Tag Archives: movies

Birth dearth in China => collapse? war?

China passed us in life-expectancy in 2022, and also in fertility, going the other way. In China lifespan at birth increased to 77.3 years. In the US it dropped an additional 0.9 years, to 76.8. US lifespans suffered from continuing COVID and an increase in accidents, heart disease, suicide, drugs, and alcohol abuse. Black men were hit particularly hard, so that today, a black man in the US has the same life expectancy as he would in Rwanda. China seems to have avoided this, but should expect problems due to declining fertility and birth rates.

China passed us in life expectancy in 2022.

Fertility rates will eventually burden the US too, as US fertility is only slightly greater than in China, 1.78 children per woman, lifetime, compared to 1.702 in China. But China has far fewer people of childbearing ages, relatively, and only 47% are women. Three decades of one child policy resulted in few young adults and a tendency to abort girls. Currently, the birthrate in China is barely more than half ours: 6.77 per 1000, compared to 12.01 per 1000. And the proportion of the aged keeps rising. China will soon face a severe shortage of care-givers, and an excess of housing.

Years of low birthrate preceded the “Lost decades” of financial crisis in Japan and the USSR. Between 1990 and 2011, business stagnated and house prices dropped. China faces the same; few workers and more need for care: it’s not a good recipe.

Beginning about 1991, Japan saw a major financial collapse with banks failing, and home values falling. China seems over-due.

Few children also signals a psychic lack of confidence in the country, and suggests that, going forward, there will be a lack of something to work for. Already Chinese citizens don’t trust the state to allow them to raise healthy children. They have stopped getting married, especially in the cities, and look more to have fun.

Affluent women claim they can’t find a good man to marry: one who’s manly, who will love them, and who will reliably raise their standard of life. Women seem less picky in China’s rural areas, or perhaps they find better men there. However it goes, urban women get married late and have few children, both in China and here. China produces great, sappy, soap operas though: a country girl or secretary in a high-power job meets a manly, urban manager who lovers her intensely. A fine example is “The Eternal Love” (watch it here). It involves time travel, and a noble romance from the past. Japan produced similar fiction before the crisis. And a crisis seems to be coming.

While Japan and Korea responded quietly to crisis and “the lost decades,” allowing banks to fail and home values to fall, Russia’s response was more violent. It went to war with Chechnya, then with Belarus and Ukraine, and now with NATO. I fear that China will go to war too — with Taiwan, Japan, and the US. It’s a scary thought; China is a much tougher enemy than Russia. There is already trouble brewing over new islands that they are building.

Robert Buxbaum January 25, 2023. If you want to see a Korean soap opera on the Secretary – manager theme, watch: “What’s wrong with Secretary Kim”. (I credit my wife with the research here.) I suspect that Americans too would like sappy shows like this.

Two French generals who fought each other in 19 duels over 30 years, and the purpose of creation

Humans are funny little creatures. I suspect that God keeps us around for our entertainment value. Each culture provides God its own entertainment. The British by invading basically every country on earth wearing tall, furry hats. We Americans provide grand stunts, like landing on the moon, or an automobile race around the world in 1908 when there were no roads or gas stations. And the French took love, dining, and dueling to a high, almost comic level. In France, the great and near great dueled well into the 20th century. The great French mathematician, Galois dueled to the death over love or politics. The great rationalist philosopher, Descartes, fought a duel, disarmed his opponent, and forgave him because of love. The science fiction writing philosopher, Cyrano de Bergerac, was famous for many duels, typically over the insults in his writing (or his nose).

In France, the great and near-great dueled well into the 20th century.

Instead of writing about those fellows, this post is about two Napoleonic generals, Pierre Dupont de l’Étang and François Fournier-Sarlovèze, who fought 30 duels with each other over 19 years writing a contract to kill each other whenever possible. They didn’t start as generals, of course, but rose through the ranks, though dueling was illegal, in theory, most of the time. They dueled on foot and horseback, mostly with swords, but also with pistols, and managed to wound each other at every meeting. They never quite managed to kill one another, or settle things, but they kept going at it till they became friends, of a sort. They were not that bad dualists, Fournier was a crack shot with a pistol and had killed others in duels. DuPont was better with the sword, but both were good at dodging death by blocking their vital organs.

The antaganism started with a duel, as one might expect. Fournier, a lieutenant at the time, had just killed a popular Strasbourg townsman named Blumm in a pistol duel. The townsman had no experience with pistols so this was sort-of murder, and resented. There was to be a party that evening, and Fournier’s commanding officer sent captain DuPont with a message to Fournier to keep him away until tempers subsided. Fournier attempted to attend anyway, and felt insulted by DuPont’s efforts to keep him out. Fournier challenged DuPont, and DuPont accepted, choosing military swords. Fournier would have challenged the commanding officer, but one does challenge so far above one’s station in France.

They met the next day at dawn. DuPont won the first duel, injuring Fournier by a severe cut to the shoulder. At this point, first blood, most American dualists would have called it quits, and might have become friends. In the duel between Thomas Hart Benton and Andrew Jackson, Benton put two bullets into Jackson but didn’t kill them, and they went on to become friends, and colleagues in congress. But for these two, one deadly meeting was not enough. They decided to duel again as soon as Fournier recovered. That took a month. Fournier rechallenged, they fought again with military swords. This time DuPont was injured. At the next duel, both were injured. Again and again, whenever they met, with swords, cutlases, lances, rapiers, and at last with pistols.

