Category Archives: Movies

The Great, New York to Paris, Automobile race of 1908.

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As impressive as Lindberg’s transatlantic fight was in 1926, more impressive was George Schuster driving and winning the New York to Paris Automobile race beginning in the dead of winter, 1908, going the long way, through Russia. As of 1908, only nine cars had ever made the trip from Chicago to California, and none had done it in winter, but this race was to go beyond California, to Alaska and then over the ice through Russia and to Paris. Theodore Roosevelt was president, and Americans were up to any challenge. So, on February 12, 1908 there congregated in Times Square, New York, a single, US-made production car, along with five, specially made super-cars from Europe; one each from Italy and Germany; and three from France. The US car, a Thomas Flyer (white), is shown in the picture below. The ER Thomas company sent along George Schuster, as an afterthought: he was a mechanic and test-driver for the company, and was an ex bicycle racer. The main driver was supposed to be Montague Roberts, a dashing sportsmen, but the fellow dropped out in Cheyenne, Wyoming. Schuster reached the Eiffel tower on July 30, 1908, 169 days after leaving New York. The Germans and Italians followed. None of the French super-cars got further than Vladivostok, and one dropped out after less than 100 miles.

The race was sponsored by The New York Times and Le Matin, a Paris newspaper. They offered a large trophy, a cash prize of $1000, not enough to pay for the race, and the prospect of fame. The original plan was for drivers to go from New York to San Francisco, then to Seattle by ship, and Northern Alaska, driving to Russia across the Arctic ice. That plan was abandoned when Schuster, the first driver to reach Alaska, discovered ten foot snows outside of Valdez. The race was modified so that travel to Russia would be by ship. Schuster took his Thomas to Russia from Alaska, the other two drivers reached Russia from Seattle by way of Japan. Schuster was given a bonus of days to account for having taken the longer route. Because of his detour, he was the last to arrive in Russia. From Japan, the route was Vladivostok, Omsk, Moscow, St. Petersburg, Berlin, and Paris, 21,900 miles total; 13,341 miles driven. Schuster drove most of those 13,341 miles, protected by his own .32-caliber pistol, and mostly guided by the stars and a sextant. He’d taught himself celestial navigation as there were no roadmaps, and hardly any roads.

George Schuster driving the Thomas Flyer, the only American entry, and the only production motorcar in the race.

George Schuster driving the Thomas Flyer with another mechanic, George Miller, the Flyer was only American entry, and the only production motorcar in the race. Note that the flag has only 45 stars.

The ship crossing of the Pacific was a good idea given that, even in the dead of winter, global warming meant that the arctic could not be relied upon to be solid ice. As it was, Schuster had to content with crossing the Rockies in deep snow, and crossing Russia in the season of deepest mud. He reached the Eiffel tower at 6 p.m. on July 30, 1908. The German car had arrived in Paris three days ahead of Schuster, but was penalized to second place because the German team had avoided the trip to Alaska, and had traveled some 150 km of the Western US by railroad while Schuster had driven. The Italian team reached Paris months later, in September, 1908. That the win went to the only production car to compete is indicative, perhaps of the reliability that comes with mass production. That Mr. Schuster was not given the fame that Lindberg got may have to do with the small size of the prize, or with him being a mechanic while Lindberg was a “flyer”. Flyers were sexy; even the car was called a flyer. The Times saw fit to hardly mention Schuster at all, and when it did, it spelled his name wrong. Instead the Times headline read, “Thomas Flyer wins New York to Paris Race.” You’d think the car did it on its own, or that the driver was named Thomas Flyer.

The Flyer crossing a swollen river in Manchuria.

Schuster in his Flyer crossing a swollen river in Manchuria.

The Times could not get enough of Montague Roberts; the driver of the first leg was famous and photographic. They tried to get Roberts to drive the last few miles into Paris, “once the roads were good”. And Roberts was the one chosen to drive in the hero-parade in New York, Schuster rode too, but didn’t drive. Schuster was feted by Theodore Roosevelt, though, who said he liked people “who did things.” Schuster said he’d never do a race like that again, and he never did race again.

