JimCT

I doubt the maintenance data for a crashed airframe is important. Cockpit voice recorder might be a little different, but they probably thought of that, and included a solution.

Birthday girl

The UH-60M model started with that, back circa 2004/5. Both the new-build Ms and the upgrades of older A and L versions were included. http://www.defense-aerospace.com/article-view/release/44118/goodrich-wins-uh_60m-contract-(aug.-17).html

Prince, 12/15/2002, Las Vegas

for yesterday's birthday girl - Aretha Franklin from the classic Blues Brothers

Imposters 2 seasons only, 20 episodes total, features the very-easy-on-the-eyes Inbar Lavi

He sold over 100 million records during his career. I'm guessing the list of artists that have done that is not long https://www.newyorker.com/culture/postscript/the-beloved-kenny-rogers-runs-out-of-aces The Beloved Kenny Rogers Runs Out of Aces By Amanda Petrusich March 22, 2020 The country singer Kenny Rogers died on Friday, at his home in Sandy Springs, Georgia. In 2018, Rogers stopped performing, for health reasons, and, though the cause of his death has not yet been specified, his publicist confirmed that he had been in hospice care for some time. He was eighty-one, and left behind an extraordinary discography, including twenty-one No. 1 country songs. One of those hits, “The Gambler,” was released in November, 1978, as the lead single for an album of the same name. “The Gambler” is the sort of song that becomes especially transcendent when cued up on a karaoke machine in a dive bar in some midsized American city, at an impolite hour, when you have no friends left in the room. People sing “The Gambler” for themselves. It was written by Don Schlitz, and recorded by a handful of country luminaries—Johnny Cash, Bobby Bare—before Rogers finally took a crack at it. Something about his rendition clicked. The song went to No. 1 on both the pop and country charts, which was less common in the late seventies than it is now. Perhaps this success can be credited to the smoothness and steadiness of Rogers’s voice, which is made more dynamic by the tiniest bit of grit—a little sand in the suntan lotion. “The Gambler” also drew power from Rogers’s age. He found success in midlife (he had his first hit, “Lucille,” at thirty-eight), which meant that there was always something vaguely fatherly about his presence—it just felt right to receive advice from him. There’s a funny kind of authority in that uncannily robust salt-and-pepper mustache, and in the way he appeared preternaturally skilled at harmonizing, lifting his partner’s voice, as if he were an adult pushing a child on a swing. The chorus of “The Gambler”—“You’ve got to know when to hold ’em / Know when to fold ’em / Know when to walk away / Know when to run”—might be the single most profound piece of counsel ever dispensed via song. Who among us hasn’t clung when we should have pushed off? Rogers was born on August 21, 1938, in Houston. His father was a carpenter, and his mother worked as a cleaner. In 2014, he told Rolling Stone that his interest in music began at twelve, when he saw a performance by Ray Charles. “It was like an epiphany,” he said. “People laughed at everything Ray said, they clapped for everything he sang. I thought, boy, who wouldn’t want to do that?” In high school, he formed a doo-wop group called the Scholars, and studied the work of R. & B. singers such as Sam Cooke; in 1958, after the Scholars disbanded, he released a moony ballad called “That Crazy Feeling” on Carlton Records, a regional label, and appeared on “American Bandstand.” He flitted for a while between genres, messing around with psych-rock, jazz, country, and folk. In 1967, he formed a band called the First Edition. They had a hit with “Just Dropped In (To See What Condition My Condition Was In),” a weird and awesome song written by Mickey Newbury. It was an early instance of Rogers taking a track that several other artists (in this case, including Jerry Lee Lewis) had already recorded, yet somehow making it richer, deeper, and more resonant. “Just Dropped In” recounts a bad trip—“I pushed my soul in a deep dark hole and then I followed it in / I watched myself crawling out as I was a-crawling in”—though the lyrics can be adapted to almost any life-altering situation. (It is used, to delightful effect, in “The Big Lebowski,” shortly after the Dude’s White Russian is drugged.) Rogers sold more than a hundred million records in his lifetime; he always looked terrific in a sequinned blazer. He had several compelling side hustles, including Kenny Rogers Roasters, a fast-food restaurant specializing in wood-fired rotisserie chicken. (He co-founded the chain with John Y. Brown, Jr., a chief executive of Kentucky Fried Chicken, and the former governor of Kentucky.) Kenny Rogers Roasters has since ceased operations in the United States, but the chain, under new ownership, remains quite popular in Southeast Asia. (The phrase “a former Kenny Rogers Roasters in Saginaw, Michigan” does still invite a very particular sort of pathos, however.) Of all his recordings, I especially love Rogers’s duets with Dolly Parton. The most of famous of these is, of course, “Islands in the Stream,” which was written by the Bee Gees, and named after a novel by Ernest Hemingway. The song, like many hits that have transformed into musical furniture over the years—grown ignorable and banal through sheer repetition—is more complicated than you might remember. It begins with a kind of koan: “Baby, when I met you, there was peace unknown,” Rogers sings. “I was soft inside / There was something going on.” It’s a curious and unexpected image: a person made gentle, unformed, still raw before love takes hold. Then the chorus evokes an island as a symbol of intimacy, rather than isolation: “Islands in the stream / That is what we are,” he and Parton sing. It is hard to think of a better or more comforting phrase for this particular moment. Listening to Parton and Rogers harmonize, it’s clear that they loved each other deeply. They always insisted their relationship was platonic, and I believe them (“Tension is better if you keep it than if you satisfy it,” Rogers told Today.) They performed the song on “The Dolly Show,” a variety series Parton hosted in the early nineteen-eighties. On YouTube, the description field is merely the word “enjoy” repeated ten times, and, really, how couldn’t a person? Parton’s hair is enormous—a mountain range. Rogers is showing off about eight inches of bare chest. I feel a swell of hope each time they sing, “This could be the year for the real thing!” It always could be, and sometimes it is.

