The town of Oshkosh, Wisconsin is not generally thought of as one of the innovative centers of America. Children's clothing, yes. Trucks? You betcha. But Oshkosh doesn't typically jump to mind as a powerful counter-argument to those who worry that the computerized, modern era has obliterated backyard tinkering, craftsmanship, and forward-thinking innovation.
Except for one week a year.
Each year, at the end of July, the Experimental Aircraft Association has its annual convention at the Wittman Airport in Oshkosh, Wisconsin. 12,000 airplanes and hundreds of thousands of people attend, making the airport, for that one week, the busiest airport in America. Lots of private and commercial pilots fly in to the convention in standard general aviation planes that range from the 1920s to the latest and most current models. There are graceful biplanes that are as much works of art as machines of the air. There are WWI and WWII fighters, tiny little trainers, gliders, seaplanes, and huge military transports. But the show is also a hotbed of innovation and inventive craftsmanship; reassuring to anyone who wonders, or worries, whether we've lost that hands-on, Thomas Edison-like inventor's edge.
The "Experimental" Aircraft Association, after all, was founded to support those who wanted to design and build their own planes. Many of those innovators have gone on to produce and sell hundreds, or thousands, of standardized "kits" of their designs, which are then built by individual owners in their garages. Even in 2009. And the results are often far beyond what exists in "factory-built" airplanes. Some kitplanes go 200 miles an hour or more, on only a few gallons of gas per hour.
But really, the fun part; the remarkable part (and the most inspiring part), is seeing the vast array of new ideas made real in prototypes spanning a broad range of shapes, sizes and levels of complexity. To illustrate, here are just a few:
The ICON -- portable, light, amphibious sport fun
Park in your garage, take off from a runway, and land in the local lake for a morning of fishing--and look cool while you're doing it. ICON has high-tech design and looks, aimed at pilots who want a plane that's relatively simple but as modern-looking as their stereo systems. It's still in test flight, and the plane is limited to two passengers, and 120 mph. But it's clearly not your father's Oldsmobile.
Terrafugia--a high-tech flying car
One of the longstanding problems of using planes for transportation is that you arrive at a destination airport without a good way to get around on the ground. So ever since the early post-war era, designers have tried to figure out how to make a hybrid vehicle that would both fly and drive. Nobody so far has had a lot of success with the concept of a flying car (the requirements of the two types of transport are pretty different, after all), but a team of MIT engineers has entered the market with a high-tech design called the Terrafugia, which they call a "roadable aircraft." (Wings fold to drive on roads.) Will it work? Hard to say. It has flown, but it's had some problems in flight testing that the team is now struggling to work out. But it's a bold try at applying new technology to an old problem.
The Maverick -- a low-tech flying car
Innovation isn't purely the domain of high-techengineers, as evidenced by this bare-bones flying dune buggy. Designed by a missionary pilot named Steve Saint (author of End of the Spear), it's a grass-roots solution to a very common problem in remote third-world areas: washed out, impassable roads. As a dune buggy, it navigates rough dirt roads well. But if a driver encounters an impassable section of land or road, he or she can open a parafoil atop its long center pole, start the pusher propeller behind the buggy, get a 100-foot headstart, and literally "puddle-jump" the washed-out section. It flies 40 miles an hour (so it drives faster than it flies), and is simple enough to be easily repairable in the bush ... even by indigenous people with limited mechanical or pilot training.
The All-Electric Plane
The problems with an all-electric airplane are more complex than a hybrid or electric car, but there are several companies working on the concept. "It's the future," says Jeremy Monnett, whose Sonex company is working on the electric engine/aircraft pictured above. "It's not the near-term future, but it's definitely the long-term future. You know that Chinese saying about "a journey of a thousand miles begins with a single step? Well, this is our first step." Sonex, a kitplane manufacturer, is testing the 55 kw (75 hp) brushless DC cobalt motor on an existing Sonex kitplane, but Monnett envisions the engine being used eventually to extend the flight time of a motor-glider design or power a much lighter, purpose-designed airframe. (Sonex is also working to develop a single-engine kit jet (see below). When? Ah. Well, when they find a new engine manufacturer, because the original supplier went out of business.)
The Vision Jet
But while Sonex is years away from a flyable, single-engine kitplane jet, Alan Klapmeier has one already flying. Klapmeier is the founder and mastermind behind the Cirrus Design Company (whose Cirrus aircraft James Fallows has written about numerous times). But not content to rest on his laurels, he's designed, and is working to market, a very sleek but practical single-engine, five+2-seat, factory-produced personal jet for the speed-seeking traveler.