The race did wonders for the reputation of American automobiles, and greatly spurred the desire for roads, but it did little or nothing for the E.R.Thomas company. Thomas cars were high cost, high power models, and they lost out in the marketplace to Henry Ford’s, low-cost Model T’s. You’d think that, in the years leading up to WWI, the US Army might buy a high cost, high reliability car, but they were not interested, and the Thomas company did little to capitalize on their success. The Flyer design that won the race was discontinued. It was a 60 hp, straight 4 cylinder engine version, replaced by lower cost Flyers with 3 cylinders and 24 hp. Shortly after that, Edwin R. Thomas, decided to drop the Flyer altogether. His company went bankrupt in 1912, and was bought by Empire Smelting. The original Flyer was sold in 1913 at a bankruptcy action, lot #1829, “Famous New York to Paris Racer.”

ER Thomas went on to found another car company, as was the style in those days. Thomas-Detroit went on make similar cars to the Flyer, but cheaper. The largest, the K-30, was only 30 hp. The original Thomas Flyer is now in the National Automobile Museum, Reno Nevada. after being identified by Schuster and restored. Here is a video showing the original Flyer being driven by a grandson of George Schuster. There is a lower-power Thomas Flyer (black) in a back space of the Henry Ford museum (Detroit). Protos vehicles, similar to the one that came in second, were produced for the German military through WWI. Their manufacturer, Siemens, benefited, as did the German driver.

Advertisement for the Protos Automobile, a product of Siemens motor company. The race did not include a production Protos but one made specially for the race.

Advertisement for the Protos Automobile, a product of Siemens motor company. The race did not include a production Protos but one made specially for the race.

The Thomas engine (and the Protos) engine) live on in a host of cars with water-cooled, four-cylinder, straight engines. In 1922, Chalmers-Detroit merged with Maxwell and continued to produce versions of the old Flyer design, now with an internal drive-shaft. The original Flyer was powered via a gear-chain, like a bicycle. In 1928, Maxwell was sold to Chrysler. Chrysler persists in calling their high-power, four-cylinder engines by the name Chalmers. As for Schuster, when ER Thomas closed its doors, he had still not been paid for his time as a race driver. He went to work for Pierce-Arrow, another maker of large, heavy vehicles. The “cheaper by the dozen” family (two parents, 12 kids) drove a Pierce-Arrow.

The Great race appears in two documentaries and two general audience movies, both comedies. The first of these was Mishaps of the New York–Paris Race, released by Georges Méliès, July 1908, just about as the Flyer was entering Paris. The second movie version  “The Great Race” was released in 1965. It’s one of my favorite movies, with Jack Lemon as the Protos driver (called Dr. Fate in the movie), Tony Curtis as “The Great Leslie”, the Flyer driver. For the movie, the Flyer is called “The Leslie”, and with Natalie Wood as a female reporter who rides along and provides the love interest. In the actual race reporters from the New York Times, male, traveled in the Flyer’s rear seat sending stories back by carrier pigeon.

Path of the Great Race

Path of the Great Race

As a bit of fame, here’s George Schuster in 1958 on “What’s my secret.” He was 85, and no one knew of him or the race. Ten years later, in 1968, Schuster finally received his $1000 prize, but still no fame. A blow-by-blow of the race can be found here, in Smithsonian magazine. There is also an article about the race in The New York Times, February 10, 2008. This article includes only two pictures, a lead picture showing one of the French cars, and another showing Jeff  Mahl, the grandson of George Schuster, and a tiny bit of the flyer. Why did the New York Times choose these pictures? My guess is it’s the same reason that they reported as they did in 1908: The French car looked better than the Flyer, and Jeff Mahl looked better than George Schuster.

