The Constitution was made to guard the people against the dangers of good intentions." --American Statesman Daniel Webster (1782-1852)

Thursday, May 5, 2016


I have been very busy...
Our latest Boeing 757 in the "teardown phase"..it will be our last one before the summer travel season

This is what it will look like when it is almost finished..

    I have been real busy with work, scouts...the crumb snatcher performed another "Arrow of Light" and a "Crossover" ceremony..
And finally I saw this in a infrequent foray into Facebook...

  Something to think about....I will post an expansion later on that I have saved.

Monday, May 2, 2016

Monday Music "Legs" by ZZ Top

I returned from camping, and it had its good points and bad points, I will expound on tomorrow perhaps.  I was driving to work and this song came on the XM radio that my Milan has, and I remembered this song and the babes:)   What Can I say...When you are 16 years old and really notice girls....This song was popular in my school, between the music, the 1933 Ford and the babes, it is a really good song. I also remembered the video getting a lot of airplay on MTV, this was the start of the Music video's telling a story and that also was neat.

"Legs" is a song performed by the band ZZ Top from their 1983 album Eliminator. The song was released as a single in 1984 and reached number eight on the Billboard Hot 100 in the United States. The dance mix version of the song peaked at number thirteen on the dance charts. Although all three members of ZZ Top are credited with playing on the track, only Gibbons was actually present; engineer Terry Manning was responsible for all the musical parts save the lead guitar. However, David Blayney (ZZ Top stage manager for 15 years) explains in his book Sharp Dressed Men that the pumping synthesizer effect in "Legs" was introduced in pre-production by Linden Hudson. During the final tracking sessions, Terry Manning (final Eliminator tracking engineer) called Linden Hudson and asked how he did the synth effects for "Legs", although Terry could have easily pulled it off if he needed to. The single remix of “Legs" is much more synthesizer-driven than the album version. Although you can hear a synthesizer throughout the album version, it is toned down. There is also a three-note guitar riff heard throughout most of the album version of "Legs", and it is a minute longer than the single version.

The "Legs" video was the third and last of the Eliminator series of videos that introduced the now-iconic 1933 Ford, "Eliminator girls", and ZZ Top-as-benevolent-spirits tropes, all of which have become firmly established aspects of the band's iconography. "Legs" was important in this regard as it diversified the subject of transformation from man ("Gimme All Your Lovin'" and "Sharp Dressed Man") to woman.
After stepping in a mud puddle and bumping into tough-looking but polite bikers at a crosswalk, a pretty salesgirl (Wendy Frazier) enters a burger joint. She places a take-out order but suffers harassment by everyone there except a handsome young cook (David Wakefield) who is also bullied by his co-workers. The salesgirl takes her order, escapes the place and her tormentors, but in her haste leaves her glasses and a food container. The cook retrieves the items and runs after her to the shoe store where she works.
At the shoe store, the store owner and the senior salesman both shove the salesgirl around, while a customer laughs raucously at her misfortune. The cook dashes into the shop and then to the stock room to return the girl's items. She thanks him shyly, but the owner and the salesman burst in, and heave the cook out of the store. The Eliminator pulls up, and the Eliminator girls (Jeana Tomasino, Kymberly Herrin, and Danièle Arnaud) emerge from the car. They help the cook to his feet, dust him off, then slip into the shoe store through the back door. The Eliminator girls find the dejected salesgirl, put her abusers in their place, then present the salesgirl to the ZZ Top band members, who have suddenly appeared to bestow upon her the keys to the Eliminator.
The salesgirl is whisked away for a complete makeover: new hairstyle, makeup, and sexy new wardrobe, including pink stockings and garters, a matching short skirt, lace-trimmed ankle socks and spike heels from her now-doting boss. The Eliminator arrives at the burger joint, where the salesgirl debuts her confident new self. She strides into the restaurant with the Eliminator girls behind her. With the help of the friendly bikers, the salesgirl gets her man as the Eliminator girls keep the more aggressive men at bay. The happy pair leaves the restaurant hand in hand and ride away in a dune buggy, while the burger joint's female owner and the rowdy customers watch them leave, sullen and angry over being put in their place. The Eliminator girls invite some of the friendly bikers to join them and the Eliminator drives away as the ZZ Top band members appear one last time to wave at the camera.
This was the third music video directed by Tim Newman.
The spinning, furry Dean guitars also premiered in this video.

