Webster

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


Showing posts sorted by relevance for query Lee Greenwood. Sort by date Show all posts
Showing posts sorted by relevance for query Lee Greenwood. Sort by date Show all posts

Tuesday, July 4, 2017

Monday Music "God Bless the USA" by Lee Greenwood in honor of BREXIT 1776

 Yes I know it is Tuesday...It happens.....

I decided to roll with this song, and to be honest, I have a love/hate relationship with this song, while I was in the Gulf, the radio station AFDN (Armed Forces Desert Network) played this song....at first I liked it because we honestly believe that we were on on a crusade to right a wrong and the whole world agreed with us.  We had the support of the American people, which for the Vietnam vets whom were still with us was a welcome change from what they had gone through.  We were well trained and motivated, we had good equipment and knew how to use it. But the first 50 times I heard the song,it was alright but it seemed to come on every hour on the hour and after a while we hated the song, I'm talking with a visceral hate.  I heard that song soo much that when I came back to the world, I refused to listen to that song, We GI's talked about kicking Lee Greenwood in the nuts for this song, but the truth of the matter was, it wasn't his fault, he wrote a damm good song, but we got really burned out on it.  It took over 20 years before I can hear the song and not cringe.  So in honor of "BREXIT 1776" here is Lee Greenwood "God Bless the U.S.A"


"God Bless the USA" is an American patriotic song written and recorded by country music artist Lee Greenwood, and is considered to be his signature song. The first album it appears on is 1984's You've Got a Good Love Comin'. It reached No. 7 on the Billboard magazine Hot Country Singles chart when originally released in the spring of 1984, and was played at the 1984 Republican National Convention with President Ronald Reagan and first lady Nancy Reagan in attendance, but the song gained greater prominence during the Gulf War in 1990 and 1991, as a way of boosting morale.
The popularity of the song rose sharply after the September 11 attacks and during the 2003 invasion of Iraq, and the song was re-released as a single, re-entering the country music charts at No. 16 and peaking at No. 16 on the Billboard Hot 100 pop chart in 2001. The song was also re-recorded in 2003 and released as "God Bless the USA 2003". Greenwood also wrote a Canadian version of this song called "God Bless You Canada". The song has sold over a million copies in the United States by July 2015.


Greenwood wrote God Bless the USA in response to his feelings about the shooting down of Korean Air Lines Flight 007. He said that he "wanted to write it my whole life. When I got to that point, we were doing 300 days a year on the road, and we were on our fourth or fifth album on MCA. I called my producer, and I said I have a need to do this. I've always wanted to write a song about America, and I said we just need to be more united." As for writing the song itself, Greenwood wrote that it more or less "wrote itself", and that the lyrics flowed naturally from the music as a reflection of his pride to be American.
The reason behind the cities chosen in the song Greenwood says, "I'm from California, and I don't know anybody from Virginia or New York, so when I wrote it—and my producer and I had talked about it—[we] talked about the four cities I wanted to mention, the four corners of the United States. It could have been Seattle or Miami but we chose New York City and Los Angeles, and he suggested Detroit and Houston because they both were economically part of the basis of our economy—Motortown and the oil industry, so I just poetically wrote that in the bridge."

In the song, an unnamed man sings about how, if he were to lose everything he had and had to start again from scratch, he would do it in the USA because he is guaranteed his freedom in America. He remembers how other Americans in history had died to secure this freedom, and declares that if he is ever called upon to defend the USA today, he will gladly stand up and fight because he loves the country.

A music video was released for this song in 1984, depicting Greenwood as a farmer who loses the family farm. The video was produced and edited by L.A. Johnson and directed by Gary Burden. A second video was released in 1991, also on VHS, and was directed by Edd Griles. A third music video was also released after the September 11, 2001 attacks.

Monday, July 4, 2022

Monday Music In Honor of Brexit 1776 "Lee Greenwood -God Bless The USA"

 I decided to pass on my "bugaloo "Theme this week because it is 4th of July,..........

I decided to roll with this song, and to be honest, I have a love/hate relationship with this song, while I was in the Gulf, the radio station AFDN (Armed Forces Desert Network) played this song....at first I liked it because we honestly believe that we were on on a crusade to right a wrong and the whole world agreed with us.  We had the support of the American people, which for the Vietnam vets whom were still with us was a welcome change from what they had gone through.  We were well trained and motivated, we had good equipment and knew how to use it. But the first 50 times I heard the song,it was alright but it seemed to come on every hour on the hour and after a while we hated the song, I'm talking with a visceral hate.  I heard that song soo much that when I came back to the world, I refused to listen to that song, We GI's talked about kicking Lee Greenwood in the nuts for this song, but the truth of the matter was, it wasn't his fault, he wrote a damm good song, but we got really burned out on it.  It took over 20 years before I can hear the song and not cringe.  So in honor of "BREXIT 1776" here is Lee Greenwood "God Bless the U.S.A"


