Tag Archives: Life Magazine

A Contraband Sandwich In A Spacesuit

“I hid a sandwich in my spacesuit,” Astronaut John W. Young confessed in the April 2, 1965, issue of Life Magazine. The conversation about and the consumption of the sandwich, which lasted only about 30 seconds during the Gemini III flight, became a serious matter that drew the ire of Congress and NASA’s administrator after the crew returned home. Congress was particularly upset and brought the matter to leadership’s attention at hearings about NASA’s 1966 budget. Representative George E. Shipley was especially disgusted, knowing how much money and time NASA had spent to prepare the Gemini III spacecraft for launch. The fact that a crewmember brought something into the crew cabin, which Shipley likened to a “surgeon’s operating room,” put the techniques used to prevent a spaceflight mission from failing at risk; crumbs could have made their way behind instrument panels interfering with the operation of flight equipment and the loss of the mission and its crew. Shipley called Young’s antics “foolish” and asked NASA leaders to share their thoughts.

A Beef with Corned Beef

George Mueller, associate administrator for Manned Space Flight, stated unequivocally that the agency did not “approve [of] unauthorized objects such as sandwiches going on board the spacecraft.” And he promised Shipley that NASA has “taken steps, obviously, to prevent recurrence of corned beef sandwiches in future flights. There was no detriment to the experimental program that was carried on, nor was there any detriment to the actual carrying out of the mission because of the ingestion of the sandwich.” Manned Spacecraft Center Director Robert R. Gilruth was more forgiving of Young’s decision. These sort of antics, he told the committee, helped the crews to “break up the strain” of spaceflight, and he hesitated “to be too strict in the future by laying down a lot of rules for men who have this responsibility and who, in all the flights so far, have done such good jobs.” Webb disagreed and said, “this is the United States of America’s space program and, as a matter of policy, we are not going to permit individuals to superimpose their judgment as to what is going to be taken on these flights. I think it is fine for Dr. Gilruth to take a very strong position with respect to the individuality of these men, but from those of us who have to look at the totality of the matter, this was not an adequate performance by an astronaut.”

The loss of a Gemini mission, especially one so early in the program, would have been particularly challenging for an agency attempting to land humans on the Moon where each mission built on the previous flight. The United States was in a race with the Soviet Union, and for Congress at least, the purpose of Gemini and the cost of the space program was far too serious for these sorts of fun and games. For NASA Administrator James Webb, it was a sign that Gilruth was too lax when it came to managing his astronauts. Gemini III was just one example of the lack of control he noticed, and he pressed Gilruth for a report on the sandwich incident to determine if Young should be disciplined or at the very least reprimanded.

The In-Flight Meal

Young hatched the idea during training, when his commander, Virgil I. “Gus” Grissom grew “bored” with the food they practiced with for the mission. Grissom regularly complained about the dehydrated “delicacies” food scientists concocted. Bringing a sandwich onboard, an item that was freshly made and did not have to be rehydrated, “seemed like a fun idea at the time” to Young.

Grissom and Young inside the Gemini III spacecraft

Astronauts Gus Grissom (foreground), command pilot; and John Young, pilot, are shown inside their Gemini III spacecraft as they prepared for their launch from Cape Kennedy, Florida, on March 23, 1965.

NASA

One of the goals of their flight was to evaluate NASA’s flight food packaging and whether the containers leaked when foods were reconstituted, as well as the procedures for disposing of the meal and its packaging after eating. Foods included rehydratable items such as chicken bites, applesauce, or drinks, and compressed foods such as brownie bites. The Gemini food system was not haute cuisine, however, and crews complained about its taste. Young described the chicken bites as “barely edible” in his post-flight debriefing. Don L. Lind, a scientist-astronaut selected in 1967, described the early Gemini food as “strange.” Their class took some to jungle survival training in Panama, and while no one wanted to eat it on the first two days, by the third day they were so hungry that they were willing to give it a try. Another problem was that all rehydrated meals for Gemini were mixed with cold water, which made them less appetizing than a hot meal.

