Against the background of the corona restrictions, however, a lot will be regulated spontaneously, said Matip.
Against the background of the corona restrictions, however, a lot will be regulated spontaneously, said Matip.
July evening the guests gathered.
«It was a happening and a shared experience – today you would call it pack watching. What I can remember exactly is an older couple,» says Kamp. «When the first pictures of the moon came, they just shook their heads, said ‘Hollywood’ and said goodbye to their room. They didn’t think it was possible.»
Kamp, who was eight at the time, had to sleep late in the afternoon, but was then allowed to stay up late into the night. Because the moon landing dragged on. The reporting on Das Erste, for which WDR was responsible, began on July 20 at 5:10 p.m. The landing of the lunar module Eagle was seen at 9:17 p.m. «The eagle has landed,» was Armstrong’s famous comment. His first steps on the moon were not seen until more than six and a half hours later.
It was an enormous challenge for the broadcasters, not only because the presenters had an XL series in front of them, but also because they couldn’t know exactly which pictures would be shown. Siefarth moderated in the WDR’s Apollo special studio in Cologne, supported by Hans Heine and Anatol Johansen, among others.
To follow the moon landing marathon on television was a mammoth task. The WDR had the cabin of the lunar module rebuilt on a 1: 1 scale with all buttons and switches, the ZDF had the command post of the Apollo capsule. In the studio, the dummies were used to demonstrate what could not be seen live.
A whole group of experts sat in the WDR studio in Cologne, which was reminiscent of the control center in Houston – a stage in front and several rows in the back with the scientists – all men – who were interviewed in between. Viewers’ questions were also answered live on the phone. «The US correspondent Werner Büdeler in Houston was also connected by phone, always with his photo and telephone receiver, as was customary at the time,» says Kamp.
The real challenge only began after landing: the transmitters were dependent on the cameras actually working on the moon. «We have to imagine: The ferry is landing. The camera that filmed the exit was built into the lunar module,» explains Kamp. «You could pull the cable off the inside of the cover before Armstrong went down the ladder. Then the camera was on a tripod.»
The fact that some had no idea how it was possible to film Armstrong as he got out played into the hands of the conspiracy theorists, who later claimed that the scenes on the moon were shot in a studio and had never been up there.
Thomas Kamp found the moment when Armstrong climbed out of the lander the most impressive: «It was really monstrous that someone was walking around on the moon and the pictures were being sent from there.» He also has the sound of the live broadcast in his ear: «I can still remember it very clearly because there was something atmospheric about these radio conversations. There was always this Roger beep: ‘Eagle calling Houston, beep.’ That really fascinated me. «
For Kamp it was «the event of the century», as he says. «There was nothing bigger for me, not even later. I think that in the year after that, many people went to the carnival as astronauts. And it was also the wish of many children to become astronauts.»
After the first attempt to launch an Indian rocket to the moon had to be canceled, the company has now succeeded. The rocket with an orbiter in its luggage is due to land early Monday afternoon.
India’s first lunar landing mission has started on the second attempt: The rocket with the orbiter Chandrayaan-2 was launched on Monday at 2:43 p.m. (local time, 11:13 a.m. CEST) from the Satish Dhawan spaceport in the southern Indian state of Andhra Pradesh, as reporters from the AFP news agency reported on site.
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A week ago, the start was canceled just under an hour before due to a technical problem.123helpme.me
Sources used: AFP news agency
Former professional soccer player Marvin Matip (35) is traveling around the world in the middle of Corona times. Together with his wife Elsie, the long-time captain of FC Ingolstadt has given notice of the apartment and left for Mexico for the first time at the end of November. The couple is currently in Acapulco. «The trip around the world was a lifelong dream of my wife,» said Matip of the German press agency. «She infected me with the idea over the years.»
Matip is Ingolstadt’s record player with 278 appearances. The former defender ended his career in the summer of 2019, and as part of his sports business management studies, he was then a trainee in marketing and sales at the FCI. Now he is fulfilling his travel dream as a backpack tourist with his wife Elsie, who has taken a sabbatical.
A year ago they agreed on a rough stage plan. Against the background of the corona restrictions, however, a lot will be regulated spontaneously, said Matip. The couple have no children yet, so they now want to take the opportunity to travel extensively. There are enough fabric and FFP2 masks in the luggage, they want to be back by June.
Volkswagen wants to build EA 211 generation car engines in Mexico. The Mexican subsidiary of the German group will invest 233.5 million US dollars (around 198 million euros) to upgrade its plant in the state of Guanajuato for this, Volkswagen Mexico announced on Thursday. This will increase the factory’s production capacity by 75 percent. The new engines would be used in vehicle manufacturing in North America from next year, it said.
At the plant in Guanajuato, around 350 kilometers northwest of Mexico City, a good 330,000 engines were manufactured last year. The other VW plant in Mexico, in the state of Puebla – around 120 kilometers southeast of the capital of the North American country – is one of the Group’s largest in the world. The company employs a total of around 13,000 people in Mexico, 1,200 of them in Guanajuato.
Berlin (dpa) – Millions of cinema viewers shudder in 1968 at a children’s song, sung metallic by an insane on-board computer with a red eye: «Little Hans / went alone / into the wide world …»
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Stanley Kubrick’s science fiction film «2001: A Space Odyssey» marks the climax of the Space Age in pop culture a few months before the moon landing on July 20, 1969.
