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The Flying Pinto That Killed Its Inventor

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Image credit: Doug Duncan

The flying car has been invented over and over again. The problem is, each iteration has fallen somewhere on the line between amusing failure and outright disaster. Perhaps the most infamous example was the AVE Mizar, a.k.a. the “Flying Pinto,” which killed its inventor on an early voyage.

Those Magnificent Men in Their Flying Machine

Henry Smolinski was born in 1933, one of eight children in a Polish American family living in Cuyahoga, Ohio. After attending the Northrop Institute of Technology's aeronautical engineering school, he began his career at North American Aviation as a structural engineer working on jet engine and aircraft design. In 1959, he joined Rocketdyne as a project engineer, working on their missile development and aerospace programs.

After a decade at Rocketdyne, Smolinsky left to form his own company with his friend, Hal Blake. They founded Advanced Vehicle Engineers in Van Nuys, California, in 1971, expressly to design and build a flying car. Their first and only model was AVE Mizar (named after one of the stars that form the Big Dipper’s handle). The idea was simple enough: take a regular car and a small airplane and modify them both, so a person could drive the car to an airport, fit the car and the waiting airframe together, take off from the runway, come down a few hundred miles away at another air strip, detach from the airframe and then drive the car away.

Image credit: Curbside Classic

The prototypes of the Mizar were made by sawing up a Cessna Skymaster and a Ford Pinto and fitting them together. The Skymaster’s cabin and front engine were removed and the rest of the plane attached to the Pinto, with the wings sitting over the roof and the pusher engine snuggling up against the hatchback. The Pinto was backed into the airframe and four high-strength, self-locking pins were used to hook everything together. The driver’s controls were adapted so that in flight the driver/pilot could control the airframe’s ailerons by turning the steering wheel right or left, and the elevator by pushing and pulling the wheel. Pedals to control the rudder were also installed, and all the flight controls inside the car were attached to the airframe via connections that ran underneath the driver’s side of the car. The Pinto’s dashboard was outfitted with flight instruments like air speed and rate of climb gauges, an altimeter, a directional gyro, fuel pressure gauges, a throttle, and radio navigational equipment.

The Mizar could use both the car engine and the aircraft engine during launch to shorten the takeoff roll. Once in the air, the craft had a cruising speed of 130 mph, a range of 1,000+ miles, and a ceiling of 12,000 feet. Upon landing, the car’s brake system would stop the craft on just 530 feet of runway.

On an early test flight conducted by pilot Charles "Red" Janisse in 1973, the right wing strut’s mounting attachment failed not long after takeoff. Red knew turning the craft would put too much stress on the unsupported wing and might rip it clean off, so he had to put the Mizar straight down in a bean field and drive the wounded vehicle, airframe still attached, back to the airport. AVE got great publicity anyway. The Mizar became a hard-to-ignore sensation and Galpin Ford of Sepulveda (now known as North Hills), California, signed on as a national distributor.

Smolinsky wooed the public with sales pitches and press conferences, promising a vehicle that was simple (“A woman can easily put the two systems together - or separate them - without help”) and affordable enough ($15,000 at full production, divided roughly to $4,000 for the car, $5,500 for the air engine, and $5,000 for the air frame) for anyone to take to the skies.

Disaster

One of Smolinsky’s press conferences foreshadowed tragedy, though. As the Los Angeles Times reported, “…the room was full of skeptics and some technical questions were not fully answered. The aircar people acknowledged there are problems. ‘But we feel we have the answers,’ they said.”

In the summer of 1973, another prototype with a different plane engine was unveiled and taken for a series of taxi and flight tests over a span of three months at the Ventura County Airport. On September 11, Jannise was not available for a scheduled test flight, so Smolinsky and Blake took the Mizar up themselves.

According to Mac Grisham, the airport manager, the men had made an agreement with the airport that they would notify him before each flight, so he could alert local police and fire officials. For some reason, Smolinsky made no contact with Grisham that day, and after watching the Mizar take off, Grisham ran to the air control tower to radio the craft.