"God Bless the USA" is an American patriotic song written and recorded by country music artist Lee Greenwood, and is considered to be his signature song. The first album it appears on is 1984's You've Got a Good Love Comin'. It reached No. 7 on the Billboard magazine Hot Country Singles chart when originally released in the spring of 1984, and was played at the 1984 Republican National Convention with President Ronald Reagan and first lady Nancy Reagan in attendance, but the song gained greater prominence during the Gulf War in 1990 and 1991, as a way of boosting morale.
The popularity of the song rose sharply after the September 11 attacks and during the 2003 invasion of Iraq, and the song was re-released as a single, re-entering the country music charts at No. 16 and peaking at No. 16 on the Billboard Hot 100 pop chart in 2001. The song was also re-recorded in 2003 and released as "God Bless the USA 2003". Greenwood also wrote a Canadian version of this song called "God Bless You Canada". The song has sold over a million copies in the United States by July 2015.



Greenwood wrote God Bless the USA in response to his feelings about the shooting down of Korean Air Lines Flight 007. He said that he "wanted to write it my whole life. When I got to that point, we were doing 300 days a year on the road, and we were on our fourth or fifth album on MCA. I called my producer, and I said I have a need to do this. I've always wanted to write a song about America, and I said we just need to be more united." As for writing the song itself, Greenwood wrote that it more or less "wrote itself", and that the lyrics flowed naturally from the music as a reflection of his pride to be American.
The reason behind the cities chosen in the song Greenwood says, "I'm from California, and I don't know anybody from Virginia or New York, so when I wrote it—and my producer and I had talked about it—[we] talked about the four cities I wanted to mention, the four corners of the United States. It could have been Seattle or Miami but we chose New York City and Los Angeles, and he suggested Detroit and Houston because they both were economically part of the basis of our economy—Motortown and the oil industry, so I just poetically wrote that in the bridge."

In the song, an unnamed man sings about how, if he were to lose everything he had and had to start again from scratch, he would do it in the USA because he is guaranteed his freedom in America. He remembers how other Americans in history had died to secure this freedom, and declares that if he is ever called upon to defend the USA today, he will gladly stand up and fight because he loves the country. 


 A music video was released for this song in 1984, depicting Greenwood as a farmer who loses the family farm. The video was produced and edited by L.A. Johnson and directed by Gary Burden. A second video was released in 1991, also on VHS, and was directed by Edd Griles. A third music video was also released after the September 11, 2001 attacks.

 

Tuesday, May 30, 2017

Monday Music "Voices that Care" Assorted Artist

This will post on Tuesday, this is intential because Monday is Memorial day, I didn't think it was appropiate...
   Strange I know... 
 
I remember when that song came out, we had just kicked off the ground war and this song was making the rounds on
AFDN and I though it was interesting that we were being treated different than the Vietnam vets.  We were being 
treated like we were on some crusade and it did feel like it from all the support we had gotten from the American 
Public.   I have my copy of this song and video upstairs in my bonus room.  Unfortunately we got burned out by this 
 song and Lee Greenwood "Born to be an American".  They severely overplayed these songs during this time.  Even
now I still grit my teeth when "Born to be an American" comes on somewhere.  I haven't listened to voices that care
since I came back from the Gulf.    This was the last time that Hollywood supported the U.S. Military.  I am somewhat
cynical now ...I think it was the older ones working off their Vietnam guilt.   
 
 
"Voices That Care" is a 1991 song written by David Foster, Linda Thompson and Peter Cetera and recorded by a supergroup of popular musicians, entertainers and athletes. The group of people involved was also collectively known as Voices That Care and was shown as such on the single release and marketing materials. The single and supporting documentary music video were intended to help boost the morale of U.S. troops involved in Operation Desert Storm, as well as supporting the International Red Cross organization. The documentary, which followed the recording of the single to the music video's presentation to the troops in the Middle East, aired on Fox on February 28, 1991, coincidentally the day fighting in Desert Storm ended.


"Voices That Care" reached number 11 on the Billboard Hot 100 and number 6 on the Hot Adult Contemporary Tracks. Warren Wiebe, a friend of Foster and little-known vocalist at the time who recorded the demo of the song, was invited by Foster to sing lead and deliver the last solo lines of the song. Wiebe died on October 25, 1998 (aged 45). The music video was directed by Jim Yukich (who, three years later, helmed the movie Double Dragon) and produced by Paul Flattery for FYI (Flattery Yukich Inc.)

Lead vocalists

The following is the order of appearance in the song:

In the music video, footage is shown of Ahmad Rashād, Clyde Drexler, Dominique Wilkins, David Robinson, Michael Jordan and Magic Johnson singing the song on a basketball court, but they are not present at the actual choir session. Wayne Gretzky is also seen in a brief clip.