Robert Buxbaum, July 20, 2018. What does all this mean, I’ve wondered as I wrote this essay. There were so many threads, and so many details. After thinking a bit, my take is that the movie versions were right. It was all a comedy. Life becomes a comedy when the wrong person wins, or the wrong vehicle does. A simple mechanic working for a failing auto company beat great drivers and super cars, surpassing all sorts of obstacles that seem impossible to surpass. That’s comedy, It’s for this reason that Dante’s Divine Comedy is a comedy. When we see things like this we half-choose to disbelieve, and we half-choose to laugh, and because we don’t quite believe, very often we don’t reward the winner as happened to Schuster for the 60 years after the race. Roberts should have won, so we’ll half-pretend he did.

Gomez Addams, positive male role-model

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The Addams Family did well on Broadway, in the movies, and on TV, but got predictably bad reviews in all three forms. Ordinary people like it; critics did not. Something I like about the series that critics didn’t appreciate is that Gomez is the only positive father character I can think of since the days of “Father knows best”.

Gomez is sexual, and sensual; a pursuer and lover, but not a predator.

Gomez is sexual, and sensual; a pursuer and lover, but not a predator.

In most family shows the father isn’t present at all, or if he appears, he’s violent or and idiot. He’s in prison, or in trouble with the law, regularly insulted by his wife and neighbors, in comedies, he’s sexually ambiguous, insulted by his children, and often insulted by talking pets too. In Star Wars, the only father figures are Vader, a distant menace, and Luke who’s just distant. In American shows, the parents are often shown as divorced; the children are reared by the mother with help of a nanny, a grandparent, or a butler. In Japanese works, I hardly see a parent. By contrast, Gomez is present, center stage. He’s not only involved, he’s the respected leader of his clan. If he’s odd, it’s the odd of a devoted father and husband who comfortable with himself and does not care to impress others. It’s the outsiders, the visitors, who we find have family problems, generally caused by a desire to look perfect.

Gomez is hot-blooded, sexual and sensual, but he’s not a predator, or violent. He’s loved by his wife, happy with his children, happy with his life, and happy with himself. As best we can tell, he’s on good-enough terms with the milk man, the newspaper boy, and the law. Though not a stick-in-the-mud, he’s on excellent terms with the rest of the Addams clan, and he’s good with the servants: Lurch, Thing, and for a while a gorilla who served as maid (none too well). One could do worse than to admire a person who maintains a balance like that between the personal, the family, the servants, and the community.

On a personal level, Gomez is honest, kind, generous, loving, and involved. He has hobbies, and his hobbies are manly: fencing, chess, dancing, stocks, music, and yoga. He reads the newspaper and smokes a cigar, but is not addicted to either. He plays with model trains too, an activity he shares with his son. Father and son enjoy blowing up the train — it’s something kids used to do in the era of firecrackers. Gomez is not ashamed to do it, and approves when his son does.

Gomez Addams, in the Addams Family Musical, gives advice and comfort to his daughter who is going through a rough stretch of relationship with a young man, and sings that he’s happy and sad.

Other TV and movie dads have less – attractive hobbies: football watching and beer-drinking, primarily. Han Solo is a smuggler, though he does not seem to need the money. TV dads take little interest in their kids, and their kids return the favor. To the extent that TV dads take an interest, it’s to disapprove, George Costanza’s dad, for example. Gomez is actively interested and is asked for advice regularly. In the video below, he provides touching comfort and advice to his daughter while acknowledging her pain, and telling her how proud he is of her. Kids need to hear that from a dad. No other TV dad gives approval like this; virtually no other male does. They are there as props, I think, for strong females and strong children.

