11 Things You Might Not Know About Charles Lindbergh

AFP/Getty Images
AFP/Getty Images

Before flying around the world was a daily occurrence, aviator Charles Lindbergh (1902-1974) made history by becoming the first person to complete a solo transatlantic flight in 1927. The feat made him a national hero, and then he became a tragic figure: The kidnapping of his infant son in 1932 remains one of the most indelible true-crime cases of the 20th century. Check out the following facts for more on Lindbergh’s life in and out of the cockpit.

1. HE GOT HIS START RIDING AIRPLANE WINGS.

Born in Detroit on February 4, 1902, Lindbergh spent his childhood in Washington, D.C., where his father, Charles August Lindbergh, was a congressman, as well as in Little Falls, Minnesota. While in Little Falls, he saw a “barnstormer,” or daredevil pilot, buzz into town. "Afterward, I remember lying in the grass and looking up at the clouds and thinking how much fun it would be to fly up there among those clouds," he later recalled.

The event was thought to have instilled a curiosity about air travel that lasted Lindbergh’s entire life. After dropping out of college at age 20, Lindbergh started working for the Nebraska Aircraft Corporation, which repaired and sold airplanes. While a fellow employee flew aircraft for publicity purposes, Lindbergh would step out onto the plane wing to attract even more attention. He later got his pilot’s license at the Army Air Service, graduating in 1925.

2. DELIVERING MAIL GAVE HIM NERVES OF STEEL.

In the early days of aviation, flying was considered a high-risk proposition. After serving as a second lieutenant in the U.S. Army, Lindbergh took a job delivering airmail between St. Louis and Chicago. The expedited schedule meant Lindbergh and other pilots flew at night with poor visibility, had to push through inclement weather, and suffered from fatigue. Lindbergh learned to deal with many of the dangerous variables of piloting, which prepared him for an audacious goal: making a transatlantic flight solo.

While pilots John Alcock and Arthur Brown had made a nonstop transatlantic flight in June 1919 from Newfoundland to Ireland, it was only half the distance of Lindbergh's goal of flying from New York to Paris. A hotel owner named Raymond Orteig had offered a $25,000 prize to the first person to travel that route, but for several years, no one took him up on it—a testament to the fact that few believed it could be done.

3. HE COULDN’T SEE OUT OF HIS HISTORY-MAKING PLANE.

The Spirit of St. Louis displayed in the “Boeing Milestones of Flight Hall” in the National Air and Space Museum in Washington, D.C.Eric Long, Smithsonian’s National Air and Space Museum

Lindbergh's decision to mount the first transatlantic flight from New York to Paris in 1927 required two elements: guts and technology. Lindbergh had developed the constitution for it, but still needed an aircraft that could make the 3600-mile flight. Financed by the St. Louis Chamber of Commerce, Lindbergh commissioned a $15,000 plane, dubbed The Spirit of St. Louis, to be built by the Ryan Airlines Corporation of San Diego. Because the plane needed additional fuel storage, everything extraneous was removed to lessen its weight—no radio, gas gauge, or parachute. Lindbergh even had to dispense with a window in his cockpit: The gas tank took over his front field of vision. He used a periscope to see instead.

The sacrifices were worth it. Lindbergh made the flight, lifting off from Roosevelt Field on Long Island on May 20, 1927, and arriving in Paris after 33.5 hours of uninterrupted flying. The feat captured the public's attention for its boundary-breaking significance, with thousands of people greeting his plane upon landing. Back home, president Calvin Coolidge awarded him the Congressional Medal of Honor.

4. HE STARTED HALLUCINATING, TOO.

Crossing the Atlantic Ocean demanded more of Lindbergh than just flying skill or customized aircraft. It required he stay awake for the duration of the solo flight and maintain concentration throughout. Halfway through, fatigue began to set in, and Lindbergh physically forced his eyes to remain open with his fingers. Shortly after that, he began hallucinating ghosts passing through his cockpit. Because he had slept so little the night before taking off, Lindbergh had actually been awake closer to 55 hours.