Fournier (left) and DuPont (right). Fournier fought for Napoleon in the Spanish and Russian campaigns, and went on to help write the military code of conduct. DuPont fought in the Austrian, Dutch, and Spanish campaigns, eventually becoming Minister of War for Louis XVIII and deputy of the Charente “The Dualsts” film was shot in and around Fournier’s home town. The painting at left hangs in city hall.

They drew up a contract that they would try to kill each other whenever they were 30 leagues from each other (90 miles) and not otherwise occupied with a war. The duels would pause whenever one of them was promoted since one didn’t duel with someone of higher rank. The two proved to be excellent officers and advanced at a good rate, with occasional stops in prison because of the political turmoil of the time, but not because of their dueling. Fournier went to jail for financial mismanagement and for insulting Napoleon after the Russian Campaign, DuPont went to jail too, for losing to the Spanish, and later for supporting the Royalists. They were released because the army always needs good officers who are brave and successful (Read about their lives on Wikipedia, or here).

Sometimes they would meet by accident and try to kill each other in bars, restaurants, and hotels. Mostly they would meet by arrangement at appointed times in the woods, sharing a hearty meal and good insults before dueling. Sometimes they chatted with each other through the duels. They appreciated each others skill and complimented each other on promotions, especially when it allowed them to try to kill one another (there is a comic movie like this — Mr and Mrs Smith?). During one encounter, DuPont stuck Fournier to the wall through the neck with his sword, and Fournier requested that he move closer so they could continue fighting this way. Now that’s dedication.

Eventually, DuPont got engaged and they decided to fight to the death, hunting each other in a woods with pistols (two each). As it happened, DuPont disarmed Fournier, and forced him to agree to fight no more. It was a happy ending suitable to a movie. Actually, a movie made about them, “The Dualists, 1967.” DuPont became minister for War for Louis XVIII (released for being too royalist), and wrote poetry including “the art of war”. Fournier helped write the French code of military conduct.

Dueling didn’t stop here, but continued in France well into the 20th century. The last dual between members of the government was in 1967, see photo below. René Ribière, Gaullist speaker of the National Assembly fought Gaston Differe, Mayor of Marseilles and Socialist candidate for the French presidency. They used epees, long, sharp swords. Differe wounded Ribiére twice, both times in the arm, and Jean de Lipkowskiin called an end to the duel “. Several French duels of the 20th century, are caught on film.

Le député maire socialiste de Marseille et bon escrimeur Gaston Defferre (C) et le député gaulliste du Val d’Oise René Ribière s’affrontent en duel le 21 avril 1967 dans le jardin d’une maison de Neuilly sous le regard d’un des témoins M. Cassagne (de dos). René Ribière avait demandé réparation par les armes à la suite d’un différend survenu à l’Assemblé nationale au cours duquel Defferre l’ayant traité d'”abruti” avait refusé de lui présenter des excuses. / AFP PHOTO

The point of this essay, assuming there is one, is the love of God for us. A less loving God would have had the comedy of the generals end after only two or three duals, or after one killed the other. Here, He allowed them to fight till friendship prevailed. Also of note is that that French are not surrender monkeys, as some claim. They are masters of honor and history, and we love them.

Robert E. Buxbaum, December 28, 2022. In the US, dueling is more like gang warfare, I include here pirates like William Kidd and John Lafitte, the Hamilton-Burr duel with trick pistols, the western shootouts of Jim Bowie, Wyatt Earp, etc., the Chicago rivalries of the 1930s and the drug wars of Detroit. At present, Detroit has four shootings per day, but only one death per day. The movie “8 Mile” includes fights, shooting, and several rap duels, fought with deadly words. If you won’t fight for something, there is a sense that it isn’t worth much.

Religions unite to condemn “Life of Brian”, 1979

Monty Python’s “Life of Brian” presents the fictional story of Brian, someone born in the stable next door on Christmas Day, who is repeatedly mistaken for the messiah by a crowd that never gets the message right. We follow Brain as he grows and preaches wisdom, like “Think for yourselves, work it out, you’re all individuals.” The crowd then answers, in unison, “Yes! We’re all individuals.” Eventually Brian joins the People’s Liberation Front of Judea and is crucified by the Romans. Brian’s thoughts aren’t bad, but the humor is how completely his followers mess them up. Another example, near the end of the film, happens with Brian on the cross. A band of fanatical followers comes to the rescue, his “suicide squad”. They proceed to commit suicide, See it here. Brian can only say, “You silly sots.” It’s comedy. It’s a funny/sad take on religious martyrs, and it provoked a united condemnation by the three great religions because the comedy is relevant, and thus dangerous.

The movie opened in the Us, and was called “blasphemous” by the Catholic Church, and “a crime against religion.” The Catholic film-monitoring office rated it “C” for Condemned. Among Jewish leaders, Rabbi Abraham Hecht of Chabad/Lubovich asked to have the movie banned as a danger to civic peace. Chabad/Lubovich was promoting their own leader as the messiah (he had not proclaimed himself) so the film must have touched a particularly sensitive nerve.

