Dark Side of the Earth

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So a few months back, our illustrator, Jared Bartman, got a difficult prompt. We asked him to design a cute tote bag based on our incredibly morbid episode, Cheating Death, and Jared was stumped.
How do you create something plucky and cheerful and design forward about the inevitability of dying? So he brooded and he doodled and then one day it hit him. It is easily my favorite design ever.
And because it's sort of this secret code about death, it's kind of like carrying Carpe Diem around on your shoulder. And you can get that tote bag right now if you become a member of the lab.
You knew it was coming. The lab is the way we have designed to support the show.
It's super easy. Just a couple clicks.
You send a few bucks our way a month in exchange for, you know, public radio currency tote bags and other perks. Whether you support us or not, we are so grateful for you.
But if you've ever been on the fence, I would say that now is a really good time. Because not only does the tote bag have a very cool surrealist design, it also has a zipper.
So go take a peek at radiolab.org slash join. That's radiolab.org slash join.
And that's all. Thank you.
On with the show. Hey, Latif Nasser here.
So one of the things I've always loved about being at Radiolab is that we take a kind of obsessive pleasure in trying to get you closer than you've ever been

to things that are...

An asteroid.

Unimaginably big.

Put it at 120 feet across, 220 million pounds.

Oh my gosh.

Or microscopically small.

To the tiny bits of the nucleus of the atom.

Or far away.

There's a place at the edge of our solar system.

Right at the edge. The edge of the edge.
Or right there in front of us, but hidden from view. A sort of organ inside the human body that scientists had completely missed.
And we go to absurd lengths. Oh.
To make things so fantastically distant from our everyday lives feel real. Oh'm falling! We built a cloud chamber in our studio.
Made a 500-person choir sing the spectrum of color of mantis shrimp seas. One of the very first radio labs I ever heard made me actually feel like I touched a star.
Oh my God, they're so bright. That's really cool.
Sometimes getting close is about getting... In the mind of the beginner, there are many possibilities.
In the mind of the expert, there are few. Emotionally close.
I get choked up. Why does that choke you up? Because it's so profound.
We always try to get the person at the heart of the story to be the one to tell it. And like, what if she died? Like, what would happen? Like, would we have a funeral? In their own voice.
Did she know I was there? And if she didn't know I was there, did she wonder where I had gone? And did she feel alone? And is she scared? We hope those efforts have given you something. A laugh on a hard day, a factoid to drop at a party, a moment that made you feel less alone, even just something to wonder about when you're lying in bed in the middle of the night.
And now here's where I ask you, any of you who are willing and able to give us something back. We need your support to keep building cloud chambers and visiting quasimoons and creating elaborate soundscapes so we can feel and see and taste and touch the abstract.
The best way to do that is to join the lab, Radiolab's membership program. Listener support is a crucial part of how we get to make the show.
And when you join in, it also gets you fun stuff, exclusive merch, bonus content, ad-free listening, and right now, a beautiful Radiolab poster. Go to radiolab.org slash join to become a member or check out the poster.
Also, even if you don't give, next week in this feed will be a short little holiday gift for you where, I mean, I can't even believe I got to do this interview. We will hear from a person in charge of a space mission that if you asked me last week, I would have said was impossible.
Like you couldn't even write this into a movie. No one would believe you, but it actually is happening.
And you're going to hear about it here next week. As for right now, while we're making that little extra bit of radio for you, I want to offer you this story we did back in 2012, which takes you to a place that fewer than 300 people have ever been with a view of the universe that is, to say the least, striking.
Here is Dark Side of the Earth. Wait, you're listening.
Okay. All right.
Okay. All right.
You're listening to Radiolab. Radiolab.
From WNYC. Rewind.
Hey, I'm Jed Abumran. I'm Robert Quilwich.
This is Radiolab. The podcast.
And we've just finished our In the Dark tour, which is the thing we've been yammering on about for the last year. And we wanted to play for you in this podcast one of our favorite stories from that show.
Now, this was designed for the eye as well as the ear, this particular performance. So you will not see the Palabalos Dance Theater, which means you will not see, oh my.
Pretty amazing stuff happening on that stage. Yeah.
Strangely beautiful shadow plays on a huge white canvas on a gigantic stage. You could go to the website and you can see pictures at radiolab.org.
Yeah, these guys are really good at what they do.