Friday, April 29, 2016

Will be going camping....

This post will be short,  I will be going camping.   I had to buy a hitch and ball and repair replace the old trailer plug wiring that the truck had.  Apparently the old owner had backed up and crunched the plug assembly.   I will be pulling the troop trailer...

The Shin detector......
2 minutes after I installed the hitch and ball, I was walking around the truck and *Crack*, I discovered that I had installed a hitch and ball....and my shin found it.....man that hurts...
     On a different note, I saw in the news that while the Donald is in California a bunch of protestors tried to interfere, they trashed a few police cars....and I noticed quite a few mexican flags in this group.

    Funny seeing the vaunted tolerance of the left again.....I know that the Donald can be a polarizing figure, but from what I have seen, the conservatives are not interfering with the speeches of the left, the only people that interfere with the left are the *black lives matter* crowd.  
This was taken near my house....
As Old NFO has stated....."We live in interesting times..

Wednesday, April 27, 2016



I will have a political musing coming up....and yes...I shamelessly ripped this off from Drudge.  Statistically Ted Cruz is eliminated for running for the GOP nomination for President.   I have heard rumblings that Cruz and Kasich are teaming up to act as spoilers to keep THE Donald from the nomination...
   Funny how that is working out.   I have seen the poll numbers, there are many more republicans millions more that in 2008 and 2012.  Sure some of them are democrats....and some of those are what I call "Stalking Horse" voters and they are hoping to benefit the Democratic nominee...

Yes that is the presumptuous candidate on the "Team Donk" side.    When the primary hit here in Georgia, I voted for Cruz....but if THE Donald gets the nod, I will happily vote for him.   I am voting not for the man, but what he represents...a big "Bite Me" to the GOP establishment, that took their base for granted, ran mediocre candidates, and basically went along with obama's policies because it kept them at the dinner table. while screwing the rest of the country.  What Cruz and Kasich is hoping for is a contested or brokered convention where the establishment can tell everyone else "this is your candidate...." and again the peoples will is stymied.  They don't understand and neither does "Team Donk" that the voters are really pissed and it will not take much for us to have an "American Spring" here and really stir things up.  The establishment is really playing with fire....as long as the people believe in the system, there will be quiet...but according to the latest polls, about half of the people believe that the system is rigged against them.

....and it will not take much for that to become a majority and when that happens....the protest will no longer be peaceful....but violent.
And there are others that see another candidate in their future.....That would solve all their problems...

"Small meteor of Death"

And a final video clip that has been called "the Greatest baseball play of all time"

mega Kudo's to Rick Monday for doing the honorable thing...

Monday, April 25, 2016

Monday Music "Take on Me" by A-ha...and a few other video's

I know this is unusual, I am getting a "Monday Music" in on Monday.   I was surfing the web at night and was listening to VH1"Classic", reminds me of MTV....back when they played music...yeah...that channel that was made famous in the 80's for its music video......not the trashy reality show crap it has now....but I digress.   I was surfing the web and I was watching the "alternate" music from the 80's and 90's.  And this song came on from A-ha,  Now A-ha's "Hunting High and Low" was the first CD I ever saw when my roommate spent $400 on a portable CD player that looked like a big brick  When the song the "Sun always shine on TV".  I never heard of this song so I started digging and found out much more. so I included both the second and 3rd video's from the album that kinda tied all of this together.   I have said many times that the 80's was a magical time for music, you can find almost any kind you liked. 
The album that all three songs came from.
     An early version of "Take On Me" was the first song that Morten Harket had heard Magne Furuholmen and Pål Waaktaar play in Asker. At that time, the song was called "The Juicy Fruit Song", and the two men were still known as Bridges. It was named "Lesson One" when it was first recorded by A-ha. After some re-writing, multiple re-recordings, and three releases, "Take On Me" became a hit on both sides of the Atlantic in 1985. The first version of the song, released in 1984, was promoted by a video of the band performing the song in front of a blue background. The song was then re-recorded with production by Alan Tarney, but both of these releases failed to chart. It was then re-released with a new, groundbreaking video which peaked at number 1 on the US Billboard Hot 100 and at number 2 on the UK Singles Chart. A-ha became the first Norwegian band to have a number 1 song in the US; the song's popularity earned the band a spot on the American television series Soul Train in 1985, making them one of the few white artists to appear on the black music-orientated show. Gino Vanelli, Elton John, David Bowie, Hall & Oates, Sheena Easton and Teena Marie all had performed on Soul Train prior to A-ha's 1985 performance.