An array of food items in clear plastic packaging is shown on a blue background

Food packets planned for the Gemini III flight, including dehydrated beef pot roast, bacon and egg bites, toasted bread cubes, orange juice and a wet wipe. The astronaut’s method for rehydrating a pouch of dehydrated food with water is shown in the top left.

Locally Made Corn Beef Sandwich

A freshly made corned beef sandwich made at a local restaurant sounded like a better option, so Young had fellow astronaut and backup command pilot Walter M. “Wally” Schirra pick one up. Schirra purchased the sandwich for Young, and as he headed out to the launchpad, Young put it in the pocket of his pressure suit.

Nearly two hours into the flight, as Young started his food and waste evaluation, he pulled out the sandwich from his suit and offered it to his commander. As captured on the air-to-ground recordings, Grissom asked what it was and where it came from. “I brought it with me,” Young responded, “Let’s see how it tastes.” He didn’t expect the sandwich to be so pungent, “Smells, doesn’t it?” Grissom took a bite but found the rye crumbled so he placed the sandwich in his suit pocket to prevent the crumbs from floating about the cabin.

Where did that come from?

Gus Grissom

Gus Grissom

Gemini III Commander

Two days later, nearly a thousand members of the media from the United States and around the world gathered to hear from the crew and NASA management at the postflight press conference at the Carriage House Motel in Cocoa Beach, Florida. Space reporter Bill Hines asked Young about the sandwich, erroneously referring to it as a “baloney sandwich,” and what happened when Gus was offered a taste. “And,” he asked, “what became of the sandwich?” Young seemed surprised, “How did you find out about that?” and then laughed adding Grissom “ate the sandwich.”

Gemini III press news conference

John Young and Gus Grissom speak with the press about the Gemini III mission during a news conference at the Carriage House Motel in Florida. Behind the table, left to right, are Dr. Kurt H. Debus, director of Kennedy Space Center, Christopher C. Kraft, Jr., MSC assistant director for Flight Operations, astronauts John Young and Gus Grissom, Dr. Robert R. Gilruth, MSC director, Dr. Robert C. Seamans, NASA associate administrator, and Julian Scheer, assistant administrator for NASA’s Office of Public Affairs.

Carry-on Restrictions for Spaceflights

Ironically the Gemini Program offered astronauts more control over their flights than during Project Mercury, including the ability to maneuver their spacecraft and to be more independent from Mission Control; but the uproar over this event led NASA to draft rules about what astronauts could and could not take onboard a spacecraft. Starting with Gemini IV, flight crews had to present a list of items they planned to take on their missions. Prohibited items naturally included sandwiches as well as bulky or heavy items or metal that could negatively impact the operation of spacecraft equipment. (NASA still allowed astronauts to take personal items such as wedding bands or coins for families and friends in their personal preference kit.)

Young never received a formal reprimand for the incident but was made aware of Congress’s frustration. Others in the corps were advised to avoid similar stunts and to focus on the mission. The decision to bring a sandwich onboard did not have a negative impact on Young’s career. He was the first astronaut to fly to space six times —two Gemini missions; two Apollo missions, including the dress rehearsal for the first lunar landing; and two space shuttle missions including STS-1, known as the bravest test flight in history. He also served as chief of the Astronaut Office for 13 years.

For the Silo,

The headshot image of Jennifer Ross-Nazzal

Jennifer Ross-Nazzal. NASA Human Spaceflight Historian

Featured image- Astronaut John W. Young, the pilot for Gemini III, checks over his helmet prior to flight. Credits: NASA

The Met to Present a Major Exhibition Dedicated to the Careers of Lee Krasner and Jackson Pollock

Featuring over 120 works from more than 80 U.S. and international lenders, this exhibition marks the first major New York presentation of either artist’s work in over two decades—and their first at The Met.