They really are.

We should also note

that this story was scored live

by the amazing Tao Nguyen

with Jason Slota on the drums,

Jamie Ryota on the bass,

and it was recorded masterfully

at UCLA's Royce Hall

by Reverend John DeLore.

So here it is.

So for our final segment,

we were thinking through this show. We thought, you you know who would have a really interesting perspective on darkness? Maybe somebody who works in a rich dark environment astronauts for example.
Yeah so we called up NASA we talked to an astronaut we connected our little studio in New York to their studio in DC to talk to an astronaut but but he was a little late. And here's the funny thing.
When you are on hold with NASA, this is literally what you hear. This has a blast-off feel to it.
Yeah, it does. This is amazing.
This, This, by the way, is literally the case. You dial 1-800-NASA or whatever, and this is like go-to-the-moon music.
Uh-oh. Hello? I hear someone breathing.
Can you hear me? It's probably, I'm breathing. That's an interesting way to meet.
So this is our guy. Dave Wolf is his name.
He's a NASA astronaut. I have been since 1990, over 20 years.
He wasn't really sure why we had called him. What's our topic here? So we explained to him that, you know, we're doing this show called In the Dark.
We're going to do it on stage in front of some very nice folks. Do you have any stories that relate? And right off the bat he says...
You've triggered an interesting darkness story I have. Well that's why we're calling you up.
Yeah. Okay, you're taping and you're ready.
Yep, darkness is an interesting theme in space because there's nowhere where the contrast between light and dark is any more extreme. Dave has done dozens of spacewalks, and he says there have been times when he's just sort of out there floating in space next to the craft, and maybe the ship tilts a little bit, and the wing blocks light that's coming from the sun or the moon, and it creates a shadow.
And he says the darkness of that shadow... ...is blacker than any black you thought it could be out there in space.

The shadow has no light in it.

There's not reflected light from dust in the air,

the earth around you, or clouds.

It's just pure, absolute dark.

And you can reach into a shadow so deep,

so black, that your arm can appear to disappear.

Wow. Right in front of your face.
Your head is in the bright light, and your arm is in this depth of darkness. And it's just gone? Like it's been cut off? Yeah.
Wow. But I do want to tell you an experience I had in my first space walk.
Late 97 I had this experience. Okay.
It was from a Russian spacecraft. You might remember the Mir spacecraft.
Yeah, sure. So Dave was up there.
He was with two Russian cosmonauts. And he and Anatoly Solovev, they were suited up and getting ready to make their first walk into space, or his first walk.
And we did all the preparations to get the suits ready, and we're in the airlock, and... The door opened, and they floated out.
We clipped our tethers on outside. And he and Anatoly gently float to the work site.
And it was dark out. And dark up in space means you're on the night side of the Earth, in the shadow of the Earth.
And there were no external lights on this spacecraft. This was really, really dark.

And we were over the ocean.

And at night, that basically means you don't see the Earth.

You don't see it at all?

Not at all. When it's a moonless night, you don't see the Earth.

In fact, all it might look like to you is the absence of stars. I want you to imagine this with me.
He's up there in this darkness, and the Earth, with all of us on it, is somewhere far, far below him, but he can't see it. And all the while, and this is really important for what happens next, he is shooting through space.
He's rocketing across the dark shadow of the Earth at five miles a second. That is 16 times the speed that we're all moving right now because we are on the Earth.
But he says at that moment he didn't feel any of that. It just felt like he was suspended in this cocoon of black.
Floating gently. And he thought, all right.
No problem. This is kind of peaceful.
Because it was just me in the spacecraft and blackness. And suddenly...
This blazing light... Blasts him from below.
What was it? It was the sunrise. You know, because he and the ship were moving so quickly that the sunrise, which normally happens here on Earth very, very slowly, calmly, at that speed up there, the sun comes screaming from the eastern edge of the Earth straight across the Earth, lights up everything in seconds.
And the Earth lights up below me. Suddenly I can look down 200 miles and see that we're moving at 5 miles per second.
Oceans, whoosh. Clouds, whoosh.
Deserts, whoosh. And he's like, ah! And I clutched onto these handrails like there's no tomorrow, white-knuckled in my spacesuit gloves, because I suddenly had this enormous sense of height and speed.
He says it was sort of like if you're just standing comfortably on the ground and then someone just flips on the lights suddenly and you realize, actually, I'm not on the ground. I am on a 400,000 foot ladder.
Crazier still, in that sunrise moment. The temperature also increases by upwards of 400 degrees in in the moment in the moment really this is the most extreme thing i've ever heard are you air conditioned or whatever are you you are we are totally dependent on that space suit but the colors what you're seeing on that earth is so spectacular.
The greens and blues and the delicate pastel-like colors and the contrast and the brights are just, aren't present in anything I've ever seen other than up in space. Dave and his Russian buddy, Anatoly, they're out there for hours doing repairs on the ship ship so they are, because of their speed, they're going in and out and in and out of these days and nights.
So it's 90 minutes of a light-dark cycle. So you have 16 nights and 16 days for every Earth day.
Which means, as they're working, this change is happening over and over and over. Every 45 minutes, they go from blazing light to quiet dark.
Blazing light to darkness. You can get lost.
You get stories of people doing spacewalks that lose their orientation or feel like they're falling.

