The formal beginnings of the modern "pro-space movement"—really an extension of the ad hoc efforts to gain and sustain public support for an aggressive spaceflight agenda earlier led by Wernher von Braun and others—might be best traced to the June 1970 formation of the Committee for the Future (CFF), a small group of space activists, dreamers, and misfits. Meeting in the home of Barbara Marx Hubbard, daughter of the toy king, and her husband, artist-philosopher Earl Hubbard, in Lakeville, Connecticut, they proposed establishing a lunar colony.

The rich collections of space artifacts at the National Air and Space Museum provide a remarkable resource for scholars who wish to understand the special place that deep space exploration has held in the imagination of not just Americans but people around the world. 

Being snowbound at home for a long weekend presented a perfect opportunity to go shopping online – for Space Shuttle artifacts!

Who has not seen the bright blue and white image of the Earth, swaddled in clouds and looking inviting, in numerous places and in various settings? Taken by the Apollo 17 astronauts on December 7, 1972, this photograph is one of the most widely distributed images in existence.

The National Air and Space Museum is holding its first ever virtual conference for educators on Tuesday, November 10 from 11 a.m. – 5 p.m. EST.   Since we’re in the middle of the 40th anniversary commemorations of the Apollo missions, we decided to focus on this important period in American history.  Staff from our Division of Space History will discuss some fascinating topics such as the real story behind President Kennedy’s famous speech challenging Congress to send Americans to the Moon;  the role of computers—a new technology in the 1960s; the myth of presidential leadership during this time period; the intersections of Ralph Abernathy, the Civil Rights Movement, and the Moon landing; the rise of six iconic Apollo images and how they have been used over time; and the denials of the Moon landings by a small segment of the population and their evolution since the 1960s. 

When the Apollo 11 spacecraft lifted off on July 16, 1969, for the Moon, it signaled a climactic instance in human history. Reaching the Moon on July 20, its Lunar Module—with astronauts Neil A. Armstrong and Buzz Aldrin aboard—landed on the lunar surface while Michael Collins orbited overhead in the Apollo 11 command module. Armstrong soon set foot on the surface, telling millions on Earth that it was “one small step for [a] man—one giant leap for mankind.” Aldrin soon followed him out and the two planted an American flag but omitted claiming the land for the U.S. as had been routinely done during European exploration of the Americas, collected soil and rock samples, and set up scientific experiments. The next day they returned to the Apollo capsule overhead and returned to Earth, splashing down in the Pacific Ocean on July 24.

Regular summer visitors to the National Air and Space Museum are familiar with the Museum’s popular event, Mars Day. This year, Mars is taking a backseat to allow us to honor the 40th Anniversary of the Apollo 11 lunar landing with Countdown to the Moon Day.  

What will the astronauts who return to the Moon with NASA’s Constellation program drive? I had a chance to find out last October as a member of NASA's Desert Research and Technology Studies (Desert RATS) during the field test of the Lunar Electric Rover (LER) at Black Point lava flow in Arizona.

 Flag Day is June 14 and it reminds me of one of the most famous "stars and stripes" in history -- the one left on the Moon by the Apollo 11 crew in 1969. I remember clearly that day when, as a teenager, I watched with my family as the flag was planted on the lunar surface. It brought chills to us all.

The original studio model of the Starship Enterprise used in the television series "Star Trek" came to the Smithsonian Institution thirty-five years ago, donated by Paramount Studios in 1974. When the television show ended in 1969, the starship had been crated and stored at the studios.  Over time, heat, cold, humidity and other elements had taken a toll on the structure, the wiring and other internal components as well as the exterior paint scheme.  Before it could be put on exhibit, extensive restoration was required.