5. THE FLIGHT MADE HIM A MILLIONAIRE.

Although there was a $25,000 prize involved, Lindbergh’s real wealth came from the public’s mythologizing of the feat. City after city threw him celebratory parades, and he eventually made it to every state in the union to acknowledge their fascination with his achievement. Eager to understand both the pilot and the trip, they made his 1927 autobiography, We, a bestseller. Lindbergh also wrote articles about aviation for The New York Times. Together, the projects were said to have made him a millionaire.

6. PEOPLE MADE SOUVENIRS TO MARK HIS SON’S KIDNAPPING.

No abduction has captured the public’s attention quite like the 1932 taking of Charles Lindbergh III, whom press dubbed “Little Lindy.” The 20-month-old was seized from his second-floor bedroom in the Lindberghs’ home in Hopewell, New Jersey, on March 1. Ransom notes followed, and although Lindbergh paid, the child was never going to return: His body was found May 12, about 4.5 miles from the Lindbergh home. Police determined that he had been killed on the night of the kidnapping. During the trial of alleged perpetrator Bruno Hauptmann, one business decided to offer a morbid souvenir to the attending public: a tiny replica of the ladder Hauptmann used to climb into the baby's window. Author Maurice Sendak (Where the Wild Things Are) later purchased one. Sendak had long been fascinated with the case, which dominated headlines during his childhood.

7. HE RECEIVED AN AWARD FROM THE NAZIS.

Lindbergh’s feat drew worldwide acclaim and he frequently took up invitations from foreign countries to evaluate their aircraft development. In the late 1930s, Lindbergh made several trips to Nazi Germany, where he was granted access to the Luftwaffe's fleet of combat planes. At one point, Luftwaffe commander-in-chief Hermann Goering presented Lindbergh with the Service Cross of the German Eagle to acknowledge his pioneering work in aviation. Lindbergh promptly reported his experiences to U.S. intelligence, which had encouraged Lindbergh to make the visits and inform the American military of German technology.

8. HE WAS OPPOSED TO THE U.S. ENTERING WORLD WAR II.

Lindbergh gives a speech advocating neutrality in World War II.Keystone/Hulton Archive/Getty Images

Despite the continued public adoration, Lindbergh managed to find himself in one major media disaster. He repeatedly voiced concerns over U.S. participation in World War II, believing that his country was ill-prepared to hold its own in European territory. In his most controversial comments, he told a crowd during a speech in Iowa in 1941 that the Jewish population was "pro war" as a result of the atrocities committed by Germans. Though he was prohibited from serving in the military by an irate President Franklin Roosevelt, Lindbergh wound up flying 50 combat missions in the Pacific for a private airplane contractor. The accusations of being pro-German or anti-Semitic followed him for the remainder of his life. In the early 1940s, his idea of American isolationism was even the target of satirical political cartoons by Theodore Geisel, otherwise known as Dr. Seuss. On a “Lindbergh quarter,” Seuss imagined an ostrich with its head in the ground instead of an eagle.

9. HE REFUSED TO CELEBRATE MOTHER’S DAY.

According to his daughter, Reeve Lindbergh, her father was no fan of manufactured holidays. Both Father’s Day and Mother’s Day, he said, were commercially driven and insincere, and he refused to acknowledge either one in the Lindbergh household. While his children were forced to cede to his wishes while he was present, his frequent trips allowed them to celebrate Mother’s Day in secret if he was away from home.

10. HE INVENTED AN INFLUENTIAL MEDICAL DEVICE.

Lindbergh had an interest in biomechanics, and in 1935, he unveiled his design for a perfusion pump—a glass device that could ostensibly keep organs viable by delivering a blood supply to them while they were outside the body. With collaborator and Nobel Prize-winning scientist Alexis Carrel, he succeeded in perfusing the thyroid gland of a cat. Though his invention never made it to a practical application stage, Lindbergh’s work is credited with helping bridge the gap toward innovations that later allowed surgeons to stop a heart during operations.