Brian, center top, is thought to be the messiah, and reluctantly accepts the role, only to have it screwed up.

Rabbi Hecht claimed, in The New York Times, Aug 28, 1979, “This film is so grievously insulting that we are genuinely concerned that its continued showing could result in serious violence.” He was joined by the Union of Orthodox Rabbis and the Rabbinical Council of Syrian and Near Eastern Sephardic Communities of America, asking to have the movie banned. They had not asked to have any other movies banned before or since.

The US protestant opposition was headed by Robert Lee of the Lutheran council, who called it “a profane parody” in a broadcast carried by 1,000 radio stations. The religions united to buy a 1 page protest in “Variety,” a rare show of unity. The movie was banned in Italy, Ireland, Chile, Norway, parts of Britain (as a health danger), and likely many other countries. Ireland waited 8 years for a showing; Italy waited twenty years; Aberystwyth, Wales waited thirty years. The ban hasn’t yet been lifted in any of these places, by the way, nor have the religious bans been lifted. It seems that all religions agree you should not think for yourself abut God, or imagine that the leaders might have got things wrong.

The bishop of Southwark, on TV, making the case that “Life of Brian” was an attack on Christianity. It was just an attack on leaders like him.

In Britain, the effort to ban the movie were spearheaded by the “Festival of Lights,” a Protestant group. A leader of that group, Malcolm Muggeridge, debated two of the Pythons on TV, joined by Mervyn Stockwood, bishop of Southwark. See the full Life of Brian 1979 Debate, here. Malcolm Muggeridge had been editor of Punch, Britain’s top humor magazine. He argued that the movie was unfunny. Bishop Stockwood was considered a liberal, known to favor homosexual marriage within the church. He would not tolerate religious deviance, though and argued that the movie was sacrilegious, especially the song at the end. Neither individual seems to listen to anything the Pythons say. Stockwood ended the debate by saying that the Pythons “would get their 20 pieces of silver, that’s for sure”.

Abraham Hecht before the man he claimed was the messiah-king; He called “Life of Brian” a grave danger, and called for Israeli assassinations.

Despite being banned in many countries and by all major religions, the movie was financial success, in part because of the controversy. Its enemies too, in part for their controversy. The Festival of Lights gained notoriety for the protests of sex and violence in the movies. The Catholic Church banned more movies: Shaft, Rambo, Friday the 13th, and all the Borat movies. Rabbi Hecht protested the Israeli rabbinate for making conversion too easy, then pushed the idea that gentiles have to live by a Lubovich interpretation of “The Laws of Noach.” And finally, in June 1995, Hecht pressed for the assassination of Israeli Prime Minister Yitzhak Rabin and Foreign Minister Shimon Peres: “Such people should be killed before they can perform the deed.” [the Oslo accords]. Rabin was assassinated five months later — after the accords were signed. Hecht was presented with a 6 month leave from his pulpit. There were no general condemnations of the banners within their sects, though. All seem to agree that religion is about loving your neighbor, and banning or assassinating those who are not loving enough.

The most contentious part of the movie is the song at the end. It has become popular at funerals and with the terminally ill: “Always look on the bright side of life.” It’s comforting without being preachy: “When you’re chewing on life’s gristle, don’t grumble, give a whistle, and this will help things turn out for the best. And always look on the bright side of life….” Bishop Stockton found this song the most offensive part, and my sense of why is that, as a bishop, he feels he must be seen to stand between you and God. No one like that wants a terminally ill person to look at him and “give a whistle.”

Robert Buxbaum, September 2, 2022. I’ve previous written about the use of miracles in religion, and that total loyalty does not serve the follower, and doesn’t even help the leader.

Ron Weasley plays great chess, better than Voldemort.

Every now and again a book or movie includes a chess game. Generally, it’s in a story where death is on the line. It’s a literary device used to indicate high mental acumen of the people involved, particularly the one who wins. As an example, in “Sherlock Holmes, A Game of Shadows”, 2011, Holmes plays Moriarty, each calling out moves far advanced for the 1800s. It emphasizes these individuals’ super-smarts. Holmes wins at the end, of course. The Ingrid Berman film, “The Seventh Seal” is similar, with the chess game played against death himself. The knight shows himself a more-than-worth opponent. And that brings us to Ron Weasley in Harry Potter and the Sorcerer’s Stone, book 1 of the series, and movie, Ron Weasley is presented as a sort-of fool throughout the series. He’s mostly as source of background information about wizarding, but in one episode standout, he plays brilliantly with giant-size chess men against a magical intelligence, and wins. After the game, one that is described as one of the best ever, Ron goes back to being the goof-ball he was throughout. His chess skills don’t come up again, or do they. It’s a well written series, so what’s the point of including the game?

Position of pieces in Harry Potter and the Sorcerer’s stone (movie).