As he neared the tower, he heard the airport’s crash horn shriek, and turned to see a column of thick black smoke rising up from below where the Mizar should have been.

The alarm had been hit by Danny Edwards, an air traffic controller in the tower, who had been watching the Mizar through his binoculars. About two minutes after takeoff, he saw the craft’s right wing fold in. The Mizar twisted and then fell, with various parts and pieces flying off. Another witness was on his lawn and watched the craft fall, strike the top of a tree, crash onto a pickup truck parked in the street, and burst into flames.

Smolinski and Blake were both killed instantly, according to the local coroner, though he wasn’t able to determine if whether they died from crash injuries, burns or from smoke inhalation.

After their investigation, the National Transportation Safety Board reported that this particular version of the Mizar had several problems. For one, even though the Pinto was not a large car, the Mizar was just too heavy. It was already over gross weight without passengers or fuel. They also found loose parts and an earlier problem that reared its head again. A bad weld had resulted in the right wing strut attachment failing where it met the body panel of the Pinto.

With the death of its inventor, the Mizar project was shelved and AVE shut down. Hindsight being 20/20, it's easy to say that a Pinto, a car famous for being a death-trap on the ground, should never have flown. But Smolinsky did make it fly, even if just for a few moments, when so many others could never get their own flying cars off the ground.

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AMNH // R. Mickens
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science
What It’s Like to Write an Opera About Dinosaurs
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AMNH // R. Mickens

There are many challenges that face those writing the lyrics to operas, but figuring out what can rhyme with dinosaur names isn’t often one of them. But wrangling multisyllabic, Latin- and Greek-derived names of prehistoric creatures into verse was an integral part of Eric Einhorn’s job as the librettist behind Rhoda and the Fossil Hunt, a new, family-friendly opera currently running at the American Museum of Natural History in New York City.

Created by On Site Opera, which puts on operas in unusual places (like Madame Tussauds Wax Museum) across New York City, in conjunction with the Lyric Opera of Chicago and the Pittsburgh Opera, Rhoda and the Fossil Hunt follows the true story of Rhoda Knight and her grandfather, the famous paleoartist Charles R. Knight.

Knight worked as a freelance artist for the American Museum of Natural History from 1896 until his death in 1953, creating images of extinct species that paved the way for how we imagine dinosaurs even now. He studied with taxidermists and paleontology experts and was one of the first to paint dinosaurs as flesh-and-blood creatures in natural habitats rather than fantastical monsters, studying their bones and creating sculptural models to make his renderings as accurate as contemporary science made possible.

In the 20-minute opera, singers move around the museum’s Hall of Saurischian Dinosaurs, performing among skeletons and even some paintings by Knight himself. Einhorn, who also serves as the director of On Site Opera and stage director for the opera, wrote the libretto based on stories about the real-life Rhoda—who now goes by Rhoda Knight Kalt—whom he met with frequently during the development process.

Soprano Jennifer Zetland (Rhoda) sings in front of a dinosaur skeleton at the American Museum of Natural History.
AMNH // R. Mickens

“I spent a lot of time with Rhoda just talking about her childhood,” he tells Mental Floss, gathering anecdotes that could be worked into the opera. “She tells this great story of being in the museum when they were unpacking the wooly mammoth,” he says. "And she was just there, because her grandfather was there. It's being at the foot of greatness and not even realizing it until later.”

But there was one aspect of Rhoda’s childhood that proved to be a challenge in terms of turning her story into a performance. “Unfortunately, she was a really well-behaved kid,” Einhorn says. “And that doesn't really make for a good opera.”

Knight Kalt, who attended the opera’s dress rehearsal, explains that she knew at the time that if she misbehaved, she wouldn’t be allowed back. “I knew that the only way I could be with my grandfather was if I was very quiet,” she says. “Sometimes he would stand for an hour and a half discussing a fossil bone and how he could bring that alive … if I had interrupted then I couldn't meet him [at the museum anymore].”

