Sketch of Legendary Astronomy Author and Presenter Patrick Moore

Moore was for many years the face of astronomy on television in the UK, thanks to him presenting The Sky at Night from the 1950s almost to his death. He was known as much for his eccentric appearance as his subject, so there were plenty of jokes about him wearing the same rumpled suit down the decades. He was sent up on programmes from The Two Ronnies to Dead Ringers, who spoofed him as ‘Old Moore’, a fairground fortune teller. But he remained dedicated to his subject, publishing a plethora of popular books on the subject. This included a series of Sky at Night books, one of which I found in the school library when I was a lad, as well as editing the annual Yearbooks of Astronomy. He also collaborated with the amazing British space and science fiction artist David A. Hardy on books such as The Challenge of the Stars. He also wrote at least two books on Mars. I found one in the central library in Bristol in the 1980s. A decade later, during the excitement about the series of probes NASA and other countries were sending to the Red Planet, he published Patrick Moore on Mars. Its title invites all manner of jokes along the lines of ‘best place for him.’ He also wrote a series of children’s science fiction books about a boy space explorer, Scott Summers. These were hard SF based on the science of the time and what was expected to develop later. They’re now obviously very dated. In one of these, Wanderer in Space, Summers flew to intercept an antimatter asteroid that was threatening Earth aboard an ion driven rocket, clearly anticipating developments in such propulsion that haven’t materialised. Ion drives exist, but they aren’t being used for manned space missions. Another of these was about a human colony on Mars, living in a glass dome. This ends with the colonists looking forward to one day emerging and living free on its surface. This one has been superseded by Kim Stanley Robinson’s trilogy of books about the settlement and terraforming of Mars. As well as these books, he also contributed to a string of popular science and astronomy magazines like Astronomy Now, New Voyager and Focus.

I think he was one of those scientists, with Arthur C. Clarke, who worked on radar during the War but I’m not sure. He never had a formal qualification in astronomy but was always strictly amateur. He was, however, granted an amateur doctorate by one of the universities. I’m sure, however, that at the level he was active in astronomy he would have probably easily passed a university degree in the subject. His maps of the Moon were so good that they were used by NASA in selecting landing sites for the Apollo missions. He never married because his sweetheart was killed during the War in an air raid. In his personal politics he was extremely right-wing, founding the One Country party, which was later merged with another small, extreme right-wing group. I can also remember him appearing on one of the chat shows and remarking that we’d be ‘in the cart’ without Maggie Thatcher. Like many people who have genuinely been through a war, he was deeply critical of it. In one of the chapters in The New Challenge of the Stars, about a possible hostile encounter between an asteroid ark and the inhabitants of an alien planet in whose system it has appeared, Moore makes a sharp comment about man’s folly of war entering a new battleground in space. He was also a staunch opponent of fox hunting. Back in the 90s he was a guest on the comedy programme Room 101, in which guests compete to have various useless and irritating objects or people consigned to the room made famous by Orwell’s 1984. In the vast majority cases, this is just light-hearted fun. But Moore was absolutely serious about sending fox hunting there and talked about how he’d written to various authorities to get it banned. Away from astronomy he also taught himself to play the xylophone and composed numerous pieces for the instrument. One of these was published in a classical music magazine. This did not translate into a career in music, however. He got very annoyed when his planned concert at the Hippodrome was cancelled due to lack of interest.

As well as serious, professional and amateur astronomers Moore talked to during his long career, he also met and talked to various eccentrics, including UFO contactees. One of those he interviewed on the Sky at Night was a man who believed he was in contact with peaceful aliens, and could speak four of their languages, including Venusian and Plutonian. This gentleman demonstrated it by saying the greeting, ‘Hello, space brothers’, in one of them. And although Moore persistently denied it, it seems he was one of the hands behind a hoax book by ‘Cedric Allingham’ about how he encountered an alien spacecraft and its inhabitants during a walking tour of the Scottish Highlands. This was during the first wave of UFO encounters in the late 40s and 50s. When people wrote to the publisher hoping to contact Allingham, he could not be traced. One excuse was that he was off walking in Switzerland. Computer analysis of the text reveals that it was probably written by Moore and revised by someone else in order to disguise his authorship. Moore remained very willing to meet ordinary members of the public and talk to them about his subject even in his retirement. He publicly gave out the address of his home in Herstmonceux, Sussex and said if people had questions or wanted to talk to him, they could drop in, shrugging off the obvious dangers of theft, burglary and so on.