To see how brilliant Ron’s play is, recall that Ron is eleven years old in book 1. He, Harry, and Hermione enter a mysterious room filled with menacing statues. Ron immediately realizes it’s a chess board, and infers that they must win as black to pass through. He further infers that the piece representing Harry must make the checkmate. Two or three pieces are missing, and Ron infers that Harry’s character must replace one of these and become the mating piece. If you’ve ever played a decent computer, you know it’s very hard to win as white (in the 90s you could still win). This ghost intelligence plays quite well, and it’s almost impossible to win if you need to have a particular minor piece make the mate. In the movie, Ron plays as black and reaches the position shown with Harry as the king’s bishop and Hermione as a rook. He is down in material, but has laid a very good trap. The white queen captures the “free pawn” on d3, violently threatening the Harry-bishop. Ron interposes the rook to c3 forcing the white queen to take the rook. At this point, Ron could win by B-c5+, QxB, N-h3 mate, but that would sacrifice Harry and leave Ron as the winning piece. Both Ron and Hermione realize this, and Ron causes Harry to make the checkmate by N-h3+, QxN, B-c5+, Q-f3, BxQ mate. Ron is injured when QxN — a sacrifice in both senses of the word.

Death plays chess, painting by Albertus Pictor, 1480

It’s an impressive display of chess skill, and Dumbledore is right in saying it’s one of the best games. No normal player could manage a game like that, certainly no eleven year old. Normally such a display would be used to present Ron as the group brain, or at least as a very deep thinker. If so, why does the author have Ron revert to his care-free, stupid persona with chess never showing up.

We see that Voldemort, the arch villain, won his game too, and only lost a few pieces doing it. That Voldemort is good at chess is no surprise; it goes with his deep-thinking persona. We don’t see Voldemort’s game, but I can infer that he won via the Trailer gambit. It’s a fairly tricky win, but the only way that I know where you win as black losing only a kings bishop, a rook, and a knight, the pieces that Ron and his friends replaced. The Queen is the winning piece, though, and that’s a lot simpler than winning with a bishop. Ron’s win is far more sophisticated, a surprise given Ron’s behavior and how he is treated.

Perhaps it’s just bad writing, or an effort to show Ron is good at something, but I thought to do a quick re-read of Ron’s early appearance in book 2. Here I find that Ron is bright and motivated, but overshadowed. Early in the book, we find 12 year old Ron picking a lock using a hat pin, and driving a flying car reasonably well. We don’t think this is exceptional because his brothers do all this first, but it is exceptional: imagine tryin to drive a regular car with no instruction at 12. Later we find that Ron learns the fine points of Quidditch without native skill or a coach, just using a book, and we find that Dumbledore picks him to prefect, instead of Harry, a job he does well. Finally, we find that Hermione prefers Ron to Harry. It’s a somewhat surprising turn because she’s supposed to be the brains of the trio. How could she stand to be with Ron? Perhaps she is one of the few people who sees that Ron is bright. Dumbledore is too.

Viewed this way, the chess game becomes the first of the examples of Ron’s brainpower, and becomes an important foreshadowing to a surprise at the end of the last book/movie, to the final battle against Voldemort. In that battle, while everyone else is throwing hexes, Ron is the one who realizes that, to win the war, he must go to the basement chamber and collect basilisk teeth. It’s chess thinking: he’s focused on the king, on Voldemort, while everyone else is dealing with side threats. In a sense, it’s Ron who defeats Voldemort. The chess game is a foreshadowing, and fits with Hermione’s choice of Ron over Harry.

Robert Buxbaum, August 26, 2022. If you like chess puzzles, find some here. And in “Bill and Ted’s Bogus Journey,” 1991, the brilliance idea is sort-of reversed. Bill and Ted play against death in battleship, twister, and clue, and win. It’s used to show that death is sort of random, and sort of stupid.

Three identical strangers, and the genetics of personality

Inheritability of traits is one of the greatest of insights; it’s so significant and apparent, that one who does not accept it may safely be called a dullard. Personal variation exists, but most everyone accepts that if your parents are tall, you are likely to be tall; If they are dark, you too will likely be dark, etc., but when it comes to intelligence, or proclivities, or psychological leanings, it is more than a little impolite to acknowledge that genetics holds sway. This unwillingness is glaringly apparent in the voice-over narration of a popular movie about three identical triplets who were raised separately without knowing of one another. The movie is “Three identical strangers”, and it recounts their meeting, and their life afterwards.

Triplets, raised separately, came out near identical.

As one might expect, given my introduction, though raised separately, the three showed near identical intelligence, and near identical proclivities: two of them picked the same out-of-the way college. All of them liked the same sort of clothes and had the same taste in women. There were differences as well: one was a more outgoing, one was depressed, but in many ways, they were identical. Meanwhile, the voice-over kept saying things like, “isn’t it a shame that we never saw any results on nature/nurture from this study.” Let me clear this us: genetics applies to psychology too. It’s not all genetics, but it is at least as influential as upbringing/ nurture.

This movie also included pairs of identical twins, raised separately, they also showed strong personality similarities. It’s a finding that is well replicated in broader studies involving siblings raised separately, and unrelated adoptees raised together. Blood, it seems, is stronger than nurture. See for example the research survey paper, “Genetic Influence on Human Psychological Traits” Journal of the American Psychological Society 13-4, pp 148-151 (2004). A table from that paper appears below. Genetics plays a fairly strong role in all personal traits including intelligence, personality, self-control, mental illness, criminality, political views (even mobile phone use). The role is age-dependent, though so that intelligence (test determined) is strongly environment-dependent in 5 year olds, almost entirely genetic in 25-50 year olds. One area that is not strongly genetic, it seems, is religion.