The band

  • Keyboards: David Foster
  • Synclavier programming: Simon Franglen
  • Acoustic guitar: Dean Parks
  • Guitar solo: Mark Knopfler
  • Saxophone solo: Kenny G
  • Background vocals: Brian Adler, Morgan Ames, Lois Blaisch, Joy Burnworth, Kenny Cetera, Barry Coffing, Marshall Connors, Laura Creamer, Randy Crenshaw, Lorraine Feather, Tim Feehan, Roger Freeland, David Freeman, Robin Hild, Peter Hix, Jeannie Jackson, Linda Jackson, Liz Jackson, Angie Jaree, David Joyce, Gael MacGregor


 

Monday, October 2, 2017

Monday Music "The Macarena" by Los Del Rio(1995)

 I was real busy the past couple of days, My son went to a band tournament on a different part of the state and they did well, but it kept me out of the house all day, and I also was dealing with some house issues or rather appliance issues.  They are mostly fixed except I have to buy a part this afternoon.   Well anyway I decided to roll with this song, I heard somebody playing it and it reminded me of the song.

 I remember when this song hit and all the radio's were playing the hell out of this song, I was driving to work in my F150,
 It looked kinda like that.  Well anyway I was driving through the other town to get to the Ford Plant and it was 1995 and I was on the way to work.  Well anyway this song was all over the airways and people were dancing to it at all the shows, at concerts and at work*eek*, well anyway the first few times I heard the song, I thought it was pretty neat, but after the 1000th time, I was over the song but it was very popular.  It was a different kind of song and it was catchy...at first but after a while I would cringe...not as bad as I did for the Lee Greenwood song from the Gulf War. 



The song was originally recorded in 1992, and released in 1993 as a rumba. This was the first of six versions of the song that can be associated with Los Del Rio. Another version, a new flamenco rumba pop fusion theme with fully Spanish lyrics, attained significant success in Spain, Colombia and Mexico. It also became popular in Puerto Rico because of its use as an unofficial campaign theme song for then-governor Pedro Rosselló, who was seeking reelection under the New Progressive Party of Puerto Rico's ticket. Being the base for many cruise ships, visitors to the island were constantly exposed to the song during their stay in Puerto Rico. This may explain how the song spread to—and became a hit in—cities with sizable Latino communities in the United States, particularly Miami, New York City and Los Angeles


In mid-1996, the song became a worldwide hit when the Bayside Boys, composed of Mike Triay, and Carlos de Yarza , produced a remix of the song which added English lyrics. Jammin Johnny Caride, a radio personality at Power 96 in Miami, first learned of the "Macarena" when clubgoers at a club where he worked as a deejay requested the song. Caride brought the "Macarena" to his supervisors at Power 96 who asked him to create an English-language version of the song.
Caride recruited his two partners at Bayside Records, Mike "In The Night" Triay and Carlos de Yarza, to remix the original song. The new, English-language lyrics were written by Carlos de Yarza. The Bayside Boys, Triay and de Yarza, added a new dance beat specifically targeted to American and British audiences with English-language lyrics sung originally by a studio singer, then, on tour, by Carla Vanessa. Vanessa accepted a fixed fee contract for her participation and live performances, and so does not receive any residual performer royalties. The finished version was called "Macarena (Bayside Boys Remix)." The Bayside Boys remix hit number one on the Billboard Hot 100 in August 1996 and remained at the top of the chart for fourteen weeks.

The reworked "Macarena (Bayside Boys remix)" spent 14 weeks at No. 1 on the U.S. Billboard Hot 100 singles chart, one of the longest runs atop the Hot 100 chart in history. The single spent its final week at No. 1 on its 46th week on the chart, recorded as the latest No. 1 single in Hot 100 history. Billboard ranked it as the No. 1 song for 1996. In the United Kingdom the song was released in June 1996 and peaked at No. 2 on August 17, 1996, kept off the No. 1 spot by the huge popularity of the Spice Girls song "Wannabe."

"Macarena" remained popular through 1996, but by the end of 1997, its popularity had diminished. The song stayed in the Hot 100 chart for 60 weeks, the longest reign among No. 1 songs, only surpassed fifteen years later by Adele's "Rolling in the Deep". The Bayside Boys remix includes a sample from Yazoo (also known in the United States as Yaz) track "Situation"—the laughter of Yazoo vocalist Alison Moyet. The chorus uses female vocal samples previously used by the Farm in their song "Higher and Higher (Remix)" from their album, Spartacus. The Bayside Boys toured the U.S. and the world, and featured singer Carla Vanessa.

By 1997, the song had sold 11 million copies. While having only a 25% take in royalties from the song, Romero and Ruiz became immensely wealthy. According to the BBC News Service, during the year 2003 alone—a full decade after the song's initial release—Romero and Ruiz made USD$250,000 in royalties. Julio Iglesias is quoted as congratulating the duo personally: "My success singing in English from Miami is nothing compared to yours; coming out of Dos Hermanas with little international exposure elsewhere and selling these many records in Spanish takes two huge sets of cojones."
In VH1's 2002 documentary 100 Greatest One-hit Wonders, "Macarena" was ranked as No. 1. "Macarena" was also ranked No. 1 on a different VH1 documentary, 40 Awesomely Bad No. 1 Songs.
On America's Best Dance Crew, it was danced to on the Whack Track Challenge, given to the Ringmasters.