Moore belonged to an age when popular science broadcasters could be real characters, often with eccentric mannerism. There was Magnus Pike, who was famous for waving his arms around while speaking, and the bearded dynamo of Botanic Man himself, David Bellamy, sent up in impressions by Lenny Henry. Since then, popular science programmes have been presented by people who are younger and/or a bit more hip. One BBC programme on astronomy a few years ago was presented by Queen guitarist Brian May, who had studied astrophysics at university before getting caught up in his career as an awesome global rock star. May had just handed in his astrophysics thesis after decades of touring the world with Mercury, Deacon et al. His co-presenter was the comedian Dara O’Brien, who had tried to study maths at university but had dropped out because of its difficulty. The Sky at Night is now presented by about three different hosts, including Black woman Maggie Aderin-Pocock. And I think the face of astronomy and cosmology now is probably Brian Cox after all his series on the subject. But for all this, I prefer the science presenters of a previous generation with all their quirks and foibles. These people were enthusiastic about their subject and were able to communicate their enthusiasm without trying to be too slick to connect with a mass audience. And they succeeded.

The 1984 Yearbook of Astronomy and What’s New in Space, just two of the books edited and written by Moore.

Paintings of British Spaceplane MUSTARD

This is awesome. It’s another couple of piccies from the SF art page, 70sscifiart, and it’s one of the entries for the 18th June 2017. They’re illustrations from a book on space about the MUSTARD spaceplane, a reusable space vehicle designed in 1964 by the British Aerospace Corporation. The scientists and engineers, who designed it realised that it was wasteful and expensive to build rockets that would last only for a single mission, before being mostly discarded.

Their solution, MUSTARD, effectively consists of three spaceplanes linked together. There’s the main craft, which flies into space, and two supporting planes, which serve to provide fuel to the main craft, helping it reach orbital velocity. When their fuel was used up, they broke away from the main plane, and flew back to Earth.

I first came across the MUSTARD project in an issue of the space/ science fiction magazine New Voyager back in the early 80s. This described the project, and interviewed some of the scientists and engineers involved. I think the problem with it is that it was probably far too far ahead of its time. I can remember reading that they estimated that the vehicle would start breaking even after 50 journeys. Now, looking at the economics of the space shuttle, that’s probably acceptable today. The only way the Space Shuttle remained competitive compared to the other launch vehicles developed by the Russians, the Europeans, India, China and Japan is because its subsidized by the American government. If you left it to market forces, it’d be uncompetitive. It’s another example of the way market forces are absolutely wonderful, but only so long as they don’t hurt big business and the ‘national interest’.

There were also probably political reasons for its cancellation as well. Britain at the time was also developing its own space rocket, Black Arrow, which successfully launched a satellite into space in 1975, to date the only British satellite that’s been launched by a British rocket. At the time Britain was involved in a European project to build a space rocket, with various stages built by the French, British and Germans. All of the other stages were failures with the exception of the British, and the project eventually fell apart. The civil servants in charge of British space research did not feel that there was a sufficient market to support an independent British rocket launcher, and instead decided that we’d piggy-back on the Americans.

The French, on the other hand, persevered, and developed their massive successful Ariane rocket, which is actually much more economical and performs better than the US space shuttle did. Which shows how farsighted the French can be when it comes to developing new technologies. Unlike our politicos, who seem to want to get everything cheap from someone else.

Tragically, the space shuttle was beset with problems, which resulted in a series of horrific catastrophes. The best known of these is probably the Challenger disaster, which led to the programme being suspended for years while the Shuttle was being examined and redesigned. Then there was that terrible incident a few years ago where the Shuttle exploded just when it was re-entering the atmosphere, breaking up over the US. This has led to the Shuttle being cancelled, and America reliant for manned spaceflight on the Russians.

I don’t doubt that the design for MUSTARD was sound, and it would have been way ahead of the other competing spacecraft if it had been built. Unfortunately, economics, politics and the will to do it weren’t there.

Terraforming the Moon by Comet

In my last blog post, I discussed the passed in David A. Hardy’s book, Atlas of the Solar System, in which he described the possible methods which might be used in the future to transform Mercury, Venus, the Moon and Mars into worlds, where humans and other creatures could live in the open, instead of the enclosed environments they need now to protect them from the harsh conditions of space. In the case of Venus, comets would be used to increase the planet’s rotation from its current 224 Earth days to a terrestrial day, and give the planet water. Looking through YouTube, I found this video by Fraser Cain, in which he talks about using the same method to terraform the Moon, as suggested by the space scientist and SF writer, Gregory Benford. This is part of a series of videos on space and space colonisation. At the beginning of the video, he mentions a previous one about the terraforming of Venus.

The explanatory section on the YouTube page provides this transcript of his talk.

In our episode about terraforming Venus, we talked about cooling the planet with a giant sunshade, and then hand-wavingly bind up all that carbon dioxide.