Though Knight Kalt was never an artist herself, in the fictionalized version of her childhood (which takes place when Rhoda is 8), she looks around the museum for the missing bones of the dinosaur Deinocheirus so that her grandfather can draw them. The Late Cretaceous dino, first discovered in 1965, almost didn't make it into the show, though. In the first draft of the libretto, the dinosaur Rhoda is searching for in the museum was a relatively new dinosaur species found in China and first unveiled in 2015—zhenyuanlong suni—but the five-syllable name proved impossible to rhyme or sing.

Rhoda Knight Kalt stands next to the head of a dinosaur.
Rhoda Knight Kalt
Shaunacy Ferro

But Einhorn wanted to feature a real dinosaur discovery in the opera. A paleontologist at the museum, Carl Mehling, suggested Deinocheirus. “There are two arms hanging right over there,” Einhorn says, gesturing across the Hall of Saurischian Dinosaurs, “and until [recently] the arms were the only things that had ever been discovered about Deinocheirus.” Tying the opera back to an actual specimen in the museum—one only a few feet away from where the opera would be staged—opened up a whole new set of possibilities, both lyrically and otherwise. “Once we ironed that out, we knew we had good science and better rhyming words.”

As for Knight Kalt, she says the experience of watching her childhood unfold in operatic form was a little weird. “The whole story makes me laugh,” she says. But it was also a perfectly appropriate way to honor her grandfather. “He used to sing while he was painting,” she says. “He loved the opera.”

Performances of Rhoda and the Fossil Hunt will be performed at the American Museum of Natural History on Fridays, Saturdays, and Sundays until October 15. Performances are free with museum admission, but require a reservation. The opera will later travel to the Lyric Opera of Chicago and the Pittsburgh Opera.

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iStock
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Animals
11 Buoyant Facts About Humpback Whales
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iStock

Humpback whales are some of the most intelligent animals on the planet. Hunted almost to extinction during the 19th and early 20th centuries, their populations are slowly recovering, and now they’re a favorite sight for whale-watchers. Here are 11 facts you might not have known about the mysterious marine giants, who are known for their acrobatics and for sidling right up alongside boats to get a good look at their human observers.

1. THEY’RE LONGER THAN A SCHOOL BUS.

North American school buses max out at about 45 feet long. Female humpback whales—which are larger than males—can be up to 60 feet long, and their pectoral fins alone can be 15 feet long. At birth, humpbacks weigh around 1 ton, doubling in size during their first year of life and eventually reaching up to 40 tons.

2. THEY HAVE HUGE MOUTHS.

In keeping with the rest of their bodies, their mouths are huge—their tongue alone is the size of a small car. But the opening to their throat is only about the size of a grapefruit, according to the Hawaiian Islands Humpback Whale National Marine Sanctuary, so they can’t swallow large prey. Instead, they eat krill, small fish, and plankton. They can eat up to a ton of food per day, according to the 2015 documentary Humpback Whales.

3. THOSE BUMPS ARE HAIR FOLLICLES.

Each of the distinctive bumps along a humpback’s head holds a single hair that the whale uses to sense the environment around it. These hairs help the whale glean information about water temperature and quality.

4. THEIR FLUKES ARE LIKE FINGERPRINTS.

Like human fingerprints, humpback tails can be used to identify individuals. The pigmentation and scarring on their flukes is unique, and scientists document these markings to keep track of certain whales that they see repeatedly during their research trips.

5. THEY LIVE A LONG TIME, BUT NOT AS LONG AS MANY OTHER WHALES.

Most humpback whales make it into their 60s, but scientists estimate that they may live up to 80 years. Still, that’s nothing compared to bowhead whales, a species whose oldest known individuals have lived to be 200 years old.

6. THEY HAVE THE LONGEST MIGRATIONS OF ANY MAMMAL.

Each year, humpbacks migrate from their feeding grounds in cold waters toward warm breeding areas—Alaskan whales head to Hawaii, while Californian whales head to Mexico and Costa Rica, and Australian whales migrate to the Southern Ocean. These biannual journeys can involve distances of up to 5000 miles, which is officially the longest known migration of any mammal on earth.