There are two different music videos. The most common one, based on the Bayside Boys Mix and directed by French director Vincent Calvet, was created in 1996, featuring Los del Rio performing on a white backdrop. Ten women are also seen dancing with the band. Among them is Mia Frye, who choreographed the video. This version, where nine of the ten women lip sync the English lyrics, samples a line from The Graduate ("I am not trying to seduce you!") that had been earlier used by George Michael in "Too Funky", but was later removed due to possible copyright issues. The other, similar version of the music video was in black and white and was more instructional in that the women and men are clearly shown performing the specific dance moves.

Monday, November 10, 2025

Monday Music "Paint it Black" by the Rolling Stones

 

Tomorrow is Veterans Day, and I could have ran with "Lee Greenwood "God Bless The U.S.A." but to me "Paint it Black"was more appropriate.  Partially with the music video that I use.  I have more of a tie in with the older veterans than the younger veterans, we 80's and early 90's veterans learned our lessons from the people that went to the Southeast Asia War games as they called it and came in second.  We took the lessons that they paid in blood, sweat and tears and forged a machine that crushed the 4th largest military in the world.  


 Vietnam was a taboo subject for a while the wounds that the conflict left on the American Psyche was deep.  We had won the battles but lost the war because we as a nation had lost the will to fight it thanks to the media and the hippies and the antiwar movement that was funded by the communist party and liberal donors.  it took several years before Vietnam could be discussed outside of the veterans.  My Dad was a Vietnam Veteran, he did a tour in 1968 and dealt with the tunnels of Cu-Chi and the Tet Offensive, then he returned in 1972 for a second tour.   For a while especially in the 1970's, the Vietnam vet was portrayed as crazy or dangerous.  The specter of Vietnam dogged every use of the Military or any support during the 1980's, from Grenada, to Beirut, to Honduras and Nicaragua.  The Ghost of Vietnam were finally laid to rest during Desert Storm. 


 

 I decided to roll with "Paint it black" It is a Rolling Stone song that was used in the opening credits of a TV series that we GI's watched in the barracks.  We liked the realism, the attention to detail,  they had used Vietnam veterans as advisers to ensure the realism and gritty reality...for 80's TV anyway.  When the show came on, the dayroom was full as everybody clustered around the AFN broadcast of the show.  This song is the only song by the Rolling Stones that I  really liked.....We would cheer when the soldiers would shoot up Charlie and the firefights.  The interplay of the people was very well done, we liked the way the new LT played by Stephen Caffrey was mentored by the platoon sergeant played by Terrance Knox.  All the other guys also played well on each other and at the end of the video, it showed the 3 soldiers standing at attention and saluting the flag on TV at the end of the broadcast day....when they played the national Anthem.   That was telling for me.  The simple patriotism showed represented the beliefs of the Veterans in their country..


 

"Paint It Black" is a song recorded in 1966 by the English rock band the Rolling Stones. A product of the songwriting partnership of Mick Jagger and Keith Richards, it is a raga rock song with Indian, Middle Eastern, and Eastern European influences and lyrics about grief and loss. London Records released the song as a single on 7 May 1966 in the United States, and Decca Records released it on 13 May in the United Kingdom. Two months later, London Records included it as the opening track on the American version of the band's 1966 studio album Aftermath, though it is not on the original UK release.

Originating from a series of improvisational melodies played by Brian Jones on the sitar, all five members of the band contributed to the final arrangement, although only Jagger and Richards were credited as songwriters. In contrast to previous Rolling Stones singles with straightforward rock arrangements, "Paint It Black" has unconventional instrumentation including a prominent sitar, the Hammond organ, and castanets. This instrumental experimentation matches other songs on Aftermath. The song was influential to the burgeoning psychedelic genre as the first chart-topping single to feature the sitar, and widened the instrument's audience. Reviews of the song at the time were mixed and some music critics believed its use of the sitar was an attempt to copy the Beatles, and others criticized its experimental style and doubted its commercial potential.

"Paint It Black" was a major chart success for the Rolling Stones, at eleven weeks (including two at number one) on the US Billboard Hot 100, and 10 weeks (including one atop the chart) on the Record Retailer chart in the UK. Upon a re-issue in 2007, it reentered the UK Singles Chart for 11 weeks. It was the band's third number-one single in the US and sixth in the UK. The song also topped charts in Canada and the Netherlands. It received a platinum certification in the UK from the British Phonographic Industry (BPI) and from Italy's Federazione Industria Musicale Italiana (FIMI).