We did the same with Mars, filling the atmosphere with greenhouse gasses to warm it up, and releasing the planet’s vast stores of C02 to thicken the atmosphere. Then just crash in a few comets worth of water and upgrade them to to a 3 star resort.

We’re pitching this as a new series on the Discovery Network, called “Flip My Planet – Canada”.

Now let’s turn our imagination towards another rockball that is really more of a fixer-upper: The Moon. I know, you never even thought of the Moon as a place that we could possibly terra-renovate. Go ahead and imagine with me all the possibilities of a verdant green and blue little world hanging in the night sky. Doesn’t that sound great?

So, what does it take? Do we tear it down and just use the orbital lot space? Should we raise it up and lay a new foundation? Or could we get away with a few coats of paint and adding an atrium on the backside?

Fortunately for me, scientist and sci-fi author Gregory “Planetary Makeover” Benford has already done the math.

Let’s take a look at what we’d need to get the Moon habitable. For starters, the fact that the Moon is so close to Earth is a huge advantage. This is like living on the same block as a Home Depot, and we won’t have to travel far to get supplies and equipment to and from our project.

We’re going to need an atmosphere thick enough to breathe and trap in the Sun’s heat. This takes wild comet capture and harvest, tear them apart and smash them into the Moon.

Benford notes that you probably want be careful not to let an entire comet collide with the Moon because it might spray your primary investment home with debris and do a little damage to the resale value, or potentially annoy your tenants.

This could get bad enough that we’d have to terraform Earth to get it livable again, and you’d need to bring in Mike Holmes to publicly shame us and put our primary residence back in order.

After you’d splattered a few comets on the Moon, it would have an atmosphere almost immediately. The transfer of momentum from the comet chunks would get the Moon rotating more rapidly.

If you invest a little more in your planning stage, you could get the Moon spinning once every 24 hours, and even tilt its axis to get seasons. Benford estimates that we’d need 100 Halley’s mass comets to get the job done. This might sound like a pretty tall order, but it’s tiny compared to number of comets we’d need for your Mars or Venus real estate scheme.

The maintenance and upkeep isn’t going to be without its challenges. Low gravity on the Moon means that it can’t hold onto its atmosphere for longer than a few thousand years.

Once you got the process going, you’d need to be constantly replenishing our your orbital cottage with fresh atmosphere. Fortunately, we’ve got a whole Solar System’s worth of ice to exploit.

The benefits of a terraformed summer home on the Moon are numerous. For example, if the Moon had an atmosphere as thick as the Earth’s, you could strap on a pair of wings and fly around in the 1/6th gravity.

The enormous gravity of the Earth would pull the Moon’s oceans around the planet with 20 meter tides. You could surf the tide for kilometers as it washes across the surface in a miniature version of the shallow water scene in Interstellar.

This might be the greatest sponsorship opportunity for GoPro of all time. Look out Kiteboarding, you’re about to get more extreme.

Everyone always wants to talk about terraforming Venus or Mars. Let them be, that’s too much work. The next time someone brings it up at D&D night, you can blow their minds with your well crafted argument on why we want to start with the Moon.

I can remember David A. Hardy illustrating a few articles on future human habitats on the Moon, showing people enjoying themselves flying around and swimming at just such a lunar resort. One of these was for an article in the sadly short-lived space and astronomy magazine, New Voyager. The resort was in an enclosed dome, rather than on the terraformed surface. The Scots space scientist, Duncan Lunan, in his book, Man and the Planets, also suggested that to prevent the Moon’s atmosphere from being lost to space, the whole planet should be contained with a kind of giant inflatable bubble. This is waaaay beyond modern technological capability, but not, perhaps, that of the future. So perhaps at some point in the far future, the Moon may also join Earth as a living, habitable world.

Zarjaz! Documentary about 2000 AD!

Borag Thungg, Earthlets! As the Mighty Tharg used to say. I found over at Moria, the Science Fiction Film and Television database, a review of the 2014 documentary Future Shock! The Story of 2000 AD, directed by Paul Goodwin, and made by Stanton Media/Deviant Films. The film tells the story of the Galaxy’s Greatest Comic, and the crew of recidivist cultural deviants, who responsible, amongst other offences, for bringing the world Judge Dredd, Mega-City 1’s toughest lawman. Among those speaking in the movie are the mighty comics creators Pat Mills, Kevin O’Neill, Brian Bolland, Neil Gaiman, Carlos Ezquerra, John Wagner, Dave Gibbon, Bryan Talbot, Alan Grant, Grant Morrison, Cam Kennedy and Karl Urban, who played Dredd in the movie of the same name a few years ago.

