Airplanes Bob Quotes

I don't want to go to Italy no more, I don't want to go nowhere no more. You end up crashing in a private airplane, in the mountains of Tennessee... or Sicily...

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

Bob Hoover, a famous test pilot and frequent performer at air shows, was returning to his home in Los Angeles from an air show in San Diego. As described in the magazine Flight Operations, at three hundred feet in the air, both engines suddenly stopped. By deft maneuvering he managed to land the plane, but it was badly damaged although nobody was hurt. Hoover’s first act after the emergency landing was to inspect the airplane’s fuel. Just as he suspected, the World War II propeller plane he had been flying had been fueled with jet fuel rather than gasoline. Upon returning to the airport, he asked to see the mechanic who had serviced his airplane. The young man was sick with the agony of his mistake. Tears streamed down his face as Hoover approached. He had just caused the loss of a very expensive plane and could have caused the loss of three lives as well. You can imagine Hoover’s anger. One could anticipate the tongue-lashing that this proud and precise pilot would unleash for that carelessness. But Hoover didn’t scold the mechanic; he didn’t even criticize him. Instead, he put his big arm around the man’s shoulder and said, “To show you I’m sure that you’ll never do this again, I want you to service my F-51 tomorrow.

Then the center of influence shifted to London, with the Beatles and the Rolling Stones, Cream, the Who, the Kinks, and all the bands that orbited them. San Francisco, with the Grateful Dead, Jefferson Airplane, and Santana, had its moment in a psychedelic spotlight around the Summer of Love and the Monterey Pop Festival in 1967, but as the 1960s gave way to the '70s, the center of the musical universe shifted unmistakably to Los Angeles. "It was incredibly vital," said Jonathan Taplin, who first came to LA as the tour manager for Bob Dylan and the Band and later relocated there to produce Martin Scorsese's breakthrough movie, Mean Streets. "The nexus of the music business had really moved from New York to Los Angeles. That had been a profound shift . . . It was very clear that something big had changed."'' For a breathtaking few years, the stars aligned to glittering effect in Los Angeles. The city attracted brilliant artists; skilled session musicians; soulful songwriters; shrewd managers, agents, and record executives; and buzz-building clubs. From this dense constellation of talent, a shimmering new sound emerged, a smooth blend of rock and folk with country influences. Talented young people from all over the country began descending on Los Angeles with their guitar cases or dreams of becoming the next Geffen. Irving Azoff, a hyper-ambitious young agent and manager who arrived in Los Angeles in 1972, remembered, "It was like the gold rush. You've never seen anything like it in the entertainment business. The place was exploding. I was here—right place, right time. I tell everybody, `If you're really good in this business, you only have to be right once,' so you kind of make your own luck, but it is luck, too. It was hard to be in LA in that time and have any talent whatsoever in the music business—whether you were a manager, an agent, an artist, a producer, or writer—[and] not to make it, because it was boom times. It was the gold rush, and it was fucking fun.

As Karen returned from the restroom, the gate agent explained the order of boarding: People with disabilities or in wheelchairs, people over the age of 100, people who act like they’re over the age of 100, families with children (children are two-year olds and younger, not fifteen-year olds), in-uniform military personnel, first class, business class, platinum frequent flyer members, gold members, silver members, bronze members, associate members, people who just applied for the airline’s credit card five minutes ago, group 1, groups 2 through 10 in that order, and finally, anyone too clueless to figure out how to get into one of the groups already called. We had “group 8” boarding passes. We felt smug as we pushed our way past the five remaining passengers who were lower on the boarding list than us. I don’t like being trapped in a small place, such as an airplane, with a large cross-section of humanity. I think airlines should announce before every flight, “Listen up people. We’re all sealed in here together for the next four hours, so try not to be annoying until the flight is over. Once you exit the plane, then you can whistle, hum, fart, snore, talk baby talk, take your shoes off and put on as much bad perfume as you want.” I think this would make air travel more bearable. We arrived in El Paso with enough time to pick up the rental car, have dinner (at Carlos and Mickey’s) and buy groceries for the week: peanut butter, jelly, bread, water, blue corn chips, peppermint patties, animal crackers and beer.

In truth, we are all trying to build the airplane while flying it—figuring it out as we go. This means more off-ramps than on-ramps, more chances for confusion than certainty, and more ambiguity than clarity. In a word, much of life can leave us feeling completely, inextricably, absolutely, and totally distracted. When this happens, one of the first casualties is our joy.

I assume I disappeared on my round-the-world flight?” “Yes,” Ivar said. Earhart gave a sad smile. “I think I disappeared in every timeline. Would have been nice to know I made it in one of them. That event seems to be a constant, except for those where civilization didn’t survive long enough to invent the airplane.” She shook her head. “A different timeline is a different world, even though it’s still Earth.