In a sense, the only thing surprising about this result is that anyone is surprised. Genetics is accepted as crucial for all things physical, so why not mental and social. As an example of the genetic influence on sports, consider Jewish chess genius, Lazlo Polgar: he decided to prove that anyone could be great at chess, and decided to train his three daughters: he got two grand masters and an international master. By comparison, there are only 2 chess grand masters in all of Finland. Then consider that there are five all-star, baseball players named Alou, all from the same household, including the three brothers below. The household has seven pro baseball players in all.

Most people are uncomfortable with such evidence of genetic proclivity. The movie has been called “deeply disturbing” as any evidence of proclivity contradicts the promise of education: that all men are equal, blank slates at birth that can be fashioned into whatever you want through education. What we claim we want is leaders — lots of them, and we expect that education will produce equal ratios of woman and men, black and white and Hispanic, etc. and we expect to be able to get there without testing for skills, — especially without blind testing. I notice that the great universities have moved to have testing optional, instead relying on interviews and related measures of leadership. I think this is nonsense, but then I don’t run Harvard. As a professor, I’ve found that some kids have an aptitude and a burning interest, and others do not. You can tell a lot by testing, but the folks who run the universities disagree.

The All star Alou brothers share an outfield.

University heads claim that blind testing is racist. They find that some races score poorly on spacial sense, for example, or vocabulary suggesting that the tests are to blame. There is some truth to these concerns, but I find that the lack of blind testing is more racist. Once the test is eliminated, academia finds a way to elevate their friends, and the progeny of the powerful.

The variety of proclivities plays into an observation that you can be super intelligent in one area, and super stupid in others. That was the humor of some TV shows: “Big Bang Theory” and “Fraser”. That was also the tragedy of Bobby Fischer. He was brilliant in chess (and the child of brilliant parents), but was a blithering idiot in all other areas of life. Finland should not feel bad about their lack of great chess players. The country has produced two phone companies, two strong operating systems, and the all time top sniper.

Robert Buxbaum, May 15, 2022

Dark Academia, the new mood.

Old libraries and old books play a big part in the aesthetic.

For years academia the movie version of academia was trees and deep intellectual discussions. It was the bright city on the hill, the happy paradise where the young and talented bloom to greatness (after first convincing their well-meaning, buddy-duddy teachers), or where the oppressed middle-ager goes returns to, to complete their journey of self -discovery. But there is a new mood in town, one where academia is a darker, more dangerous place, both for the body and for the soul. The last few years have seen movies and books that follow a talented person without any particular view or direction. The person arrives, looking to make friends or looking to become special. This literature of “Dark Academia”, the students end up damaged or killed, and the friendships they get are fairly sinister, and often exploitive.

An early dark academia movie was Hitchcock’s “Rope,” based on the Leopold Loeb case of the 1920s. Several students get excited by ideas of Nietzsche and kill one of their fellows because they feel special, and come to decide that he isn’t, quite. Another early version was Frankenstein, a book whose early chapters are filled with imagery of crazed collegians pushing the limits in a dark laboratory and library settings. Still, in these earlier versions, the crushing pressure was from inside the student, not so much from ill intent of the the institution, the faculty, or the classmates, and there is no discussion of drugs, sex, architecture, or fashion.

Harry Potter and friends in dark academic garb. Casual, clean, active, hip-academic.

The modern versions begin, in my opinion, with Harry Potter, the books and the movies. From the beginning, the main character finds that the school itself is both helpful and hurtful. The building tries to trip you, but provides slave labor, several professors are sadists, and a few turn out to be murderers or “death eaters.” There are friends too, and fire-whiskey, or butter-beer, and an intense desire to excel at ones craft, in this case magic. Harry Potter’s round glasses and the school neckties became classics too, but Potter is still pretty chaste where sex is concerned.

In the most recent examples alcohol and sex play a more central role, along with murder and clothes. A popular book, “The Secret History” by Donna Tartt has a cultish professor, named morrow, and students who dress in tweeds, for the most part. All of them wear round glasses, like Harry Potter’s, but in this case with metal rims. All are rich. As in rope, they conspire to murder the least special of the group in the goal of understanding the ancient Greeks. Unlike in Rope, they get away with it.

Another recent example is “Kill your darlings”. It takes place in Columbia University in 1943-46 and stars Daniel Radcliffe who played Harry Potter of the movies. He plays the young Alan Ginsberg. He enters school not quite knowing what sort of poetry he’d like to write, or if he’ll write poetry. In the movie, as in real life, he meets Jack Kerouac, William Burrows and a few others who introduce him into gay sex, wanton destruction Benzedrine and Heroin (no bad effects). He tries suicide and one of his group goes on to murder another — the one who is least special. and he gets away with it. The end is that the others become special. Ginsberg writes a great “absurdist” essay that even his professors admire and goes on to become.a great poet.

Danna Tartt, author models the Dark Academic look. Notice the cigarette.