Exhibition Dates: October 4, 2026–January 31, 2027
Exhibition Location: The Met Fifth Avenue, Gallery 899, The Tisch Galleries


(New York, February, 2026)—Krasner and Pollock: Past Continuous at The Metropolitan Museum of Artis a major exhibition that charts the full arc of the careers of Lee Krasner (1908–1984) and Jackson Pollock (1912–1956) in parallel, examining the distinct yet connected practices of these artistic peers and life partners. On view October 4, 2026, through January 31, 2027, it marks the first major New York presentation devoted to either artist in more than 20 years, introducing their work to a new generation while reassessing their enduring impacts on modern and contemporary art.

A meeting of two great artists


Krasner and Pollock were emerging artists in New York when they met on the occasion of being included in a 1942 exhibition organized by the artist John Graham. They married in 1945 and moved to Springs, Long Island, where they remained entwined personally, artistically, and professionally until Pollock’s death in 1956. Pollock’s life’s work had secured his legacy, while the nearly three decades that Krasner survived him marked some of the most transformative years of her career. Drawing its subtitle, Past Continuous, from a 1976 painting by Krasner, the exhibition traces parallel lives and practices, first forged by lived experience and then shadowed by memory. It foregrounds the range and art historical significance of Krasner’s work while offering a sustained examination of Pollock’s rich and complex practice.

Number 31. 1950. Jackson Pollock

Outstanding philanthropy


The exhibition is made possible by Kenneth C. Griffin and Griffin Catalyst, Marina Kellen French, and the Barrie A. and Deedee Wigmore Foundation.
Additional support is provided Trevor and Alexis Traina, the Aaron I. Fleischman and Lin Lougheed Fund, The Huo Family Foundation, and Joyce Kwok.

Number 11. 1952. Jackson Pollock

A novel way of reexamining modern art


“With its distinctive premise and scope, Krasner and Pollock: Past Continuous exemplifies The Met’s commitment to reexamining modern art through rigorous scholarship and fresh perspectives,” said Max Hollein, Marina Kellen French Director and Chief Executive Officer of The Metropolitan Museum of Art. “By considering each artist on their own terms while also foregrounding their consequential relationship, the exhibition situates Krasner’s and Pollock’s work within a broader cultural and artistic context—an approach central to the mission of The Met’s Department of Modern and Contemporary Art and to the vision of the forthcoming Oscar L. Tang and H.M. Agnes Hsu-Tang Wing, opening in 2030. This project affirms Krasner and Pollock not only as defining figures of their moment, but as artists whose work continues to shape and inspire future generations.”

What makes an artist revolutionary?


Krasner and Pollock: Past Continuous begins with the fundamental premise that these artists are equals, partners in life, giants in the history of art, and revolutionaries who defined what abstraction could be,” said David Breslin, Leonard A. Lauder Curator in Charge, Department of Modern and Contemporary Art, The Met. “Each found a partner who would insist on the primacy of art over life; and they both aspired to an art that was forged out of historical connections but that also promised freedom and radical possibility in a world forever changed by war. The exhibition concerns entwined lives but is also about how different artistic directions come from shared terrain.”

Krasner and Pollock: Past Continuous approaches these artists not as a single story, but as two practices unfolding in proximity over time,” said Brinda Kumar, Associate Curator, Department of Modern and Contemporary Art, The Met. “The exhibition examines how Krasner and Pollock shared a commitment to testing the possibilities of abstraction—through shifts in scale, material, and form—and how those investigations continued to evolve along distinct trajectories.”

Krasner and Pollock: Past Continuous follows each artist’s life and work.

The exhibition highlights their differences as much as their interrelation, with some galleries that place the artists together and others where they are presented independently. Krasner and Pollock were shaped by their distinct upbringings and formative trainings. Krasner adopted and negotiated the tenets of the European avant-garde, particularly Pablo Picasso, Henri Matisse, and Piet Mondrian. Her training under Hans Hofmann was key to her development. Pollock’s network of broad influences included Thomas Hart Benton and American Regionalism, Mexican mural traditions, Surrealism, and even his own family of artists.