"Paint It Black" was inducted into the Grammy Hall of Fame in 2018, and Rolling Stone magazine ranked the song number 213 on their list of the 500 Greatest Songs of All Time. In 2011, the song was added to the Rock and Roll Hall of Fame's list of "The Songs that Shaped Rock and Roll". Many artists have covered "Paint It Black" since its initial release. It has been included on many of the band's compilation albums, and several film soundtracks. It was played on several Rolling Stones tours. 

In 1965, popularity of the Rolling Stones increased markedly with a series of international hit singles written by lead singer Mick Jagger and guitarist Keith Richards.While 1964 saw the band reach the top of both the albums and singles charts in their native United Kingdom, other bands from Britain dominated the American market, such as the Beatles. In 1965, the Stones crossed over to the American Market with their first number one single, "(I Can't Get No) Satisfaction", and first number one album Out of Our Heads. That year also saw the Stones reach the top of the charts for the first time in countries such as Finland, Germany, and South Africa.

This success attracted the attention of Allen Klein, an American businessman who became their US representative in August while Andrew Loog Oldham, the group's manager, continued in the role of promoter and record producer.[4] One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars. Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point.According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before".

By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, in comparison to whom they had long been promoted by Oldham as a rougher alternative.With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the musical and cultural influence of the Beatles, and began to be identified as one of the major pillars of the British Invasion. The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the Establishment detractors of rock music, which music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on".

 


"Paint It Black" came at a pivotal period in the band's recording history. The Jagger/Richards songwriting collaboration had begun producing more original material for the band over the past year, with the early model of Stones albums featuring only a few Jagger-Richards compositions having been replaced by that of albums such as Out of Our Heads and December's Children (and Everybody's), each of which consisted of half original tracks and half cover songs. This trend culminated in the sessions for Aftermath (1966) where, for the first time, the duo penned every track on the album. Brian Jones, originally the band's founder and leader over the first few years of its existence, began feeling overshadowed by the prominence of Jagger and Richards' contributions to the group.

Despite having contributed to early songs by the Stones via the Nanker Phelge pseudonym, Jones had less and less influence over the group's direction as their popularity grew primarily as a result of original Jagger-Richards singles. Jones grew bored attempting to write songs, and with conventional guitar melodies. To alleviate his boredom, he begun exploring Eastern instruments, specifically the Indian sitar, with a goal to bolstering the musical texture and complexity of the band's sound. A multi-instrumentalist, Jones could develop a tune on the sitar in a short time; he had a background with the instrument largely from his studies under Harihar Rao, a disciple of Ravi Shankar.

Over 1965, the sitar had become a more and more prominent instrument in the landscape of british rock. The Yardbirds had attempted to record "Heart Full of Soul" with the sitar as part of the arrangement in April, however they had run into problems getting the instrument to "cut through" the mix, and the session musician responsible for playing the instrument had trouble staying within the 4/4 time signature of the song. Ultimately, the final version of "Heart Full of Soul" featured a fuzz guitar in place of the sitar, although the song's distinctively Indian timbre remained. Following similar Indian-influenced experimentation by the Kinks on "See My Friends" that nonetheless still used guitar as the primary instrument, the first British band to release a recording featuring the sitar was the Beatles, with "Norwegian Wood (This Bird Has Flown)" released that December on the album Rubber Soul. Following a discussion with the Beatles' lead guitarist George Harrison, who had recently played the sitar on the sessions for "Norwegian Wood" in October 1965, Jones began devoting more time to the sitar, and began arranging basic melodies with the instrument. One of these melodies morphed over time into the tune featured in "Paint It Black"

Initial reaction to "Paint It Black" was mixed. Some music critics found the addition of the sitar to be simply a case of the band copying the Beatles.n his book Brian Jones: The Making of the Rolling Stones, Paul Trynka comments on the influence of Harrison's sitar playing on the Beatles' song "Norwegian Wood" from the Rubber Soul album and draws parallels with Jones' droning sitar melody on "Paint It Black". Responding to claims that he was imitating the Beatles, Jones replied: "What utter rubbish", comparing the argument to saying that all groups using a guitar copy each other merely by using the instrument. Jonathan Bellman, an American musicologist, agreed with Jones, writing in a 1997 issue of The Journal of Musicology that the events are an example of concurrent musical and instrumental experimentation. Jones' sitar part on the track influenced the development of a whole subgenre of minor-key psychedelic music.