The mood of dark academia is a mix of repressed anger and innocence. People stare into space like Oscar Wilde with heartburn, or a longshoreman on break. The architecture includes vast dining halls, gothic bell towers and forbidding libraries (see picture at top). The devoted student searches here for hidden light but finds only darkness. Murder follows.

The clothes of Dark Academic novels are important. Browns, black or grays mostly. Clothes are casual and active, but clean. The look says, “I’m sexually active and criminally active; I do drugs and don’t do my homework, and I might perhaps murder, but I plan to submit a killer final project. Murder is a sign of really getting into it. “Genuine beauty is always quite alarming.” It’s a line from “The secret History,” but the same line, nearly, appears in Hitchcock’s “Rope.” It’s part of the tremendous desire to be special, great, and in the race for greatness there must be a destruction of the ordinary. That’s the dark academic mood: an aesthetic where murder is a creative act.

Robert Buxbaum, April 2-5, 2021.

Seize the day

It is forbidden knowledge what our term of years, mine and yours.
Don’t scan the tables of your Babylonian seers.
Better far to bear the future, my Leuconoe, like the past.
Whether Jupiter has many years yet to give,
Or this one is our last:

This, that makes the Tyrrhene waves spent against the shore.
Strain your wine and strain your wisdom.
Life is short; should we hope for long?
In the moment of our talking, precious time has slipped away.
Seize the moment. Trust tomorrow little as you may.

by Horace (23 BC Roman poet) Odes, 1.11

This poem by Horace, in 23 BC is the first appearance of the phrase “carpe diem,” translated as seize he day. I’d decided to look over the translation from Wikipedia, and to correct and update the translation as I saw fit, to some extent to extract the meanings better, to some extent to make the grammar less-clunky, and to some extent to make it rhyme. Seen in context, the whole poem looks  romantic, and the intent of the famous phrase seems more like ‘seize the moment’ when read in context. Either translation is acceptable from the Latin, as I understand it.

The phrase, “seize the day” appears in several important movies. Robin Williams speaks it to a class of literature students in the sense that I read it here — seize the moment — in this scene of “The Dead Poets Society,” He’s trying to get the boys to appreciate the purpose of poetry, and the preciousness of their years in prep-school. A well-done movie, IMHO. The newspaper sellers sing the phrase for different intent in this song in “Newsies.” For them, the intent is more like seize the opportunity, or maybe even seize power. It’s not Horace’s intent, but it’s sung in front of the statue of Horace Greeley, and it works.

In either context, there is a certain young masculinity about this phrase. In both movie, the cast experiencing the idea is male and young. I don’t think either movie would work as well with women dancing or singing to this idea.

Robert E. Buxbaum, March 9, 2019. In case you should wonder what happens to Frank Kelly (Sullivan) after the movie ends, I’ve written about that.  Also, a friend of mine notes that the grammar used in these movies is wrong:  “Carpe diem” is singular, for this 3rd declension noun. The equivalent Latin plural is “Carpite diem:” That’s the equivalent of you-all, should seize the moment. Unlike in the movies, much of classic education is spent on pedantic, uninspiring, minutia, like Latin grammar, but that’s what’s necessary to permit distinction of meaning. Thank you, David Hoenig for grammar help.

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

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.

What I liked most about superman: the disguise

Superman's costume, like Clark's, is mostly affect.

Superman’s costume, like Clark’s, is his affect.

Like many people my age, I find that the current movie versions of Superman miss the points that I most liked in the comics and movies of the 60s and 70s. The thing that most impressed me about Superman was the disguise, or the lack of one: it was mostly his affect. Though Clark Kent wore glasses and a conservative suit, this only accentuated his main disguise, that he kept his head down. This shlumpy affect was the main reason, as best I could tell was what kept people from realizing he was super strong and from a different planet. Superman, by contrast, wore a fancy outfit of bright, primary colors and stood with his chin bizarrely up. Superman was careful to keep his hands on his hips or outstretched in front when he flew. Standing and dressed this way, they didn’t recognize him as Clark Kent, and they instantly liked him; everyone except for Luthor, it seemed. It’s a fantasy: being able to blend in when you want, and being able to stand out for the good when you want. As best I could tell, this was the main (Jewish) fantasy of the series: to think that you’d be liked if you stood erect and affected confidence, and that you could pass un-noticed if you wore a suit and slumped over. The current movies get rid of all of this affect and all this fantasy. He no longer flies with his hands out, and Clark is no longer a schlump. You have to wonder why no one suspects that Clark Kent is Superman. And I have to wonder what people find attractive about the movies. Where’s the fantasy?

This didn't happen in the comics of my day except as teasers.

This didn’t happen in the comics of my day except as teasers.