11. HE HAD A SECRET FAMILY (OR THREE).

Lindbergh’s travels to Germany were more than just business. In 2003, DNA tests confirmed that he had fathered three children with Munich hat maker Brigitte Hesshaimer beginning in 1957. Neither Hesshaimer nor Lindbergh disclosed that lineage to the children, who knew the man who came to visit them a few times a year as a writer named “Careu Kent.” The trio waited until their mother’s passing in 2001 before pursuing their suspicion that Kent was actually Lindbergh. The aviator was also alleged to have fathered two children with Brigitte’s sister, Marietta, and two with his personal secretary, a woman named Valeska.

Kodak’s New Cameras Don't Just Take Photos—They Also Print Them

Your Instagram account wishes it had this clout.
Your Instagram account wishes it had this clout.
Kodak

Snapping a photo and immediately sharing it on social media is definitely convenient, but there’s still something so satisfying about having the printed photo—like you’re actually holding the memory in your hands. Kodak’s new STEP cameras now offer the best of both worlds.

As its name implies, the Kodak STEP Instant Print Digital Camera, available for $70 on Amazon, lets you take a picture and print it out on that very same device. Not only do you get to skip the irksome process of uploading photos to your computer and printing them on your bulky, non-portable printer (or worse yet, having to wait for your local pharmacy to print them for you), but you never need to bother with ink cartridges or toner, either. The Kodak STEP comes with special 2-inch-by-3-inch printing paper inlaid with color crystals that bring your image to life. There’s also an adhesive layer on the back, so you can easily stick your photos to laptop covers, scrapbooks, or whatever else could use a little adornment.

There's a 10-second self-timer, so you don't have to ask strangers to take your group photos.Kodak

For those of you who want to give your photos some added flair, you might like the Kodak STEP Touch, available for $130 from Amazon. It’s similar to the regular Kodak STEP, but the LCD touch screen allows you to edit your photos before you print them; you can also shoot short videos and even share your content straight to social media.

If you want to print photos from your smartphone gallery, there's the Kodak STEP Instant Mobile Photo Printer. This portable $80 printer connects to any iOS or Android device with Bluetooth capabilities and can print whatever photos you send to it.

The Kodak STEP Instant Mobile Photo Printer connects to an app that allows you to add filters and other effects to your photos. Kodak

All three Kodak STEP devices come with some of that magical printer paper, but you can order additional refills, too—a 20-sheet set costs $8 on Amazon.

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16 Facts About The Other Guys On Its 10th Anniversary, Courtesy of Adam McKay

Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Mark Wahlberg and Will Ferrell star in Adam McKay's The Other Guys (2010).
Macall Polay/Columbia TriStar Marketing Group, Inc.

August marks the 10th anniversary of The Other Guys, director Adam McKay’s send-up, and tribute, to the buddy cop movies that have been a Hollywood mainstay for decades. Will Ferrell and Mark Wahlberg play Detectives Allen Gamble and Terry Hoitz, two disgraced and otherwise dismissed desk jockeys who inadvertently uncover a massive financial scandal at the exact moment when corporate malfeasance begins grabbing overdue newspaper headlines. The duo’s comic chemistry thrives on Ferrell’s bookish awkwardness juxtaposed with Wahlberg’s macho exasperation, while McKay (working with writer Chris Henchy) exercises a growing social consciousness against the backdrop of one of cinema’s most familiar and durable genres. Supporting performances by Eva Mendes, Michael Keaton, and Steve Coogan, plus cameos by Dwayne "The Rock" Johnson and Samuel L. Jackson (not to mention a murderer’s row of up-and-coming comedians and improvisers) breathe unforgettable life into an escalating series of side-splitting scenarios.

McKay’s most vivid memory of the shoot, he tells Mental Floss, was of the cinematic and gastronomic indulgence he enjoyed shooting a (for him) robustly-budgeted action movie in New York City. “I think I put on literally 25 pounds during that shoot,” he says. “At the end, my wife just looked at me and was like, 'You look as big as a house.' I mean, some days my body would hurt from laughing all day, and then I just ate like chicken parm sandwiches and pizza.