Lindy Shannon of the La Crosse Tribune felt "Paint It Black", the Byrds' "Eight Miles High" and the Beatles' "Rain" were straying from the "commercial field" and instead "going into a sort of distorted area of unpleasant sounds". Staff at Melody Maker lauded the track, calling it "a glorious Indian raga-riot that will send the Stones back to number one".Writing for Disc and Music Echo, Penny Valentine praised Jagger's singing, writing that it was "better than ever" but was critical of the track's sitar Guitar Player's Jesse Gress cited "Paint It Black" as originating the 1960s ragarock craze.In a review for New Musical Express (NME), Keith Altham considered "Paint It Black" the band's best single since "(I Can't Get No) Satisfaction" was released the previous year. A reviewer for Billboard predicted that Aftermath would become another hit for the band, citing "Paint It Black" as the focal point of this hard rock album and praising Oldham's production. The Herald News considered the song a "top record ... for teeners", and in The Sunday Press Nancy Brown described it as a "pulsating, blues-soaked romantic tear-jerker".In the San Francisco Examiner, Ralph J. Gleason lauded the song for its "hypnotizing tone" and "same qualities of ambiguity and obscurity as some of the previous Stones hits". In April 1967, while hosting the television documentary Inside Pop: The Rock Revolution, Leonard Bernstein praised the song for its "arab café" sound, and cited it as an example of contemporary pop music's ability to evoke disparate moods through instrumentation.

In a retrospective review, Richie Unterberger of AllMusic called the song an "eerily insistent" classic that features some of "the best use of sitar on a rock record", and in another AllMusic review wrote it is "perhaps the most effective use of the Indian instrument in a rock song". Writing on the song's 50th anniversary in 2016, Dave Swanson of Ultimate Classic Rock considered the song, like its parent album Aftermath, to be a major turning point in artistic evolution for the band, noting: "'Paint It, Black' wasn't just another song by just another rock group; it was an explosion of ideas presented in one neat three-minute package." In 2017, ranking Aftermath as one of the best albums of the 1960s, Judy Berman of Pitchfork described the song as "rock's most nihilistic hit to date".vid Palmer, editor of the Cullman Times, wrote that the "attitude" songs on Aftermath – particularly "Paint It Black" – influenced the nihilistic outlook of punk music. Stereogum critic Tom Breihan praised the song as a strong example of the band's brand of "swirling doom-blues", and praised its heavy sound and dark lyrics as ahead of its time when compared to the landscape of popular music in 1966.

"Paint It Black" inspired almost four hundred covers.It has placed on many "best songs" lists including those by Rolling Stone, Vulture magazine, NME, and Pitchfork. The Recording Academy inducted the song into the Grammy Hall of Fame in 2018. It is ranked number 213 on Rolling Stone's list of the 500 Greatest Songs of All Time,and according to Acclaimed Music it is the 115th most celebrated song in popular music history.

Tuesday, February 11, 2014

Airport ,75,77 and 79 disaster movies.

I am still working on my airsoft post from this weekend and I decided to dust off an old article I did when I first started blogging back in early 2011, I was watching the "airport" disaster movies back then and had just discovered "Google" and "Wikipedia" and I decided to do some research on them and found out a lot of stuff.  I figured my regular readers would get a kick out of this like I did. I did realize that I am a better editor than I was before, I cleaned them up and decided to repost them.


This is the trailer for the original movie.  





Airport...the original



The real star of the show, the Boeing 707 (a 707-348C, serial no. 19351 [503rd 707 off the production line], originally registered N324F), was leased to MCA/Universal Pictures from Flying Tiger Line (now merged with Fedex) for the filming of the exterior shots. After filming was completed, the aircraft returned to Flying Tigers and was later sold, going through various owners before meeting a tragic end while on an approach to landing accident on 21 March 1989 in Sao Paulo, Brazil.
   
The 707-320 Intercontinental is a stretched version of the turbojet-powered 707-120, initially powered by JT4A-3 or JT4A-5 turbojets producing 15,800 lbf (70,000 N) each. The interior allowed for up to 189 passengers due to an 80-inch (2,000 mm) fuselage stretch (from 138 ft 10 in (42.32 m) to 145 ft 6 in), with extensions to both the tail and horizontal stabilizer extending the aircraft's length further. while a longer wing carried more fuel, increasing range by 1,600 miles (2,600 km) and allowing the aircraft to operate as true transoceanic aircraft. The wing modifications included outboard and inboard inserts, as well as a kink in the trailing edge to add area inboard. Takeoff weight was increased to 302,000 lb (137,000 kg) initially, and to 311,000 lb (141,000 kg) and perhaps further as higher-rated JT4A's became available. First flight was on January 11, 1958, and 69 turbojet 707-320s were produced. No -320 Intercontinental models were re-engined with fan engines in civil use, but around year 2000 the Israeli Air Force re-engined two ex-Sabena -320 based military tankers.
The 707-320B is a re-engined version undertaken in parallel with the -120B, using the same JT3D-3 turbofans and incorporating many of the same airframe upgrades as well. The wing was modified from the -320 by adding a second inboard kink, a dog-toothed leading edge, and triangular wingtips instead of the earlier blunt ones. These new wingtips increased overall wingspan by three feet. Takeoff gross weight was increased to 335,000 lb (152,000 kg). The 175 707-320B aircraft produced were all new-build, no original -320 models were converted to fan engines in civilian use.
The 707-320B Advanced is a slightly improved version of the -320B aircraft, adding three-section leading-edge flaps. These reduced takeoff and landing speeds, and also altered the lift distribution of the wing, allowing the ventral fin found on earlier 707s to be removed. The same wing was also used on the 707-320C.
The 707-320C has a convertible passenger–freight configuration which became the most widely produced variant of the 707. The 707-320C added a strengthened floor and a new cargo door to the -320B model. 335 of these variants were built, including a small number with uprated JT3D-7 engines and a takeoff gross weight of 336,000 lb (152,000 kg). Despite the convertible option, a number of these were delivered as pure freighters. One of the final orders was by the Iranian Government for 14 707-3J9C aircraft capable of VIP transportation, communication, and in-flight refuelling tasks.
The 707-420 is a version of the 707-320 originally produced at specific request for BOAC and powered by Rolls-Royce Conway 508 turbofans, producing 17,500 lbf (77.8 kN) each. Although BOAC were first to order the 707-320 delays in getting British certification meant that Lufthansa were the first to receive and operate the 707-320 in February 1960. A total of 37 were built to this configuration.
The 707-700 was a test aircraft used to study the feasibility of using CFM International's CFM56 powerplants on a 707 airframe and possibly retrofitting them to existing aircraft. After a testing in 1979, N707QT, the last commercial 707 airframe, was refitted to 707-320C configuration and delivered to the Moroccan Air Force as a tanker aircraft. (This purchase was considered a "civilian" order and not a military one.) Boeing abandoned the program, since they felt it would be a threat to the Boeing 757 program. The information gathered in the test led to the eventual retrofitting program of CFM56 engines to the USAF C-135/KC-135R models, and some military versions of the 707 also used the CFM56. Ironically the Douglas DC-8 "Super 70" series by Cammacorp did develop commercially, extending the life of DC-8 airframes in a stricter noise regulatory environment, so there are today more DC-8s in commercial service than there are 707s.