The fastest documented migration of a humpback whale was observed in 1988, when a humpback traveled from Sitka, Alaska to to Hawaii in just 39 days—or possibly less, depending on how soon it left Alaskan waters after the researchers sighted it the first time [PDF]. That’s a journey of about 2750 miles point to point.

7. THEY HAVE BEEN KNOWN TO DEFEND OTHER SPECIES FROM ORCAS.

In 2009, marine ecologist Robert Pitman watched two humpback whales rescue a seal from a group of orcas that were pursuing it. The seal ended up on one of the humpbacks’ chests, and when it began to fall off, the whale even nudged it back on with a flipper, indicating that it was an intentional act of altruism. Though it’s not entirely clear why they would do so, it appears to be an offensive response on the part of the humpbacks, who may intervene whenever they hear killer whales fighting, whether one of their own is involved or not.

8. ONLY THE MALES SING.

Their songs may have made the species famous, but not every humpback sings. It’s strictly a male behavior, and plays an important part in courtship displays. There’s plenty of mystery that still surrounds the science of whale songs, but in 2013, researchers discovered that it’s a group activity that involves even sexually immature males. Both young and mature whales sing in chorus, giving the immature whales a lesson in singing and courtship behavior, and helping older whales amplify their songs to draw females to the area from afar. Other research has found that these songs change over times, and whales learn them much like a human learns a new song, bit by bit.

9. BREACHING IS LIKE YELLING

Though humpbacks are famous for their songs, that’s not the only way they communicate. Scientists only recently discovered that breaching—when whales jump up into the air, crashing back down into the water—is a way to keep in touch with far-away friends. Humpbacks leap higher and more often than other whales, and while spectacular to witness, the moves come at a cost: It takes a lot of energy, especially when the whales are fasting. But after 200 hours observing humpbacks migrating past the Australian coast, a team from the University of Queensland found that the whales were more likely to breach when the nearest group of other humpbacks was more than two and a half miles away, and that they were more likely to do so when it was windy out. It appears that breaching is a way to communicate over long distances when there is a lot of competing noise.

10. THEIR SONGS ARE INCREDIBLY COMPLEX …

Humpback songs aren’t just showy. They have their own grammar, and their songs are hierarchical, like sentences. In human language, this means that the meaning of sentences depends on the clauses within them and the words within them. In 2006, mathematical analysis found that humpbacks use phrases, too. And they remix their tunes, too, tweaking them and changing them over time, often combining new and old melodies. Humpback songs have even been visualized as sheet music.

11. … AND HELPED END WHALING.

Researchers estimate [PDF] that prior to the whaling boom of the 19th and 20th centuries, there were around 112,000 humpbacks in the North Atlantic alone, but that by the time commercial whaling was banned in the region in 1955, there were less than 1000 individuals left. Between 1947 and the 1970s, the USSR alone killed an estimated 338,000 humpbacks, falsifying data it was required to submit to the International Convention for the Regulation of Whaling to disguise the illegal magnitude of its hunting operation. It has been called “one of the greatest environmental crimes of the 20th century.”

While the populations have grown and humpbacks have been taken off the endangered species list, some estimates put the worldwide humpback population at only 40 percent of what it was before the whaling era. Whaling was banned throughout the rest of the world in 1966, though Norway, Iceland, and Japan still practice it.

Roger Payne, one of the scientists who first discovered that humpbacks sing songs, later became instrumental in pushing to protect the species in the 1960s. In 1970, he released his recording of humpback songs as a record, which remains the best-selling nature recording in history. In 1972, the songs were played at a Greenpeace meeting, and ended up galvanizing a new movement: Save the Whales. “It certainly was a huge factor in convincing us that the whales were an intelligent species here on planet Earth and actually made music, made art, created an aesthetic,” as former Greenpeace director Rex Weyler told NPR in 2014. The campaign gained traction with other organizations, too, and helped lead to the International Whaling Commission’s 1982 whaling ban.

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