So he says the only thing to do in that circumstance is just to focus on your job. Look straight ahead.
Only at the screw. Only at the screw.
Don't look down. It's real in this business.
So, we would have been perfectly happy to end the story right here, because Dave and Anatoly finish their repairs, job well done, they get ready to come back into the spacecraft. But we cannot not tell you what happens next.
Yeah, because this flirts with a very different kind of darkness. Yeah.
And that darkness, we will get to right after this break. Radiolab is supported by Capital One.
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Hey, Latif Radiolab picking back up with our story of astronauts Dave Wolf and Anatoly Solovyev. So the two of them pull themselves by their tethers to come back into the airlock to go back in.
But when it was time to come back in, they couldn't get back in. You were locked out of your spaceship? You could call it locked out.
We were trapped outside, yes. Essentially, their airlock was busted.
They couldn't repressurize it. And if you can't get it at the right pressure, you can't re-enter.
No. And we worked on it for four or five hours and ran out our resources.
Wait a second. Ran out of oxygen or what? We have plenty of oxygen, it turns out.
What you run out of first is your carbon dioxide scrubbing unit that takes the CO2 out of your suit. And now the problem with this one is usually in a space accident, you figure it'll only hurt for a moment.
But when you die of CO2 intoxication, that drags out.

That's a miserable way to go.

What does he mean? Did you ever point out? I picked it up.

What happens is first you get a headache, and then your muscles start to twitch.

Eventually your heartbeat starts to accelerate faster, faster, faster.

You go into convulsions and then you die. Luckily, the life support system has an extra cartridge.
That gave us an extra six or so hours. We used all that and trying to fix the hatch and we couldn't get it to hold air.
And we were done. Did you know you were done? I mean, were you...
Yeah, yeah, pretty much. And...
You mean done like in over? Yeah, yeah, no more ideas. Done like in dead.
So they decide okay we got to do something last-ditch maneuver if we can't get our usual airlock to work maybe we can make a new one because see on the mere space station it's this big cylinder with these rectangular modules that jump out and one of those modules is the airlock but there are these adjacent ones which are normally just living quarters. They thought, well, if we can't get our usual airlock to pressurize at the right pressure, maybe we can go to the next one over and try and pressurize it.
Essentially treating that next module in as an airlock, and we opened the hatch into that next modules and in, to go into it, we had to disconnect our umbilicals.

Because you can't close the hatch over your umbilical, right?

And the umbilical was providing our cooling to our suits.

So as soon as we disconnected, well, that gives you maybe five, eight minutes at max.

Before you what? I don't even want to talk about it. It's so bad.
Did you look that up? Yeah, I looked this one up too. Essentially what happens is you boil inside your spacesuit.
In a very ugly way. So, Dave and Ed totally think, okay, we've got to get through this tiny hatch into this room, and they've got to do it fast.
But they also know... If you struggle hard and go too fast, you won't get much time at all in that suit before that heat builds up on you.
So he thinks, okay, hurry, hurry, but slowly, slowly. What I did not anticipate was as soon as we disconnected our umbilicals that the visor would fog up.
And you'd now be having to feel your way through. So you're blind? Yeah.
You could spit and kind of get a little area through the fog. So I'm in the airlock trying to make my way into the next section.
And I was crawling along the wall, moving into the next section, and I spit on my visor, you know, to make a little hole to look through and get a hint, and it was an area I had been sleeping in some weeks before, and I had left a picture of my family taped with scotch tape on the wall,