     

Flying Tiger Line
IATA
FT*
ICAO
FTL*
Callsign
TIGER*
Founded 1945
Commenced operations 1945
Ceased operations 1989 (taken over)
Destinations
Headquarters Los Angeles International Airport
Los Angeles, California, United States
Flying Tiger Line, also known as Flying Tigers, was the first scheduled cargo airline in the United States and a major military charter operator during the Cold War era for both cargo and personnel (the latter with leased aircraft). The company was started by Robert William Prescott. It was headquartered on the grounds of Los Angeles International Airport in Westchester, Los Angeles, California.
The airline was named after the Flying Tigers fighter unit of World War II, officially the 1st American Volunteer Group. Ten former AVG pilots formed the Flying Tiger Line (originally called National Skyway Freight) after returning to the United States in 1945, using a small fleet of Budd Company C-93 Conestoga freighters purchased as war surplus from the United States Navy. For the next four years, Flying Tiger Line carried air freight on contract.
Over the years, Flying Tigers carried a number of unique cargoes, including SeaWorld killer whales and the torch of the Statue of Liberty.

 History


Old Logo
In 1949, the Civil Aeronautics Board awarded Flying Tiger Line the first commercial air cargo route in the U.S., a transcontinental route from Los Angeles and San Francisco, California to Boston, Massachusetts. Shortly afterward, the company began chartering passenger aircraft for group travel as well; its Lockheed Super Constellation, Douglas DC-4 and DC-6 fleet comprised the largest trans-Atlantic charter operation through the 1950s.
During the Korean War, Flying Tiger aircraft were chartered to transport troops and supplies from the United States to Asia; Flying Tigers later received a cargo route award to Japan, China, and Southeast Asia. The airline also played a major role in the construction of the Distant Early Warning Line, flying equipment to remote outposts in northern Canada and Alaska.