The things that critics dislike, or don’t understand, as best I can tell, is the humor, based as it is on danger and dance. Critics hate humor in general (How many “best picture” Oscars go to comedies?)  Critics fear pointless danger, and disapproval, and law suits, and second-hand-smoke. They are the guardians of correct thinking — just the thinking that Gomez and the show ridicules. Gomez lives happily in the real world of today, but courts danger, death, law suits. He smokes and dances and does not worry what the neighbors think. He tries dangerous things and does not always succeed, but then lets his kids try the same. He dances with enthusiasm. I find his dancing and fearlessness healthier than the over-protective self-sacrifice that critics seem to favor in heroes. To the extent that they tolerate fictional violence, they require the hero to swooping, protecting others at danger to themselves only, while the others look on (or don’t). The normal people are presented as cautious, fearful, and passive. Cold, in a word, and we raise kids to be the same. Cold fear is a paralyzing thing in children and adults; it often brings about the very damage that one tries to avoid.

Gomez is hot: active, happy, and fearless. This heat.– this passion — is what makes Gomez a better male role model than Batman, say. Batman is just miserable, or the current versions are. Ms. Frizzle (magic school bus) is the only other TV character who is happy to let others take risks, but Ms Frizzle is female. Gomez’s thinks the best of those who come to visit, but we see they usually don’t deserve it. Sometimes they do, and this provides touching moments. Gomez is true to his wife and passionate, most others are not. Gomez kisses his wife, dances with her, and compliments her. Outsiders don’t dance, and snap at their wives; they are motivated by money, status, and acceptability. Gomez is motivated by life itself (and death). The outsiders fear anything dangerous or strange; they are cold inside and suffer as a result. Gomez is hot-blooded and alive: as a lover, a dancer, a fencer, a stock trader, an animal trainer, and a collector. He is the only father with a mustache, a sign of particular masculinity — virtually the only man with a mustache.

Gomez has a quiet, polite and decent side too, but it’s a gallant version, a masculine heterosexual version. He’s virtually the only decent man who enjoys life, or for that matter is shown to kiss his wife with more than a peck. In TV or movies, when you see a decent, sensitive, or polite man, he is asexual or homosexual. He is generally unmarried, sometimes divorced, and almost always sad — searching for himself. I’m not sure such people are positive role models for the a-sexual, but they don’t present a lifestyle most would want to follow. Gomez is decent, happy, and motivated; he loves his life and loves his wife, even to death, and kisses with abandon. My advice: be alive like Gomez, don’t be like the dead, cold, visitors and critics.

Robert Buxbaum, December 22, 2017.  Some years ago, I gave advice to my daughter as she turned 16. I’ve also written about Superman, Hamilton, and Burr; about Military heroes and Jack Kelly.

Edward Elric’s Flamel

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Edward Elric, the main character of a wonderful Japanese manga, Full Metal Alchemist, wears an odd symbol on his bright-red cloak. It’s called a Flamel, a snake on a cross with a crown and wings above. This is the symbol of a famous French author and alchemist of the 1300s, Nicholas Flamel who appears also, tangentially, in Harry Potter for having made a philosopher’s stone. But where does the symbol come from?

Edward Elrich with Flammel on back.

Edward Elric wears a snake-cross, “Flamel” on his back.

s03_ama

Current symbol of the AMA

A first thought of a source is that this is a version of the Asclepius, the symbol of the American Medical Association. Asclepius was an ancient Greek doctor who, in 85 BC distinguished between chronic and acute disease, developed theories on diet and exercise, and cured parasitic snakes under the skin by wrapping them around a stick. In mythology, he was chosen to be ship’s doctor on Jason’s voyage, and was so good at curing that Hades told Zeus he revived the dead. Zeus then killed him and set him among the stars as a constellation (the snake-handler, visible in the winter sky between Scorpius and Hercules). Though the story shows some similarities to Full Metal Alchemist, the Asclepius symbol don’t look like Elric’s Flamel. Asclepius had two daughters, Hygeia (hygiene), and Panacea (drugs?); the cup of Hygeia, below, is similar to the Asclepius but not to Ed’s Flamel.

The cup of Hygia, the symbol of pharmacy.