Lead singer Morten Harket and actress Bunty Bailey in a scene from the music video, which features them in a pencil-sketch animation / live-action combination called rotoscoping.
The first release of "Take On Me" in 1984 includes a completely different recording, and was featured in the first video, which shows the band singing with a blue background.
The second video was directed by Steve Barron, and filmed at Kim's Café (now called "Savoy" cafe) and on a sound stage in London, in 1985. The video used a pencil-sketch animation / live-action combination called rotoscoping, in which the live-action footage is traced over frame by frame to give the characters realistic movements. Approximately 3,000 frames were rotoscoped, which took 16 weeks to complete.
The video's main theme is a romantic fantasy narrative. It begins with a montage of pencil drawings in a comic-book style representing motorcycle sidecar racing, in which the hero, played by Morten Harket, is pursued by two opponents, one of whom is played by English actor Philip Jackson. It then cuts to a scene in a cafe, in which a young woman, played by Bunty Bailey (Harket's girlfriend at the time),is seen drinking coffee and reading the comic book in a coffee shop. As the girl reads, the waitress brings her the bill. The comic's hero, after winning the race, seemingly winks at the girl from the page. His pencil-drawn hand reaches out of the comic book, inviting the girl into it. Once inside, she too appears in the pencil-drawn form, as he sings to her and introduces her to his black-and-white world which features a sort of looking-glass portal where people and objects look real on one side and pencil-drawn on the other.
Meanwhile, back in the restaurant, the waitress returns to find that the girl is not there. Believing that the girl has left without paying the bill, she angrily crumples and throws the girl's comic book into a bin. This makes Harket's two opposing racers reappear, armed with a large pipe wrench and apparently aggressive. The racers smash the looking glass with the pipe wrench, evidently trapping the girl in the comic book. Harket punches one of the thugs and retreats with the girl into a maze of paper. Arriving at a dead end, he tears a hole in the paper wall so that the girl can escape as the menacing opposing racers close in on him. The girl, now back in the real world and found lying beside the bin to the surprise of restaurant guests and staff, grabs the comic from the bin and runs home, where she attempts to smooth out the creases to learn what happens next.
The next panel shows Harket lying seemingly lifeless, and the girl begins to cry. But he wakes up and tries to break out of his comic-book frames. At the same time, his image appears in the girl's hallway, seemingly torn between real and comic form, hurling himself repeatedly left-and-right against the walls as he attempts to shatter his two-dimensional barrier. (This scene is largely patterned after a climactic scene in the 1980 film Altered States). He escapes from the comic book by becoming human and stands up. Smiling, the girl runs towards him and he embraces her. The video story is effectively concluded in the intro sequence of its successor, "The Sun Always Shines on T.V.".

1st edition of "Take on Me" by A-ha.

Extended version of the more famous video version..

