Skip to main content

Watch a Young Carl Sagan Appear in His First TV Documentary, The Violent Universe (1969)

Much of the world got to know Carl Sagan through Cosmos: A Personal Voyage, the thirteen-part PBS series on the nature of the universe — and the intensity of Sagan's own passion to discover that nature. First aired in 1980, it would become the most widely watched series in the history of American public television. But it's not as if Sagan had been languishing in obscurity before: he'd been publishing popular books since the early 1970s, and 1977's The Dragons of Eden: Speculations on the Evolution of Human Intelligence won him a Pulitzer Prize. When Cosmos made its impact, some viewers may even have remembered its host from a series of similarly themed broadcasts a decade earlier, The Violent Universe.

Produced by the BBC in 1969 and broadcast just three months before the Apollo 11 moon landingThe Violent Universe (viewable above) explains in five parts a range of discoveries made during the then-recent "revolution in astronomy," including infrared galaxies, neutrinos, pulsars and quasars, red giants and white dwarfs.

In so doing it includes footage taken in observatories not just across the Earth — England, Puerto Rico, Holland, Californa — but high above it in orbit and even deep inside it, beneath the badlands of South Dakota. One installment pays a visit to K?chi, the rural Japanese prefectural capital where guitarist-astronomer Tsutomu Seki makes his home — and his small home observatory, where he had worked to co-discover Comet Ikeya–Seki just four years before.

All of this international material — or rather interstellar material — is anchored in the studio by television journalist Robert MacNeil, later of PBS' The MacNeil/Lehrer Report, and a certain professor of astronomy at Cornell University by the name of Carl Sagan. Despite exuding a more deliberate seriousness than he would in Cosmos, the young Sagan nevertheless explains the astronomical and astrophysical concepts at hand with a clarity and vigor that would have made them immediately clear to television audiences of half a century ago, and indeed still makes them clear to the Youtube audiences of today. Apart, perhaps, from its Twilight Zone-style theme music The Violent Universe has in its visual elements aged more gracefully than the 70s series that made Sagan into a science icon. And how many other other public-television documentaries about the universe include poetry recitations from Richard Burton?

via BoingBoing

Related Content:

Carl Sagan, Stephen Hawking & Arthur C. Clarke Discuss God, the Universe, and Everything Else

Carl Sagan Presents Six Lectures on Earth, Mars & Our Solar System … For Kids (1977)

Carl Sagan Explains Evolution in an Eight-Minute Animation

Carl Sagan on the Virtues of Marijuana (1969)

Carl Sagan Issues a Chilling Warning to America in His Final Interview (1996)

The Pioneering Physics TV Show, The Mechanical Universe, Is Now on YouTube: 52 Complete Episodes from Caltech

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

Watch a Young Carl Sagan Appear in His First TV Documentary, The Violent Universe (1969) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3jw4egx
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...