The cup of Hygeia, the symbol of pharmacy.

Staff of Hermes, symbol of the AMA till 2005

Staff of Hermes, symbol of the AMA till 2005

Another somewhat-similar symbol is the Caduceus, symbol of Hermes/ Mercury, left. It was the symbol of the AMA until 2005, and it has wings, but there are two snakes, not one, and no cross or crown. The AMA switched from the Caduceus when they realized that Hermes was not a god of healing, but of merchants, liars, and thieves. Two snakes fighting each other is how the Greeks viewed business. The wings are a symbol of speed. The AMA, it seems, made a Freudian mistake picking this symbol, but it seems unlikely that Flamel made the same mistake.

The true source of the Flamel, I think, is the Bible. In Numbers 21:8-9, the Jews complain about the manna in the desert, and God sends fiery serpents to bite them. Moses prays and is told to put a bronze snake on staff as a cure – look upon it and you are healed. While one might assume the staff was a plain stick like the Asclepius, it might have been a cross. This opinion appears on a German, coin below. The symbol lacks wings and a crown. Still, it’s close to the Flamel. To get the crown and wings, we can turn to the New Testament, John 3:16-17. “Just as Moses lifted up the snake in the wilderness, so the Son of man must be lifted up … “that everyone who believes in Him may have eternal life.” The quote seems to suggest that the snake itself was being lifted up, to holiness perhaps or to Devine service. In either case, this quote would explain the crown and wings as an allusion to Jesus.

German coin, 1500s showing Jesus, a snake and cross on one side. Christ on the other. Suggests two sides of the same.

German “taller” coin, 1500s showing Jesus on the cross on one side, a snake on the cross on the other. Suggests two sides of the same holiness.

I should mention that Flamel’s house is the oldest still standing in Paris, and that it contains a restaurant — one that would be nice to visit. Flamel died in 1418. His tomb has this symbol but was found to be empty. A couple of other odds and ends: the snake on the cross also appears in a horror story, the curse of the white worm, by Bram Stoker. In the story (and movie), it seems there are serpent-worshipers who believe it was the serpent who died for our sins. If you re-read the lines from John, and take the word “Him” to refer to the serpent, you’d get backing for this view. Edward might have adopted this, either as part of his mission, or just for the hell of it. The following exchange might back up Ed’s desire to be controversial.

Roy: I thought you didn’t believe in gods, Full metal.

Edward: I don’t. That’s the thing. I think they can tell, and it pisses them off.

salvation-army

As for the color red, the color may allude to blood and or fire. In this direction, the Salvation Army symbol includes a red “S” on a cross with a crown and the words “Blood and Fire.” In the manga, life-blood and fire appear to be the ingredients for making a philosopher’s stone. Alternately, the red color could relate to a nonvolatile mercury compound, red mercury or mercuric oxide, a compound that can be made by oxidation of volatile mercury. Flamel claimed the symbol related to “fixing the volatile.” Either that’s making oxide of mercury, or putting a stop in death.

Robert E. Buxbaum, February 9, 2017. I’ve also opined on the Holy Grail, and on Jack Kelly of Newsies, and on the humor of The Devine comedy. If you have not read “Full Metal Alchemist,” do.

Air swimmer at REB Research

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Birds got to swim and fish got to fly. Gonna love that hydrogen till the day I die. Here’s a movie of our hydrogen-filled air swimmer, a fish-blimp at REB Research. My hope is that this thing will help us sell hydrogen generators — perhaps to folks who fly military balloons, or those who fly hydrogen balloons for sport. On the other hand, the swimmer is a lot of fun to play with — and I got to show it off to a first grade class!

Aside from balloon fliers, military and otherwise, the sort of customers I’d hoped to attract were those building fueling stations for fuel cell cars or drone airplanes, and those running multiple gas chromatographs or adding hydrogen to car or diesel engine. Even small amounts of hydrogen added to a standard engine will reduce pollution significantly, add raise mileage too: a plus for a company like VW.

