) with my kids, if I can just get them to sit still long enough.
Courtesy the Internet Archive and pointed to by Doom and Gloom from the Tomb, I’m in love with this brief live show from 1997 by Yo La Tengo. Featuring “Little Honda” and Richard Thompson’s “For Shame of Doing Wrong.”
Between a week-long vacation in Asheville and a residency at Tanglewood, plus the usual work and family stuff, posting on this blog has ground to a halt. But it’s not as if I haven’t been busy.
Take the Tanglewood residency, for instance. This was my third performance of Mahler’s Second Symphony with the Boston Symphony Orchestra; my first Mahler 2 was with Seiji in 2006, my second with Christoph von Dóhnanyi in Symphony Hall. This was my first performance of the work under the baton of Andris Nelsons, and my first time through the piece with James Burton, the new conductor of the TFC.
It was a pretty magnificent experience, all told. Besides the improvements to tuning, diction, and affect that I’ve come to expect with Jamie, the chorus also found its way deeper into the work than we’ve done in the past. We talked about the difference in vocal tone required in the “Bereite dich” to ensure that we were strong and assertive but not aggressive. We were more attentive to the maestro than I remember being before.
Here’s the audio of the full performance.