Their early paths unfold as complementary divergences, tracing distinct strands of American modernism that would ultimately converge in the rupture known as Abstract Expressionism. For Pollock, his breakthrough was the “drip” technique, a radical mode of painting that flourished in a condensed but prolific period from 1946 to 1951. Krasner’s varied practice was typified by ceaseless explorations of abstraction, often cued by her abiding interest in the possibilities of nature and color. This manifested in bold collages, gestural canvases and vividly hued hard-edge painting. Historically, Pollock’s reputation has eclipsed Krasner’s. LIFE Magazine asked in 1949 if Pollock was “the greatest living painter in the United States.” His early death and posthumous media attention further amplified his fame and eclipsed critical appraisal of Krasner’s contributions. Today, both artists’ practices are rightly recognized as key to the innovations of art from the mid-20th century onwards. This exhibition continues and amplifies this reevaluation.

Rarely loaned works

Combat. 1965. Lee Krasner


The exhibition draws on The Met collection and rarely loaned works from more than 80 U.S. and international lenders, bringing together over 120 paintings, works on paper, and ephemera to reconsider Krasner’s and Pollock’s careers—both on their own terms and in dynamic relation to each another and their shared artistic context. Major institutional lenders include Peggy Guggenheim Collection, MoMA, the Whitney Museum of American Art, Tate, National Gallery of Art, National Gallery of Victoria, Centre Pompidou, Buffalo AKG Art Museum, Dallas Museum of Art, The Art Institute of Chicago, and SFMoMA. The exhibition will also include several rarely seen works from important private collections.

Organized into 12 chapters that span each artist’s career and are punctuated by defining moments, Krasner and Pollock: Past Continuous unfolds from the 1930s through the postwar years to the end of their respective lives, moving between moments of convergence and difference. The exhibition’s design, informed in part by historic spaces and installations, enhances moments of exchange—across time and practices—while allowing for discrete encounters with works by each artist, from Krasner’s Little Images series and Pollock’s drip paintings of the late 1940s to his monumental canvases in the 1950s and Krasner’s Umber and Earth Green series. The exhibition charts ongoing dialogues—Pollock’s late return to earlier motifs in the mid-1950s and Krasner’s extended engagement through the 1960s and 1970s with artists such as Klee, Picasso, Mondrian, and Matisse. This presentation will reveal two artists in constant negotiation with each other, themselves, and the cultural, political, and aesthetic stakes of their time.

A constellation of landmark works anchor the exhibition’s exploration of both artists’ practices, including Lee Krasner’s Composition (1949), The Seasons (1957), The Eye is the First Circle (1960), and Combat (1965), along with Jackson Pollock’s Stenographic Figure (1942), Guardians of the Secret (1943), Number 1, 1950 (Lavender Mist) (1950), and The Deep (1953). Two earlier exhibitions, Krasner/Pollock: A Working Relationship (co-organized by Guild Hall and Grey Art Gallery, 1981) and Lee Krasner-Jackson Pollock: Kunstlerpaare Kunstlerfreunde (Kunstmuseum Bern, 1989–90), concentrated on the approximately 15-year overlap in the artists lives, from 1941, when they met, until Pollock’s death in 1956. Krasner and Pollock: Past Continuous is the first exhibition to consider both artists’ practices, in their full chronological sweep, together.

The Met has long been significant for both Krasner and Pollock.