Some of the ideas on display are astoundingly simple; others rely on sophisticated computer design and control. And they may not all work or prove viable, of course. The history of aviation, like any field, is littered with ideas that proved better in concept than in reality. But the EAA show is a reminder, once a year, that that the "old" backyard, hands-on, bold spirit of invention is still alive and kicking, even in the video-game and digital age. And that alone is worth something.
Note--offline: I'll be offline for the next week. Returning August 6th.
Black poverty is fundamentally distinct from white poverty—and so cannot be addressed without grappling with racism.
There have been a number of useful entries in the weeks since Senator Bernie Sanders declared himself against reparations. Perhaps the most clarifying comes from Cedric Johnson in a piece entitled, “An Open Letter To Ta-Nehisi Coates And The Liberals Who Love Him.” Johnson’s essay offers those of us interested in the problem of white supremacy and the question of economic class the chance to tease out how, and where, these two problems intersect. In Johnson’s rendition, racism, in and of itself, holds limited explanatory power when looking at the socio-economic problems which beset African Americans. “We continue to reach for old modes of analysis in the face of a changed world,” writes Johnson. “One where blackness is still derogated but anti-black racism is not the principal determinant of material conditions and economic mobility for many African Americans.”
As Coldplay blandly strained for the universal, she and Bruno Mars pulled off something more specific and more daring.
What a perfect Beyoncésong name: “Formation.” All great pop involves people acting in formation. So does all great change. And while fans scream that Beyoncé’s a “queen” and “goddess,” her core appeal really is as a drill sergeant. With Beyoncé in command, greatness is scalable, achievable, for the collective. Everyone waves their hands to the same beat. Everyone walks around like they have hot sauce in their bag.
But in pop and in politics, “everyone” is a loaded term. Stars as ubiquitous as Beyoncé have haters, the “albino alligators” who “Formation” informs us she twirls upon. And in a more general historical sense, “everyone” can be a dangerous illusion that elevates one point of view as universal while minimizing others. Beyoncé gets all of this, it seems. As a pop star, she surely wants to have as broad a reach as possible. But as an artist, she has a specific message, born of a specific experience, meaningful to specific people. Rather than pretend otherwise, she’s going to make art about the tension implied by this dynamic. She’s going to show up to Super Bowl with a phalanx of women dressed as Black Panthers.
The former president’s heated assault on Bernie Sanders is a reminder of how the Clintons have long reacted to any opposition.
One of my oldest Hillary Clinton memories: Twenty-six years ago, I stood in the second-floor rotunda of the Arkansas Capitol half-listening to a news conference by Tom McRae, an earnest Democrat challenging Governor Bill Clinton for re-election. Then I heard it: Click. Clack. Click. Clack. Click. Clack.
The sound of Hillary Clinton’s low-heeled shoes on a hidden marble hallway jarred McRae, who in 1990 was Bill Clinton’s biggest obstacle to a fifth term and a presidential bid two years later. The first lady of Arkansas rounded the corner and stormed his news conference. “Tom!” she shouted. “I think we oughta get the record straight!”
Waving a sheaf of papers, Hillary Clinton undercut McRae’s criticism of her husband’s record by pointing to McRae’s past praise of the governor. It was a brutal sandbagging. “Many of the reports you issued not only praise the governor on his environmental record,” she said, “but his education and his economic record!”
Will the Democratic Party nominate a candidate who hasn’t been a member of their party, and who has long denounced it?
When a party chooses its presidential candidate, it also chooses its party leader in the election. This year the Democrats face an unusual situation. Bernie Sanders isn’t just an outsider to the party establishment; he’s not even been a member of the party, and has long excoriated it in unsparing language. Although the media haven’t much focused on this history, the early signs suggest it could become a problem for Sanders in getting the nomination—and a problem for the party if he does get it.
According to the entrance polls at the Iowa caucuses, there was a 30-percentage-point split between self-identified Democrats and independents in their support for Sanders. Hillary Clinton won 56 percent of self-identified Democrats but only 26 percent of independents, while Sanders won only 39 percent of Democrats but 69 percent of independents.
For decades the Man of Steel has failed to find his groove, thanks to a continual misunderstanding of his strengths.
Superman should be invincible. Since his car-smashing debut in 1938, he’s starred in at least one regular monthly comic, three blockbuster films, and four television shows. His crest is recognized across the globe, his supporting cast is legendary, and anybody even vaguely familiar with comics can recount the broad strokes of his origin. (The writer Grant Morrison accomplished it in eight words: “Doomed Planet. Desperate Scientists. Last Hope. Kindly Couple.”) He’s the first of the superheroes, a genre that’s grown into a modern mass-media juggernaut.