"That's the closest I've come to a full-on decadent Hollywood movie," McKay continues. "We had a really big budget. We were in New York City. We had cars blowing up. We had all these big actors everywhere. It's still, by the way, a budget that's probably half of a Marvel movie or a Michael Bay movie. But that's the closest I've ever come to feeling like Tony Scott and that kind of world."

Exclusive to Mental Floss, check out these behind-the-scenes tidbits and trivia from the making of The Other Guys, straight from McKay himself.

1. The Other Guys started with the unlikely pairing of Mark Wahlberg and Will Ferrell—as dinner companions.

"We went to a little Italian place off Santa Monica and the energy between the two of them was really funny," McKay recalled of what kicked off the idea for Will Ferrell and Mark Wahlberg's on-screen pairing. "Mark's a Boston guy, athlete, tough, boxer; Will's big—Will's 6-foot-3 and definitely an athlete and no pushover—but at the same time, at root, kind of a sweetheart. And they just had a funny dynamic between them. I kept laughing the whole night. And that was really what launched it."

2. Adam McKay didn’t set out to make The Other Guys a parody, but Hollywood quickly taught him not to edge too closely to familiar properties.

Mark Wahlberg and Will Ferrell are The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"There was some movie that came out about two 'star' cops. And I jokingly said, 'We should do the movie about the cops in the background of the star cops,'" McKay says. "Because they were doing an A-Team movie, I said, 'We should call ours The B-Team.' We may have even announced the movie as that, and someone back-channeled us, like, 'By the way, don't call your movie The B-Team. We're not going to sue you, but like, just don't do that.'"

3. As appealing as it was to send up buddy-cop movie conventions, then- (and still-) current events helped solidify The Other Guys's themes.

"The other big component was that the financial collapse was actively happening," McKay says of the timing of The Other Guys. "We kept talking about how you can't do a jeopardy plot that’s about drug smugglers—like we'll be looking back wistfully at the days of drug smugglers and safe crackers and bank robbers. And so a big part of it was: How do you do a modern cop buddy film when banks have disappeared trillions of dollars and millions of people have lost their homes through this kind of bureaucratic malfeasance? And that launched Ferrell’s character, a forensic accountant into paperwork—and the idea was that the new cop heroes are going to be bureaucrats who are into paperwork."

4. Michael Keaton’s repeated TLC references were written into The Other Guys script, though Adam McKay wasn't sure how well the running joke would translate.

A running joke in The Other Guys has Michael Keaton's Captain Gene continually quoting TLC songs. "We had done a couple readings of the script where it played really well, not that that means it's going to play funny in the final movie," McKay says. "We've had bits that killed in read-throughs, and then they go in the final cut and something about the rhythm just doesn't work. We were fairly confident in that joke. There are other times though where you do discover the bit and you're improvising, you're throwing out alternatives, the actors are playing around, and you discover a bit. Then I'll turn to Kate Hardman, our script supervisor and say, 'Alright, we’ve got to keep that one alive.' And then in future scenes, she would remind me, 'Remember, you had this joke you wanted to keep alive' and I'll get one take where we do it."

5. Dirty Mike and the Boys, on the other hand, were not in the original script.

"Rob Huebel improvised the line 'soup kitchen' and we kept joking about Dirty Mike and The Boys. The scene where I show up with our DP Oliver Wood, [our property master] Jimmy Mazzola, and our producer Pat Crowley, and we're Dirty Mike and the Boys, was not scripted," McKay explains. "That came out of us loving Huebel’s improv so much that we knew we had to put Dirty Mike and the Boys in the movie. That was a perfect example where improv spawned a bit that ended up running through the movie."

6. The scene involving Allen’s ex-girlfriend “Christinith” was inspired not just by the particular way some people spell or pronounce their names, but by their annoyance when it's mispronounced.