Dr. Robert E. Buxbaum, December 2, 2015. I should mention that hydrogen balloons are no where near as unsafe as people think. Here’s a movie I made of lighting a hydrogen filled balloon with a cigar.

Is cannibal tourism good for Michigan?

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Governor Snyder has no appetite for it, but ex-governor Jennifer Granholm did, and some of her Democratic colleagues still do. Not cannibal tourism, as such, but movie subsidies paid for by a tax on business property independent of profits. Some seven years ago, in 2008, then-governor Granholm and a majority of our legislature instituted a $132 million/year subsidy program that provided up to 42% of movie production costs. The hope was that films would bring Hollywood-type wealth and glamor, and that they would spark tourism. As it happened, the jobs went to Hollywood transients to such an extent that the total number of MI film employees was reduced. It is now 100 lower than at the start, and virtually all of the money spent went to out-of state employees (quite often the high-priced star) who left as soon as the filming was done. The report concluded that the program returned 11¢ for every tax dollar spent. One of Governor Snyder’s first acts was to diminish the subsidies, and the legislature has just put an end to them: revenge of the nerd.

Offspring, filmed in Michigan. It does not seem to have promoted Michigan tourism.

Offspring: no jobs created, and perhaps no tourism … but think of the cool factor.

The amount spent in the early years, $132 million/year, was about 1/3 of the state’s deficit, a major misuse of funds. Reason magazine claimed it was “stone-crazy” to support movies when the state had, at the time, 14% unemployment, the highest rate in the nation. They argued that the money could be better spent on roads, or schools, or left in folks’ pockets (I agree).

The effect on tourism isn’t quite what was hoped. Movie makers tend to see Michigan as a setting for dystopian films, for example, “Offspring,” a film about cannibal tourism. This film got one of the largest state subsidies. A plot summary is:  “Survivors of a feral flesh-eating clan are chowing their way through the locals.” If this encouraged tourism, it’s not necessarily the tourists you wanted. You can tell it’s Michigan by the Michigan symbol on the police cars. Michigan funds also brought two Batman movies to Detroit, along with Michael Moor’s “Capitalism, a love story“, a  movie billed as showing how capitalism makes life in America a nightmare. The current head of the film board has noted that “realistic cannibalism; the gruesome and graphically violent depiction …. is unlikely to promote tourism in Michigan or to present or reflect Michigan in a positive light.” I can agree.

Batman and Superman in Detroit.

“Batman vs Superman.” They battle in Downtown Detroit, as do “Red Dawn” and “Transformers.”

Opposition to dropping the program came mostly from the Democratic side of the aisle. Rep. Jeremy Moss, D-Southfield, said the film incentives were creating good jobs. Rep. Kristy Pagan, D-Canton, pointed to “… the cool factor. Who doesn’t want to see Ben Affleck or Amy Adams walk down our streets?” (I don’t). In the end, three Democrats and virtually every Republican voted to end the program. Among the Republicans for keeping the program were Kathy Crawford R-Novi, and Mike McCready, R-Birmingham.

You should not feel too bad for the makers of gore films. Subsides are still available in Massachusetts, Oregon, Washington, California, Minnesota, Nevada, and several other states. Massachusetts welcomed Part 2 of The Offspring, a Massachusetts headline proclaimed the victory: “Come to Massachusetts, We Love Cannibals!” Massachusetts folks have been full of themselves for years. As for the money we saved, our Michigan legislature has finally begun balancing the budget and decreasing the destructive personal property tax that helped fund these schemes.

Robert E. Buxbaum, November 5, 2015. I should also commend the legislature for making “talk like a pirate day” a state holiday, and for passing, on November 3, a necessary roads bill. It was signed by most Republicans and two Democrats. Bipartisan-ish. With good management, Michigan might be coming back – lets hope it continues.