And yet, for a character who gains his power from the light of the sun, Superman is curiously eclipsed by other heroes. According to numbers provided by Diamond Distributors, the long-running Superman comic sold only 55,000 copies a month in 2015, down from around 70,000 in 2010—a mediocre showing even for the famously anemic comic-book market. That’s significantly less than his colleague Batman, who last year moved issues at a comparatively brisk 150,000 a month. Mass media hasn’t been much kinder: The longest-running Superman television show, 2001’s Smallville, kept him out of his iconic suit for a decade. Superman Returns recouped its budget at the box office, but proved mostly forgettable.2013’s Man of Steel drew sharp criticism from critics and audiences alike for its bleak tone and rampaging finale. Trailers for the sequel, Batman v Superman: Dawn of Justice, have shifted the focus (and top billing) to the Dark Knight. Worst of all, conventional wisdom puts the blame on Superman himself. He’s boring, people say; he’s unrelatable, nothing like the Marvel characters dominating the sales charts and the box office. More than anything, he seems embarrassing. Look at him. Truth? Justice? He wears his underwear on the outside.
Humbled by his struggling presidential campaign, can the once-mighty New Jersey governor vault back into contention after Saturday’s debate?
SALEM, New Hampshire—Chris Christie was accustomed to being a big man: a man of stature, a man of power, a man who demands and gets his way.
But recently, the big man (this is a description of his personality, not his size) was seeming awfully small.
On Friday evening here, the governor of New Jersey was desperately trying to talk some sense into the people of New Hampshire, a couple hundred of whom had come out to see him on a snowy night. The night before, Christie’s rival Marco Rubio had played the same venue, filling a larger room of the elementary school beyond its capacity. Christie was begging the crowd not to pile on the bandwagon of the apparent winner, but instead, to show some courage.
Immediately, the pings from fellow journalists (and media-adjacent folk) came pouring in, all saying something along the lines of, “Can you actually let me know what you find out? I’m addicted to that stuff.”
They mean “addicted” in the jokey, dark-chocolate-and-Netflix-streaming way, but the habit can border on pathological. For me, rock bottom was a recent, obscenely long workday during which an entire 12-pack of coconut La Croix somehow made it down my throat, can by shining can.
Tracking them down is a globe-trotting adventure that rivals any jungle expedition.
In the darkness of the Akeley Hall of Mammals, swarms of kids gawk at beautifully staged dioramas of Africa’s wildlife. The stuffed safari, nestled in the American Museum of Natural History (AMNH) in New York, includes taxidermied leopards stalking a bush pig, preserved ostriches strutting in front of warthogs, and long-dead baboons cautiously considering a viper. In one corner, in a display marked “Upper Nile Region,” a lone hippo grazes next to a herd of lechwe, roan antelope, and a comically stern shoebill stork.
“This is my favorite one,” says Evon Hekkala, pointing to the display. “There’s a taxidermied crocodile tucked away down there.”
It takes a while to spot it and I have to crane my head to do so, but yes, there it is—a large crocodile, in the back, mouth agape, next to the hippo. It’s mostly hidden from view, and until recently, it was hidden from science, too.
Because it’s an old tired man perplexed by modernity, and it’s having trouble pooping.
Each year, the great minds that sell us so many of our beloved consumer staples get together to assess the state of the American psyche. Is America tired? Hangry? Missing the golden age of Bruces Willis and Springsteen, the Buick GNX, and avuncular sexism?
Believe it or not, this meeting happens not at a Madison Avenue steakhouse, or atop a mountain in Jackson Hole, or even in Papa John Schnatter’s meteor-crater lair. Instead, it plays out in full view of the American public during the 47 hours or so of television advertisements that punctuate the Super Bowl. As the nation’s burliest athletes wrestle each other’s lycra-clad bodies for control of that most potent symbol of fragile masculinity (literally an ovoid ball), corporations take stock of a more general struggle happening off the pitch: an existential crisis that concerns the very fabric of the American character.
A Chicago cop who shot the 19-year-old seeks $10 million in damages in a countersuit filed against the man’s family.
In a country where police are rarely prosecuted for killing civilians, and where those who are prosecuted are rarely convicted, civil lawsuits filed by victims of police violence and their families have become perhaps the foremost tool for law-enforcement accountability. The wrongful-death suit is a familiar step in the all-too-common story arc.
But something stranger is happening in Chicago: The police officer is suing the estate of his victim.
On December 26, Chicago police officers responded to a domestic-disturbance call. According to police, 19-year-old Quintonio LeGrier was threatening his father and wielding a baseball bat. During the response, Officer Robert Rialmo shot and killed LeGrier as well as Bettie Jones, a mother of five and downstairs neighbor.