"Obviously it was a running joke that very beautiful women love Allen Gamble," McKay says. "And we were joking about people through the years who have names they want pronounced a certain way and they're oddly hostile about it. There was someone we'd known who was named Anna, but she wanted to be called 'Ana,' and if you called her Anna, she would get mad and I'd be like, 'Wait a minute, what? You can't get mad about that.' So that was where the Christinith joke came from."

7. Will Ferrell’s “Gator” alter ego in The Other Guys was created to further develop the film’s “paper-pushers as heroes” idea.

"The character [Allen] was a guy who appears very mousy and very beta and quiet and we just kept kicking around the idea of: What's power now? What's a hero now? And we had this idea that the reason that Allen Gamble was so conservative and buttoned-down was that he had kind of let his power out once before and it hadn't gone very well," McKay explained of the many dichotomies of Ferrell's character. "And then we just started laughing about the idea that he became a pimp and didn't realize it. So that was the joke—the idea that he’s like, 'No, no, no, I'm helping them run a dating service.' 'No, you were a pimp.' And the lifestyle pulling him down without him really realizing what he's become. The thing that makes me laugh the hardest is when he's first talking to the girl in college, she's just going, 'I could go on dates with guys.' 'Oh yeah. I can make sure to collect the money.' It’s so innocent."

8. Adam McKay and his collaborators refined a unique technical process leading up to The Other Guys to keep track of the many variations attempted, and often improvised, during production.

"Brent White, the editor on The Other Guys, has this great system where you can go to each line of the script and click it and all the alt versions of it will be underneath it," McKay explains. "That was really a breakthrough, and once he really got that system going, it changed a lot of things. Every version, every permutation of the joke is right in front of you, and it made the whole thing easier to sort."

9. The Other Guys composer Jon Brion is a musical chameleon, but Adam McKay didn’t direct him to draw on the sound of, say, Michael Kamen’s Lethal Weapon scores for Allen and Terry’s themes.

"A lot of movies I did with Will are always kind of in between an original story and a parody," McKay says. "We want them to be original, but they're clearly messing around with the tropes of the genre that you're used to. So the trick was I wanted it to sound like a cop score, but I also wanted it to be good. So we kept kind of batting that around."

10. The Oscar-worthy end credits song “Pimps Don’t Cry” emerged from a need for actress Eva Mendes to have a melody to sing, and Jon Brion’s chops corralling heavy hitters for a comedy-soul classic.

Will Ferrell and Eva Mendes in The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"We just wrote 'Pimps Don't Cry' for the scene," McKay explains. "When [Eva Mendes] sang it, we're like, wait a minute, can we record this? And, of course, Jon Brion knows everyone and has access to studios. So before you know it, we had CeeLo Green in there and it turned out Eva Mendes could sing. We recorded a whole track and I think even shot a video. But it came out of the scene. The actors were like, 'Well, what's the melody?' And we're like, 'Jon, you want to write something?' And then of course I was like, I gotta hear that song!"

11. Adam McKay explored the idea of Pop-Up Video-style detours in The Other Guys, but couldn’t figure out how to pull it off in the pre-streaming era.

"We had a thing that we were going to try and do in the movie where we would freeze-frame scenes and then a little box would pop out and show something from a couple months later. That was a style that was written into the script we had happening a bunch of times, and we could not get it to work. It's funny because now I know how I would do it, but at that time we just couldn't [make it work]."

12. The Other Guys's planned “flash-forward” scenes also included future President Donald Trump, whose Trump Tower gets blown up in the opening scene.

Future president Donald Trump filmed a cameo for The Other Guys, but it didn't make the final cut. "Donald Trump just basically wants to get paid," McKay says. "So if you show up and you write out a check for a certain amount of money, I can't remember what the amount was, $75,000 or $100,000 or something, he'll do it. Pretty much anyone could go to him and be like, 'Here's a check for $75,000,' and he will do it. Never in a trillion years imagining the guy would become president. He sort of was a New York joke for years, and Trump Tower was kind of known as being this cheeseball place, so it was a pure joke. But when we put it in the movie, we were like, 'Donald Trump’s so cheesy and cheap, let's not put this in the movie.' Even for the silly movie we were doing, it felt cheeseball, so we ended up cutting it out."