and I spit on the visor, and my helmet light went there, and there was this picture of my family right here in this moment as I was scooting across the wall in what was likely my last minute. So this is how it's going to end.
So this is it. And look, it's so strange.
There they are. And I look back at that, and I shudder.
Now, of course, Dave and his partner made it back into the space station, barely. But it didn't strike me, really, until months later on Earth, how close that had been, and what a strange situation.
This Russian guy must be your best friend. You have to probably call each other and say, 20 years later, you go, Well, not many people have been through anything like that together and are there to talk about it.
And you just reminded me of something. So we're going to leave you with one last story from Dave.
He was kind of a story machine. This is from that same stay in space, involves the same friend, Anatoly.
They were out there doing some work on the ship, floating in space again. And then Mission Control radios and tells them to pause for a while.
We had a period where we had to wait through the night to go on with our work. So he says, look David, it was all in Russian of course, I wanted to show you something.
And we hooked our tethers on, pushed ourselves about six feet away, we had about six feet of tether, so that our eyes couldn't see anything but out in space. And I turned my air conditioner down a little, you know, so it was kind of warm.
And I was floating in this space suit, just looking out into the blackness of space. And I felt like I didn't have a space suit on.
It was so comfortable. The air temperature was just right.
I felt like I didn't have a spacesuit on. It was so comfortable.

The air temperature was just right.

I felt like I was just out in the universe, in the stars. I couldn't see anything but stars all around me.

I couldn't feel anything.

Outside a spacecraft going five miles per second out in the universe. Was that what he wanted to show you? Yeah, I think so.
This is his rocking chair on the front porch thing. Or a hammock, almost.
He didn't want to talk. He said, let's just be quiet.
Turn your helmet light off so you don't get any reflected light. Just relax.

relax relax

relax

relax Relax. Relax.
Now, had you been there in the theater, this is the moment where we gave everybody a little pinpoint of light, a little hand-carried star that they could put over their heads and wave together. Like 2,000 tiny little lights from the seats.
It's like a canopy of stars. We saw this happen again

and again, like 18 times I think we performed this, and every time it was just like, breathtaking.

Yeah. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, This whole show came together thanks to so many people on stage and off,

and we want to make a couple of thank yous before we go.

Very, very special thanks to Meg Bowles, who found our astronaut.

She found Dave Wolf.

Yes.

Also to Palobolis, the dance company, and to the Palobolot.

Yes.

Starting with Itamar Kubovi.

Lily Binns. Matt Kent.
Renee Jaworski. Greg Laffey, and the dancers, Chris Whitney, Heather Favretto, Anthony Oliva, Christina Conjure, Evan Adler, Anika Schieff, and the Olvera twins, Edwin and Roberto.
We love you guys. Dimitri Martin, thank you so much for coming and creating this show with us.
Tao Nguyen and Jason Slota, thank you so much to them. And Mike Faba.
Jake Fine. Serena Wong.
John Delore. Melissa Lacasse.
Dave Foley. Nick Nusiforo.
Caitlin Fitzwater. Rebecca Lair.
And Roslyn Lutin. Lutz.
Lutz. Most of all, most, most, most of all, to Alan Horn, who loved doing this and made it so fun to do.
Our staff includes Simon Adler, Jeremy Bloom, Becca Bressler, W. Harry Fortuna, David Gable, Maria Paz Gutierrez, Cindy Nyanan Zambandan, Matt Kielty, Rebecca Lacks, Annie McEwen, Alex Neeson, Sara Kari, Sarah Sandback, Anissa Vitsa, Ariane Wack, Pat Walters, and Molly Webster.
Our fact checkers are Diane Kelly, Emily Krieger, and Natalie Middleton.

Hi, my name is Teresa.

I'm calling from Colchester in Essex, UK.

Leadership support for Radiolab science programming

is provided by the Gordon and Betty Moore Foundation,

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the Samans Foundation Initiative,

and the John Templeton Foundation.

Foundational support for Radiolab was provided by the Alfred P. Sloan Foundation.