Flying Tiger Line Douglas C-54A Skymaster at Manchester Airport, England in May 1955
Flying Tiger Line adopted the Canadair CL-44 swing-tail aircraft in 1961, becoming one of the first carriers in the world to offer aerial pallet shipping service. In 1965, Flying Tiger Line began operating jet aircraft (the Boeing 707); in 1974, the airline took delivery of its first Boeing 747.
The Flying Tiger Line then put in orders for brand new B-747-200F freighters designated the B747-249F, which at the time were among the heaviest commercial airplanes flying, weighing in at 823,000 pounds. These aircraft had the powerful "Q" P&W JT9D engines and heavy landing gear and could simultaneously carry both 250,000 pounds of fuel and 250,000 pounds of cargo loaded through both the nose door and the side door at the same time. Aircraft loaders had earlier refused to work at the extreme 30 foot height necessary for putting freight on the upper deck, so the "supernumerary area" or "hump" was configured with 19 first class seats instead which were used to transport livestock handlers, charter agents and mechanics as well as dead-heading pilots and flight attendants. Tiger's Ad Hock Charter livestock flights provided airlift for exotic animals. Two examples were thoroughbred racehorses and show animals from Stansted, England to the Melbourne Cup, as well as breeding stock cattle (milk supply) to nations such as Japan and Thailand. Covert flights for DOD were not uncommon throughout the airline's history, since its roots were from Civil Air Transport (CAT), just as was its sister airline Air America (airline) which was owned by General Claire Lee Chennault commander of the Flying Tigers fighter squadron in Southeast Asia.
By the mid-1980s, Flying Tigers operated scheduled cargo service to six continents and served 58 countries. It surpassed Pan American World Airways in 1980 as the world's largest air cargo carrier after acquiring its rival cargo airline Seaboard World Airlines on 1 October 1980.
It also operated military contract services, most notably Douglas DC-8 routes between Travis Air Force Base, California and Japan in the 1970s, followed by weekly Boeing 747 passenger service between Clark Air Base, Philippines, and St. Louis, Missouri via Japan, Alaska, and Los Angeles during the 1980s. Tigers employed approximately 251 flight attendants and carried up to a record 594 passengers and crew on its MAC all coach passenger flights. Approximately 998 pilots worked for the airline based throughout the country. Large crew bases were primarily Los Angeles, New York and Lockborn, Ohio. Headquartered at LAX, Tigers was a large employer at the airport with its own engine shop and jet maintenance business.
Federal Express purchased Flying Tigers in December 1988. On August 7, 1989 Federal Express merged Flying Tigers into its operations.
Flying Tigers operated a recording company subsidiary, Happy Tiger Records, from 1969 to 1971.[3][4] Flying Tigers also made livestock carriers for airplanes. They often made animal carriers that were comparable in external size and shape to the standard AMJ container used in the FedEx flight operations.

 Fleet



Boeing 747-200F of Flying Tigers
At the time of its sale Flying Tigers was operating the following aircraft:

 Accidents and incidents

 References

Airport 75

This movie got the Razzie awards, I don't know...I actually liked the movie.  Since I work in the aviation industry..I do space out my various musings about politics with airplane pics.   The fictional airline actually used an American Airline 747 for the movie.

The Real Aircraft:  N9675
The Boeing 747 used in the film was originally delivered to American Airlines in 1971. It was a 747-123, registration number N9675, serial number 20390; the 136th 747 off the production line. Its basic American Airlines color scheme was modified to the notional Columbia Airlines colors for filming of exterior sequences. The aircraft was flown by United Parcel Services as a freighter, re-registered N675UP until 2005.The aircraft, N9675, is now stored in Roswell aircraft storage facility, and has been withdrawn from active service with UPS. 

The 747 used in the film cost $30,000 per day to rent from American Airlines. All exterior shots of the aircraft (and one interior shot of Charlton Heston at the controls) were completed in two days (landing shots in Salt Lake City, aerial shots over the Wasatch mountain range in Utah, evening and early morning flight shots, and a stunt shot involving engine #1 ramming into an outbuilding). The evening taxi and takeoff shots were filmed as the plane, with the re-badged "Columbia Airlines" logo on the fuselage, was being delivered to Salt Lake City for the two days of filming.




















































I watched the 3rd installment of the "airport" movies and decided to do a bit of research on the airplane used for the footage.


08/10/1970 American Airlines N9667 Correct
29/10/1978 Braniff Airways N9667 Correct
30/05/1984 Citicorp N9667 Correct
23/07/1984 National Airlines N9667 Correct
01/09/1985 Air Afrique N9667 Correct
01/04/1986 Citicorp N14937 Correct
01/07/1986 Air Inter LX-MCV Correct
02/07/1986 Cargolux LX-MCV Correct
01/08/1987 Iran Air LX-MCV Correct
08/10/1987 United Airlines N157UA Scrapped at GWO in 2001  


American Airlines Boeing 747 N9667

American Airlines Boeing 747-123 N9667 (20106) at Los Angeles-International in October 1980.
This aircraft went on to several leases before ending up with United as N157UA in 1987. It was eventually broken up at Greenwood. Mississippi

     This is the pic I pulled off clipboard showing the plane in the movie

Airport 79




The Concorde aircraft used in the film first flew on January 31, 1975, and was registered as F-WTSC to the Aérospatiale aircraft company. It would be re-registered by Aérospatiale as F-BTSC and leased to Air France in 1976. In 1989, this Concorde carried Pope John Paul II. On July 25, 2000, F-BTSC crashed Air France Flight 4590 in the small French town of Gonesse, killing all 109 passengers and crew on board, as well as four on the ground. At the time of the accident, F-BTSC had logged 11,989 hours and 4,873 cycles.


 F-BTSC on the ground at CDG in 1978 during filming of the 1979 Movie: "Airport'79 : The Concorde"
Airport 79 was panned by the critics and almost everybody else.  The Concorde ... Airport '79 is a 1979 American disaster film (in the UK, it was released a year later as Airport '80: The Concorde). The film was the fourth and final installment of the Airport series.  The film also flopped at the box office. Produced on a then high budget of $14 million, it earned a little over $13 million, thus ending the enormous financial success of the Airport franchise

     What can I say, I am a sucker for airplane movies