Pollock first exhibited a painting at The Met in 1943 in an exhibition in support of World War II. By the end of the decade, he would be among the artists—The Irascibles—who mounted a notable critique of the Museum’s then-prevailing attitude to contemporary art. However, a short while after Pollock’s death, The Met acquired the landmark painting Autumn Rhythm (Number 30) (1950). The Met’s collection of works by Lee Krasner—from her earliest self-portraits to her late magnificent Rising Green (1972)—includes important gifts to the Museum by the artist during her lifetime. The Met was notably also the venue for Krasner’s memorial service in 1984. Krasner and Pollock: Past Continuous builds on this history, marking the Museum’s first major exhibition devoted to either artist. A focused survey, the exhibition traces the arcs of their artistic developments, offering fresh perspectives on two of the most influential figures of 20th-century art.

The exhibition also reflects The Met’s commitment to showcasing artists whose work continues to shape how art is made and understood today. Krasner’s and Pollock’s contributions to modernism and their serious engagement with the possibilities of painting continues to be significant for the work of contemporary artists. In advance of the opening of the Tang Wing for Modern and Contemporary Art, opening in 2030, Krasner and Pollock: Past Continuous models a curatorial approach that reexamines canonical narratives and connects 20th-century innovations to the concerns of today’s artists and audiences.

Palingenesis. 1971. Lee Krasner

Exhibition Catalogue


The exhibition’s accompanying catalogue, Krasner and Pollock: Past Continuous, expands the project’s central themes through newly commissioned texts. Featured essays by the exhibition’s curators as well as Johanna Fateman, Prudence Peiffer, and Matthew Holman consider a range of topics, including Krasner and Pollock’s intertwined creative lives as an artist couple, their strategies of abstraction in the 1950s, and the transatlantic reception of their work, while artist Amy Sillman offers a contemporary painter’s perspective on artistic breakthrough and legacy. The volume also includes an illustrated, interwoven chronology as well as reflections by leading contemporary artists, underscoring the enduring resonance of Krasner’s and Pollock’s work across generations.

The catalogue is made possible by the Pollock-Krasner Foundation.

Additional support is provided by the Aaron I. Fleischman and Lin Lougheed Fund, The Robert David Lion Gardiner Foundation, Karen and Sam Seymour, the Wyeth Foundation for American Art, Suzanne Deal Booth, and Kelly Williams and Andrew Forsyth.

For the Silo,  Julie Niemi.

Credits and Related Content
Krasner and Pollock: Past Continuous is curated by David Breslin, Leonard A. Lauder Curator in Charge, and Brinda Kumar, Associate Curator, with the assistance of CJ Salapare, Research Associate, all of the Department of Modern and Contemporary Art, The Met.

The Met will host a variety of exhibition-related programs, to be announced at a later date.

Featured Image: Lee Krasner (American, 1908–1984), Bald Eagle, 1955, Oil, paper, and canvas collage on linen, 77 × 51 1/2 in. (195.6 × 130.8 cm), ASOM Collection © 2026 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Victura: beloved sailboat taught JFK about life, family, leadership and winning

Victura and the Kennedy's

 

James W. Graham’s new book — Victura: the Kennedys, a Sailboat, and the Sea –offers new insights into the dynamics and magic of the Kennedy family and their intense relationship with sailing and the sea. Many families sail together, but the foot sloop purchased in 1932 shortly s move to Hyannis Port, stands apart.

Throughout their brief lives, Joe Jr., Jack and Bobby spent long hours on Victura, competing in countless races every summer. They were joined by their younger brother Teddy when he grew old enough. Joe Jr. and Jack ranked among the best collegiate sailors in New England, driven by their father Joseph P. Kennedy who insisted that winning was essential. Among their sisters, Eunice emerged as a gifted sailor and fierce competitor, the equal of any of her brothers.

JFK Sailing Victura

Tracking their story beginning in 1932 when Jack was 15 and continuing today in an identical family boat of the same name, readers will learn to admire the Kennedys for what Victura taught them about life, family, leadership, determination, winning, and dealing with tragedies.