The French director Roger Vadim even had an erotic film played in space at the end of the 1960s: Jane Fonda performed a cheeky striptease in weightlessness in the opening credits of «Barbarella». In 1970, Pierre Cardin designed astronaut-style dresses. And in Germany, from 1961, Perry Rhodan Groschenhefte delighted readers every week. A generation celebrates the spirit of space travel in literature, art, film and design.
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«If I can still see that …»
«What we now call the Space Age really begins with the first satellite orbit around the earth, with the Sputnik satellite that the Russians sent into space in 1957,» says the director of the Vitra Design Museum in Weil am Rhein, Mateo Kries.
«The media pop researcher Marshall McLuhan once said that it was also a decisive change in perspective, because you no longer looked from the earth into space, but could be in space and look at the earth,» adds Kries. «This resulted in a change of perspective.» He let people see the earth with new eyes, «with a new distance and an enthusiasm for the new».
The spirit of the Space Age is nowhere as colorful, bright and poppy as in furniture and everyday objects between 1957 and 1973. The «Eclisse» table lamp by Italian Vico Magistretti gives the impression of a solar eclipse thanks to its rotating shade. The «Ericofon» from the Swedish telephone manufacturer Ericsson resembles an angry, upright Cobra and in its organic form seems to belong more in a spaceship than in the hallway.
The fiberglass armchair «Pastille» by the Finn Eero Aarnio looks so spacy in its shiny candy shape that the hero lounges around in it in the TV space series «Buck Rogers». A seemingly flowing plastic chair developed in 1959 by the Dane Verner Panton becomes an icon that outshines everything – often in bright orange.
«Round, organic, flowing» is how Tim Bechthold, chief curator at the Munich design museum Die Neue Sammlung, sums up the «visionary design» of those years. «This canon of shapes is reflected in the mid-1960s. It should not be underestimated that the use of plastics was celebrated euphorically at this time.» Where wood and metal previously set narrow boundaries, almost everything is now possible, for example with thermally deformed Plexiglas. Hemispheres, the shape of which is reminiscent of astronaut helmets, as Bechthold explains.
Italy is considered to be the stronghold of the current that is now called the Space Age. «But that has to do with the fact that the plastics industry was and still is very strong there,» says Bechthold. «For example, some companies have made their materials available to individual designers and said: ‘Go ahead and do it.’ And then of course very weird, very experimental ideas came up. » Bright colors are often used.
In 1970, Verner Panton’s «Visiona 2» living landscape shows what new technologies now allow for furniture upholstery. A psychedelic cave in which people look like Jonah in the belly of a whale with brightly colored innards. «In it you look almost weightless, there is actually no below and no above, there is only the space through which you move,» says Kries. Pure bottomlessness as an allegory for space.
«In the spaces of the Space Age windows play no role or are often faded out in the photos. Instead, the plastic cladding extends over the walls and ceilings, giving the impression of being in a self-sufficient capsule,» says Kries. The canteen of the news magazine «Der Spiegel» demonstrated this concept in its purest form in 1969 in orange, red and purple, which can now be admired in the Hamburg Museum of Art and Industry. «Many designers also dealt with how you can pack all the functions you need for living in a minimal capsule, including an influence of space travel.»
But the party can’t last forever, neither in space nor on earth. On December 11, 1972, «Apollo 17» landed on the moon as the last manned visit from Earth to date. Almost a year later, the world’s first oil crisis breaks out. Petroleum, the most important basis for plastic, is becoming dramatically more expensive.
«You suddenly understood that technology and plastics are not the future after all,» says Kries, describing the turning point of the epoch. «From this point on, the boom in large, colorful plastic furniture suddenly stops, suddenly more wood is used, and cardboard furniture is also becoming fashionable.» At the same time, society experienced a change – the student movement and hippies were suddenly no longer niche phenomena. «They became a kind of mainstream and replaced the colorful, trendy 60s.»
The Dane Jo Hammerborg, one of the leading lamp designers of the Space Age, created one of the last of the iconic designs in 1973: the dining table lamp «Milieu» (in Danish «Environment») looks like a red-hot rocket engine from close up. The fact that Hammerborg, this great star of space design, died in a parachute jump in 1982, of all things, is not without macabre consequence.
In Iran, people take to the streets against rising gasoline prices. Rioting reported deaths – according to Amnesty International, the number is much higher than officially stated.
According to Amnesty International, at least 106 people in 21 cities were killed in the nationwide protests in Iran against higher gasoline prices. This is based on reports that have reached the organization, Amnesty tweeted on Tuesday. Verified video footage, eyewitness testimony and information from activists outside Iran revealed a horrific pattern of unlawful killings by Iranian security forces.
Amnesty’s information is in stark contrast to the figures in the state-controlled and thus almost official media in Iran. Accordingly, nine people are said to have died since Friday; four protesters, three members of the Revolutionary Guard and two police officers. Around 1,000 people were arrested.
Violence against demonstrators
Although the government spoke on Tuesday of a slight calming of the situation, the extensive blocking of the Internet for the fourth day in a row was interpreted as an indication that there could still be riots and protests.
The actions of the Iranian security forces against the protesters sparked international criticism and concern. The UN human rights office called on the government in Tehran on Tuesday to enter into a dialogue with the population. «Protests of this kind and on this scale are a sign of deep-seated and often well-founded grievances that cannot simply be brushed aside,» said UN spokesman Rupert Colville in Geneva.
UN protest against internet bans
«We are very concerned about reported violations of international norms and standards regarding the use of force, including the use of live ammunition against demonstrators,» said Colville. He also called on the government to immediately restore access to the Internet and other forms of communication./p