     The video used a pencil-sketch animation/live-action combination called rotoscoping, in which individual frames of live video are drawn over or coloured. It became one of the most instantly recognisable and most enduringly popular music videos in the US where it was nominated for eight awards at the third annual MTV Video Awards in 1986, winning six, including Best New Artist in a Video, Best Concept Video, Best Direction, Best Special Effects, and Viewer's Choice and Best Video of the Year. Their six MTV Award wins for that video gave them twice as many wins as Michael Jackson's "Thriller" and more than any artist in the three years of the awards combined.
But those were not A-ha's only MTV awards that year. The band's second single was "The Sun Always Shines on TV". In the US the song peaked at number 20 on the Billboard Hot 100 and reached number 17 on Radio & Records airplay chart. A remix version was a club hit, rising to number 5 on the Hot Dance Singles Sales chart.The music video for the song was another popular and critical success, nominated in three categories at the 1986 MTV Video Music Awards and winning two awards, for Best Cinematography and Best Editing, bringing A-ha's total to 11 nominations and eight wins. The following year, Peter Gabriel would earn 13 nominations and win nine awards, also for two separate videos. In successive years, even as the award categories have expanded, only a few artists have approached — and none has surpassed — the single-year award totals of A-ha and Gabriel.
      "The sun always shine on TV" Music video
In early October 1985 A-ha recorded the video for The Sun Always Shines On TV at Saint Alban the Martyr Church and Udney Hall Gardens at Teddington, Middlesex, in England over three days with the Director Steve Barron.
The video opens with an epilogue scene to the highly successful Take on Me video, continuing with the use of rotoscoped animation. The romantic young lovers (played by Morten Harket and Bunty Bailey) having survived the ordeal of the first video's story now face one another in a night wood. Suddenly the male youth begins physically reverting to his original animated condition from the Take on Me video's story-line. The female youth in distress realizes that he cannot remain in her world. In pain, he flees the scene into the distance back to his comic book world, she being left behind, sundered from him. At this point the camera rises vertically away from her alone and closing credits roll in the style of the end of a Hollywood classic film bearing the legend: The End, A Warner Bros. First Picture, followed by an animation of a television graphic with the text: you are watching channel 3,  followed by the A-ha stylized brand logo. The next scene opens on A-ha performing The Sun Always Shines on TV (with a session drummer (Lindsay Elliot)  and a bass player also being present) within the dramatic setting of the interior of an English Victorian Gothic church. The performance is filmed mainly in black-and-white footage, with splashes of pastel coloring; spectating at the performance is a dense crowd throughout the church of bare mannequins, some being clothed in formal concert dress holding musical instruments to represent the song's classical instrumentation arrangement. The video ends with A-ha being cut out from the background and becoming a still frame. The music video for the band's next single, Train of Thought, would pick up from this cue shot, making a visual & story trilogy of Take On Me, The Sun Always Shines on TV and Train of Thought.
 "Train of Thought" Music Video
The music video was directed by Candice Reckinger and Michael Patterson. The video concept was designed by the same producers who brought "Take on Me" into the video mainstream. The black-and-white footage and animation in the "Train of Thought" video actually predated the "Take on Me" single, and was the inspiration for the animation in the "Take on Me" video. It originated as Michael Patterson's student film at CalArts, which went on to influence a generation of MTV videos.
Most of the video was the old animated footage, interspersed with live parts with a-ha filmed during a break in the band's tour.

  A-ha's American success culminated in their 1986 Grammy nomination in the coveted Best New Artist category, which was eventually won by Sade. "The Sun Always Shines on TV" turned out to be A-ha's last Hot 100 Top 40 single, and to this day in the United States, A-ha is remembered by the general public almost entirely because of their number one hit single, Take On Me.As such, the band is frequently considered a one-hit wonder there, despite their two Top 40 hits. In the UK, however, the story was very different: "The Sun Always Shines on TV" was an even bigger hit among British fans than "Take On Me", peaking at number 1. In the UK, A-ha enjoyed continued success with two more hit singles from the same album—"Train of Thought" and "Hunting High and Low" (with another innovative video) —and the band remained popular throughout the 1980s and early 1990s.

Friday, April 22, 2016

Friday Musings....

I have been real busy, but my weekend has started   YAY!   Our latest 757 airplane is almost finished, we will be kicking her out next week for revenue service.  I walked in at the beginning of shift and saw this and immediately grabbed the phone to take a picture...
The plane is equipted with "mood" lighting...apparently there is a study that shows if there is a lot of blue, that it is a soothing color.   I just thought it looked cool....but I am strange..
     Also here is a couple of pics of Camp Rainey Mountain that we attended for conclave(Order of the Arrow event).
Morning at camp


I  enjoyed the scenery, I have never been to this camp before....One of my troops are going up there this summer for summer camp.
    I did see this in the bathroom....
Apparently this is an issue ...
I will then add an article that I read...