Celebrating the sailboat’s deep influence on Jack, Bobby, Ethel, Ted, Eunice and other Kennedys, it offers a new way of experiencing their intimate sibling relationships and growth as an extended family. Kennedys credit young Jack’s sailing with helping him survive the sinking of his PT boat in the Pacific. Life magazine photos of Jack and Jackie on Victura’s bow helped define the winning Kennedy brand in the 1950s. Jack doodled sketches of Victura in Oval Office meetings, and his love of seafaring probably played a role in his decision to put a man on the moon, an enterprise he referred to as “space-faring.”

The notion of "Space-fairing" developed by JFK came about as a result of his sailing experiences and love for adventure. CP
The notion of “Space-fairing” developed by JFK came about as a result of his sailing experiences and love for adventure. CP

When the Kennedy siblings married, sailing connected them with their children and nephews and nieces. Sailing was an everyday event, even in dangerous weather and in the darkness of night.  The sport influenced how they celebrated and observed happy events, managed grief, and grew close to one another.

Ted loved Victura as much as any of them. In the years following the untimely deaths of his three older brothers, Ted sailed with his children and the children of his lost brothers as crew. He also sailed past the shoals of personal shortcomings and an ebbing career to become known as the “Lion of the Senate,” helping fulfill patriarch Joe Sr.’s desire that his children pursue careers in public service rather than in business.

Rich with colorful and intimate anecdotes, the book features author interviews with family members, including children of Ted, Robert and Ethel Kennedy.  Victura is a story of redemption, strong family bonds, character, sport, tragedy, the power of metaphor and the influence of a little boat on the lives of great men and women.

In Victura, James W. Graham charts the progress of America’s signature twentieth century family dynasty, in a narrative both stunningly original and deeply gripping. This true tale of one small sailboat is an invaluable contribution to our understanding of the impressive story of the Kennedys. For the Silo, Jim and Lynda O’Connor, and Paul Krupin.

Victura
The Kennedys, a Sailboat, and the Sea
James W. Graham

ForeEdge, an imprint of the University Press of New England
$29.95 cloth 978-1-61168-411-7
$22.99 ebook 978-1-61168-599-2
Official publication date: April 1, 2014
280 pp., 28 illus., 6 x 9″

For more information visit

About the Author

James W. Graham, a communications and public affairs professional for a major-brand retailer, was a senior adviser to former Illinois Governor Jim Edgar and the Illinois House of Representatives. He races and cruises his sailboat Venturous out of Wilmette Harbor, north of Chicago.

What People Are Saying

“This wonderfully-written book takes a well-worn subject — the Kennedys — and gives it as fresh a gust as the sailors on the sturdy, little Victura themselves must have felt a thousand times off the Nantucket shore. In going to sea on board the Victura, Joe, Jack, Bobby and Teddy Kennedy entered their metaphor of quest, braced themselves for the unknown, and left their country, in the end, with an imperishable poignancy in its heart.”

— Richard D. Mahoney, author, Sons and Brothers

“The Kennedys saw the world and nature as a magical place, full of mystery and adventure. They especially enjoyed challenges and the freedom of activities like sailing, skiing, river running, climbing and just being outside. Two thirds of the surface of planet earth is liquid: the sea is vital to life — a huge source of both pleasure and fear — and a great teacher. Victura, a small wooden sailboat, became
the center of adventure, companionship and love for this remarkable family. Author Graham knows the sea, sailing and the Kennedys. Sail on Victura, to new horizons.”

— Jim Whittaker, first American to summit Mt. Everest, former CEO of REI, author of Life on the Edge: Memoirs of Everest and Beyond.

“Victura is more than Graham recounting the sailing experiences of the Kennedys. In this well-researched but warmly written book, Graham sometimes goes several pages describing an election, or a Kennedy family intrigue, and then gracefully brings the
story back to the sea, showing how, in best and worst of times, the family pulled together around sailing.”

— Rich Evans, book review, SAILING magazine, March 2014

JFK Sea Quote