The Moria review sets the origins of the comic in the context of Britain in the late 70s and early 80s, when Margaret Thatcher was in power, unemployment was at three million and the National Front was on the march. 2000 AD appeared following the cancellation of Action, a previous comic that had been banned after parents’ concerns that it was too violent. The team assembled to produce the new comic were partly drawn from those responsible for Action, like Mills, and the new comic definitely had a subversive edge. It was partly reacting against the old Fleetway children’s comics, whose stories were very safe. It takes its title from a series of unrelated bizarre stories, ‘Tharg’s Future Shocks’. As I recall, the strip in which these stories were first announced set the tone by showing a jaded, spoiled sprog, defiantly unimpressed with the previous offerings from British comics, who is then taken by Tharg to see the terrible and dangerous visions that the Future Shock strips will introduce. This is too much for the enfant terrible, and the traumatised brat is led away to received much-needed medical care, while Tharg urges them to ‘treat him gently’. An example of the strong subversive theme running through the comic is Dredd himself. Dredd was deliberately intended to be something of an ambivalent hero, a parody of Fascistic US policing. The Moria review notes that the more extreme Dredd became, the more popular he was, to the point where Carlos Ezquerra didn’t want to continue drawing the character after producing the original design. This probably shouldn’t be too surprising, as Ezquerra had as his inspiration for Dredd’s uniform that of Franco’s Fascists with their helmets and shoulder pads, though the review doesn’t mention this. John Wagner, Dredd’s creator, was always insistent that the character should never take off his helmet and show his face, as he was the symbol of the faceless police state.

The review discusses 2000 AD’s role as the first British comic to credit the artists and writers, and how this led to a brain drain as their leading creators were then lured off by the big American comic firms like Vertigo. I don’t think 2000 AD were quite the first. I think a few years before then the war comic, Battle, had also started to credit the people creating the strips. It also covers the magazine’s drop in quality and popularity in the 1990s, and then it’s revival under Matt Smith. It notes that all of the creators interviewed saw the comic as edgy, subversive and individualistic. This is certainly born out by some of the comments made in the movie’s trailer, which is also included in the review. This features the various writers and illustrators remarking on the comic and what they intended to achieve with it. Several of them, such as one by Pat Mills, are along the lines that the comics company really didn’t know what was about to hit them.

I don’t think they did. 2000 AD was never as controversial as Action, but nevertheless there were concerns occasionally that the comic was too violent. It did, however, produce some of the greatest comic strips that are still going thirty years later, like the ABC Warriors, Slaine, Nemesis the Warlock, Strontium Dog, The Ballad of Halo Jones, and, of course, Judge Dredd. The future’s ultimate cop was hailed at the time by the space fact magazine, New Voyager, as the Dan Dare for the 1980s. High praise indeed!

The review also talks about the three films or so have that were released based on the comic. These include the two Judge Dredd films, Judge Dredd, which appeared in the 1990s with Sylvester Stallone playing Dredd; and Dredd, which came out a couple of years ago, with Karl Urban in the title role. They also include Richard Stanley’s Hardware, which was taken uncredited from Shok!, a short story told by Dredd’s mechanical friend, Walter the Wobot. 2000 AD took the film’s producers to court in plagiarism case, and won. The film’s producers were forced to credit the 2000 AD strip, though I think Stanley still maintains that he didn’t steal the idea from 2000 AD. Of the two Dredd films, the first is considered a disaster, while the second was a hit with both audiences and the strip’s creators, who praise the movie in the film. Stanley’s Hardware is also a classic of low budget SF film-making, and has rightly received wide praise. It was made in 1989, but still looks good a quarter of a century and more later, and its relatively high quality of design and production makes it appear that it had a bigger budget than it actually had. Stanley’s career as a cinema director I think ended after he was sacked from directing the 1990s remake of The Island of Dr. Moreau. This was at least partly the result of the utterly bizarre behaviour of Marlon Brando, who took the part of Moreau. There’s also a film about the making of that movie, which shows just how bonkers and extremely difficult to work with Brando was, to the point where filming at time degenerated something close to farce. it’s a pity, as Stanley was and is a talented film-maker with fresh, interesting concepts. If things were ideal, he and 2000 AD would ideally make their peace, and he should produce a film based on some of the comics’ other strips. But this ain’t an ideal world, and so that very definitely won’t happen.

I don’t know if the documentary is available on YouTube, and I don’t recall having seen it on the shelves of HMV, but it might be worth checking out your local comics shop, like Forbidden Planet.

The Moria review can be read at: http://moria.co.nz/sciencefiction/future-shock-the-story-of-2000ad-2014.htm