It is the Trumpkins they fear

Donald Trump was a bundler who raised lots of money for McCain and Romney, men who seem honorable. Yet they turned their back on Trump and actually worked to block his nomination. Theories abound as to why that may be. I will offer this one: It is not that Trump is about to be elected president -- it is about the people who will elect him. McCain outright called them "crazies."

The hoi polloi scare the foie gras out of the hoity-toity who run this nation.

This is an idea I have toyed with off and on as I write my book on this nomination. I began by thinking Trump's critics in the media live in a bubble -- you know the usual stereotype of Pauline Kael covering politics. But as Trump rose and nears the nomination, that mask fell. Never Trump is not about him. It is about us, his supporters. Kevin Williamson of the National Review pleasured his bosses at the National Review by writing, in his "Father Fuhrer" piece last month, that rural towns that white people live in deserve to die. He is from Amarillo, so he can get away with this, right?

Just as Obamacare's destruction of the nation's health system was by design, not accident, so we see the results of free trade and illegal immigration are not unintended consequences, but rather by design. Their message to America is:
Wages are lower as is the standard of living in America, but hey, you can get an iPhone for $399, so what are you complaining about? You're an ingrate who hates capitalism and the free market, you damned Marxist.
Die, rural white America, die.

More to the point: Die, Poca, die.

What bothers Washington is Trump is the worst presidential candidate in American history and yet he is winning and will win the White House because the people have had enough of the race-baiting politics of division in America and appeasement overseas. That shows the power of a people who are the last group you can mock in a politically correct nation. They are rising. His message resonates because it comes not from him but from the people. He heard you. We hear you. Soon the whole world will hear from us.

That is what soils the underwear in Washington.

Vanity Fair had a piece on the fallout from New York:
Rich Americans still have it pretty good. I don’t mean everything’s perfect: business regulations can be burdensome; Manhattan zoning can prevent the addition of a town-house floor; estate taxes kick in at over $5 million. But life is acceptable. Barack Obama has not imposed much hardship, and neither will Hillary Clinton.
And what about Donald Trump? Will rich people suffer if he is elected president? Well, yes. Yes, they will. Because we all will. But that’s a pat answer, because Trump and Trumpism are different things. Trump is an erratic candidate who brings chaos to everything. Trumpism, on the other hand, is the doctrine of a different Republican Party, one that would cater not to the donor class, but rather to the white working class. Rich people do not like that idea.
Yesterday’s primary handed victories to Trump and Clinton, and, if Michael Lind is right, Trumpism and Clintonism are America’s future. Lind’s point, which he made last Sunday in The New York Times, is that Trumpism — friendly to entitlements, unfriendly to expanded trade and high immigration — will be the platform of the Republican Party in the years going forward. Clintonism — friendly both to business and to social and racial liberalism — will cobble together numerous interest groups and ditch the white working class. Which might be fair enough, but Lind didn't mention rich people. Where will they go?
The Democratic Party has not been a total slouch, offering policies friendly to health-care executives, entertainment moguls, and tech titans. In fact, financial support for Democrats among the 1 percent of the 1 percent has risen dramatically, more than trebling since 1980. Traditionally, though, the Republican Party has been seen as the better friend to the wealthy, offering lower taxes, fewer business regulations, generous defense contracts, increased global trade, high immigration, and resistance to organized labor. It’s been the buddy of homebuilders, oil barons, defense contractors, and other influential business leaders.
The article went on to say: "In a world of Trumpism and Clintonism, Democrats would become the party of globalist-minded elites, both economic and cultural, while Republicans would become the party of the working class. Democrats would win backing from those who support expanded trade and immigration, while Republicans would win the support of those who prefer less of both. Erstwhile neocons would go over to Democrats (as they are already promising to do), while doves and isolationists would stick with Republicans. Democrats would remain culturally liberal, while Republicans would remain culturally conservative."

I doubt there is one conservative in Washington who is happy with that arrangement. Trump is bringing people to the party, but not the right kind of people. The party of the working class? Ew. And so the Conservative Commentariat fights on.

They call Trump vulgar. No profane or obscene, but vulgar. The reason is that vulgar means of the common people, which is the last thing they want for their little party.

Which is why they hope to hell Hillary Clinton wins and saves their insider jobs.