Another fun aspect of the comics that the movies have dismissed was the love triangle of Clark, Superman, and Lois. Or, if you like, of Superman, Supergirl, and Lois. In the comic books of my era, it was clear that Lois is attracted to Superman but feels nothing but feminist revulsion for Clark. Meanwhile, in the comics, Superman clearly felt no attraction for Lois, not in his guise as Superman nor as Clark Kent. There is a sort of paternal affection, but nothing more. Humorously, this paternalism attracts Lois when it comes from Superman, and repeals her when it’s from Clark, the sexist schlump. There’s probably something Freudian there, and it makes perfect sense in context too: You, the reader, know that Lois is of a different species. Clark/ superman would just as soon fall for her as for an orangoutang or a rare potted plant. It’s funny and comforting that he cares nothing for her physically in the comics since she’s such a weaker species that, if they were to mate, the Super Sperm would probably cut Lois in half, or impregnate the entire city. It’s funny because Lois is entirely oblivious to how hopeless her case is and this causes narrative tension. All this tension is removed in the current movies and comics: Lois and Clark, as it were, are a sexual pair, and there is no super sperm disaster.

Bizarro Superman is hated on earth for no reason, just as normal superman is loved for no reason. There is a morality lesson here.

Bizarro Superman is hated on earth for no reason, while normal superman is loved for no reason. There is a moral lesson here.

Highlighting the humor of the interspecies romance, occasionally Superboy or Supergirl would show up in the comic books of my day. The comics of my day showed a chemistry between the two supers that did not appear between Lois and Clark/ Superman. Furthering the humor, it is clear that Supergirl does not share Superman’s affection for mankind. She has an alien morality and it shows. Supergirl generally can’t understand why superboy/ superman takes such care of the humans, and Supergirl finds Superman’s “Truth, Justice, etc. ” morality childish. It’s like she sees him as a grown man playing with toy soldiers or with an ant farm. Super girl makes sense here, by the way. Why would someone from a distant planet share the same morality that we have unless they shared Clark’s Kansas upbringing.

Lois, true to form, is totally oblivious to the interspecies morality difference, and is jealous of supergirl. It’s super fun, made somewhat better when super-dog shows up (he’s a dog in a cape). There is no super-dog in the movies, and no super girl or superboy, so far. Super girl is supposed to appear soon, but it’s hard to guess why.

Mr Mxyzptlk gets superman to say his name backwards. Why? It’s fun.

And then there are the villains. In the comics of my day, the villains were there to develop the humor. Except for Luther, they were aliens and thus didn’t need a real motive for their mischief. Take Mr Mxyzptlk, a favorite of mine and of may others. He meant no harm, but was an alien from the 5th dimension who just wanted to have fun (don’t we all?). Like Superman, Mxyzptlk was super powerful, and Superman had to defeat him with his wits.

Another favorite super villain was Bizzaro Superman. He was a Superman variant of another planet or dimension and , as seemed perfectly reasonable, he has a completely opposite morality from Superman. He’s happy go lucky, robs banks and does other crimes (why would you think otherwise — it’s normal on his planet.) Interestingly, Bizzaro does not keep his head up, and has none of Superman’s charisma, Bizzaro is there, I think, to emphasize the fantasy of Superman’s non-disguise and semi-human morality. And as such he was a favorite.

These musings on the morality and charisma are all left out of the current movies. There is no Bizzaro, or Mxyzptlk. Instead, Lex Luther is the universal villain and he’s crazy-evil. In the current movies, it’s hard to guess why Lex Luther doesn’t like superman as strongly as he does, or why he puts so much effort into fighting him to no effect. In the comics of my day, Lex’s job was much simpler, get kryptonite and hit superman with it, and his motivations seemed reasonably normal. I’d be put off too by a super-strong flying guy in blue tights who foils my illegal plans. As soon as Lex discovers kryptonite and realizes Superman has an Achilles heal, Lex goes about using it. It seemed normal enough to me then. Why does Luther now have to be a psychopath now.

Robert Buxbaum, October 20, 2016. The original super-costume was super Freudian too. It was supposed to be his baby blanket sewn by his mother in Kansas with design input from dear old dad. As a result the original costume looked soft and puffy, like a baby blanket. Nonetheless, Superman wears it with pride — in the open when saving the world and under his Clark Kent clothes at all other times. it seems he’s a momma’s boy clutching his baby blanket. It what way are the modern movie changes better than the original Freudy cat.

Disney’s Star Wars seven: muppets in space

I just bought tickets for opening night of the new Star Wars movie, “The force Awakens,” now produced by Disney instead of Lucas Film. While the original films were not family unfriendly, Disney has a peculiar wholesome reputation to uphold and a peculiar taste for cross marketing. As Disney now owns the Muppets, too, and the muppets 30 years ago made some cross-promotional photos with Kermit and Piggy, I now propose the following plot to integrate the photos into the saga as it stands.

We know that the main characters from SW6 (Empire Strikes Back) are back. Harrison Ford appeared on an entertainment magazine wearing a peculiar black vest. I expect to see them on sale, as the Indiana Jones hat was on sale, and maybe still is (I nearly bought one). In a preview he’s shown handing a blaster to a young girl dressed vaguely like a Jedi. My guess is this is an orphan he’s found, and that she’s going to become a Jedi. Han’s personality never changes in the earlier movies, and neither did Leah’s, so my expectation is they’re still the same here. I see Leah leading the free rebels, making pompous comments about uncle Luke, or about the kids (I expect they have at least one child). Han remains a grumpy fly-boy, with perhaps some depreciating humor about his age. I expect Leah to plan the winning air battle, and expect Han to pick the kids up at the end of the movie, and to fly off in the old Millennium Falcon station as the credits roll. Han and Leah are not main characters; mostly there for reference and continuity.