13. If there was a scene in The Other Guys that gave Adam McKay the “tingle in his balls” as a filmmaker that Allen and Terry feel while pursuing bad guys, it was the “Aim for the bushes” scene that sets up the whole film.

"I mean, that's one of my all-time favorite moments from anything I've ever been involved in," McKay says of his favorite scene. "I would say the family prayer scene in Talladega Nights, the Jenga tower scene in The Big Short, the other one was in Anchorman, when Jack Black kicks the dog off the bridge where the audience made this weird sound and were so stunned by it. And then Danson and Highsmith jumping off the building —oh my god, I had so much fun watching that with test audiences. No one saw it coming.

"[The Rock and Samuel L. Jackson] are such big stars that just in a million years, no one imagined it. When the guys were falling off the tower, they were so convinced they weren't going to die. You would hear people in the audience go, 'Yeah right, they would never survive that.' But when they hit, there was such a collective inhale from the whole audience, and then just explosion of laughter. But the other great moment for that was when I was in the edit with Erica Weis, our music editor and music supervisor, and we discovered the Foo Fighters song for that moment. It was just so perfectly over-the-top and a little cheesy, yet plausible. Of course the filmmakers would play this song! The entire puzzle clicked together perfectly when that song went in."

14. Adam McKay credits his executive producer for the coup of recruiting Dwayne Johnson and Samuel L. Jackson as the “star cops” by whose police work Allen and Terry would be measured.

"I give [executive producer] Kevin Messick a lot of credit for that casting," McKay says. "We wanted two big action stars that you would never think would die in a movie, and boy, Kevin really helped us get them. He had some connection to Dwayne Johnson, and he worked the phones to really help us get Sam Jackson. I saw Sam Jackson years later and he's like, 'People keep asking me if we're going to do a spinoff movie with these guys.' I was like, oh man, that could be fun. And Dwayne Johnson told me too he had people come up to him and mention those characters all the time."

15. The original ending to The Other Guys was even more bleak than the statistics that play over the end credits.

"We had this whole ending where like they bust Steve Coogan's character Ershon and they pull the thing together and they take him in and it turns out Congress has changed the laws and what he's done is no longer illegal," McKay explains. "I wish we had ended with that. That would have been a better ending. And then we had this other ending with Derek Jeter, where he comes out and it turns out he's connected to this whole underground thing that's fighting against the big banks. That's in the TV version they air, but it didn't really work ... when I say work, I don't care if the audience loved it. It didn't work for me with the narrative when we a test screened it. So I didn't think we stuck the landing on the ending on it."

16. Adam McKay always worked culturally relevant themes into his films, but The Other Guys galvanized this approach going forward, reflected more prominently in The Big Short and Vice.

Adam McKay on the set of The Other Guys (2010).Macall Polay/Columbia TriStar Marketing Group, Inc.

"Ferrell and I would do these comedies, and we would always have something [else] going on in them," McKay says of his desire to weave bigger themes into his films. "Even Step Brothers was kind of about how consumer culture turns us into big giant children. And the Iraq War was such a horrible tragedy and disaster that right around that time, and that’s when I started thinking, 'I just gotta do some stuff that's more overt.' When the financial collapse hit, it was just like, all bets are off. So yeah, we tried to craft the whole movie like a comedic allegory for the financial collapse. If you look at the movie, they keep ignoring their union. And then there’s a big financier covering losses by taking money from workers. Of course, when the movie came out, no one cared—the movie just played as a comedy. Except for the ending credits, people really didn't catch it at all. Which I don't blame them! I think it was a little bit of an experiment in that sense. And the good news is the movie’s funny and I really love how it turned out."