This is a meme on Facebook, don't know who did it, but clearly relevant to Star Wars 7.

I saw this on Facebook; don’t know who did it.

In the preview, the girl enters a wrecked star ship and hears a voice saying, “who are you?” The girl answers “nobody.” I’ll guess this is a new female companion, who is, like the girl a castaway. All the key people enter Star Wars as castaways of one sort or another (Han, Luke, Chewie, Obiwan, Yoda, Anakin, Qui Gon, Jar Jar Binks…) It’s a pattern found with the baby Moses, or the young Oedipus found by Polybus. Finding such castaways is rarely good luck for the finder’s clan. As the castaway is unseen, I’ll assume it’s a certain muppet, a voluptuous pig who dresses like Leah. We’ll call her Lola. My guess is that Luke will be taken by her. Is it love? Can Luke be true to her and to the force? The Ghost of Yoda will appear to claim she’s trouble, and will remind them that control of feelings is of utmost importance. (Yoda’s a creeper, as was Obi Wan: teaches emotion control and pacifism; helps Luke blow up a death star).

The previews also show a handsome black ex-storm trooper, perhaps he’ll be a love interest for the girl, and perhaps the next generation of Jedi: the force has to awaken in someone. Either way, he too is a castaway. There’s also a bad guy in black. I don’t expect another castaway, so I’ll guess this finally is the biological son of Han and Leah, and that he’s the first student of Luke.

I see a new love interest: Lola, the she pig. Can she be trusted? Can Luke keep true to her and to The Force?

I see a new love interest: Lola, the she pig. Can she be trusted? Can Luke be true to her and The Force?

The bad guy is shown at the head of an army of Imperial storm troopers. He’s been turned bad, perhaps by the skull of Vader? Luke, dressed in black, is still on the good side and will try to teach the girl and storm-trooper, dressed in white, but without much success. He’s lost his nerve. Someone is shown in black, with a cross- shaped light-saber; my guess is it’s Luke. Disney would not put a cross in the hands of a villain (just saying). The red cross shape flickers suggests anguish. My guess is there is a foreshadowing that Luke will eventually perform an act of self-sacrifice, like Christ or Obi Wan; can’t let the cat out of the bag.

Not knowing otherwise, I’ll assume that the ex-storm trooper is the McGuffin, or has it. It’s he that attracts the bad guys. He conveniently crash-lands on a desert planet where we also find Han, the mystery girl, and the mystery pig (the force is strong with him). Perhaps he’s been turned to the good side by the mystery pig. The Empire attacks and Han takes them all to the Rebel base where we meet Leah and Luke. Luke sees something in the trio and (I’ll guess) takes them to Degoba, the planet where Luke was trained. Why? Luke won’t say. I picked Degoba because that’s where the muppet shoot was. I expect one robot to go, and the other robot to stay behind with Han and Leah. Robots always accompany people in SW, like valets.

I expect Luke’s ship to be blown up on Degoba, stranding them. They get stranded in every movie, so why not. But who did it: Luke? Lola? One of the kids? Something’s not kosher about the pig. Is she a sith with a snout (say that five times fast). I imagine Luke teaching the kids some Jedi stuff, but growing frustrated. He tells them to control their feelings; that fear leads to hate, etc. His niece will say she’s already heard that from Yoda, and will add, What are you doing with the pig? Don’t you see the danger? Luke will try to explain: “You’ll understand when you’re older,” and will walk off with the pig into the woods.

Star Wars, green with envy.

You make me feel like I’m 500 again, but my place is with Kermie. It’s another awkward family reunion photo.

The kids will meet another green, wise one. A frog, named Kermit, who will train them using music and laughter. The kids will then try to explore the woods with Kermit in tow.

Meanwhile Luke, will fire up his cross-shaped light saber and raise up a hoard of dark assistants (or assassins?). Who are they? They are phantasms of Luke’s wayward student, and of other’s he’s injured. Luke will fight a phantasm and kill it; again it’s himself. The girl will show up and he’ll nearly kill her, but Lola will stop them, and tell Luke not to feel bad about the bad guy, his student.

The ghost of Yoda appears, and Lola says, “It’s about time, sonny-boy..”  Yoda will say, “Yes, mommy.” Luke says, “She’s your mother?!”. Lola will look up at Luke and say, “yes, and a very troublesome lad he’s been. “He’s told you all wrong about feelings. “Feelings are good.” The ex-storm trooper and the girl look at each other. Lola will look at Luke and say, “you make me feel like I’m 500 again, but my place is with Kermie.” Kermit  looks lovingly at Yoda.

There’s a space attack from the Empire. Rescuers appear, with Han at the lead in the falcon. The two youths turn out to be excellent flyers. Everyone flies off. Inside the ship, Lola turns to Kermis, “Feelings, Kermie, I’ve been in that prison ship for 800 years, get behind the seats, and I’ll show you feelings.”… Kermis makes a face. Han hits the hyper drive. Ship vanishes, Music swells, and the credits roll.

Buxbaum, Yes, that’s a winning combination script, written. November 23, 2015.