https://www.washingtonpost.com/arts-entertainment/2020/03/23/kenny-rogers-dolly-parton-friendship-islands-in-stream/ The story of Kenny Rogers and Dolly Parton’s decades-long friendship By Emily Yahr March 23, 2020 at 6:00 a.m. EDT About three years ago, Kenny Rogers sat for an interview with Southern Living — naturally, the conversation turned to Dolly Parton, his longtime friend and singing partner. The question: What’s your favorite memory of Dolly? His favorite moment, he said, was in 2013 while they were recording their final duet together called “You Can’t Make Old Friends.” At one point, he looked up and saw Parton was no longer at her microphone. Suddenly, she appeared by his side, and put her arms around his neck. “Kenny, I think you should know,” she told him. “I could never sing at your funeral.” Rogers laughed at the memory. “I went, ‘So we’re assuming I’m going first?’ ” He chuckled again. “But I love her for that. You never know what she’s going to say, but it always comes from love.” Listening to the song, Parton’s train of thought makes sense — the ballad includes the lines, “What will I do when you’re gone? Who’s gonna tell me the truth? … How will I sing when you’re gone? Cause it won’t sound the same.” Those lyrics became even more poignant this past weekend, when Rogers died at age 81. Tributes to the country-pop superstar poured in, and on Saturday morning, Parton posted an emotional video on social media. She said she learned the news after turning on the TV. After the news of Rogers’s death, his famed hit “The Gambler” rocketed up to No. 1 on the iTunes charts. The No. 2 spot? Karaoke favorite “Islands in the Stream,” his iconic 1983 duet with Parton. But as much as people have loved the musical collaborations between Rogers and Parton, there is also a long-running obsession with their nearly four-decade friendship. It was a favorite topic in interviews, and Rogers and Parton were constantly asked if they had ever been more than friends, even though they always said no. “We all want you to get together!” Gayle King said in 2013 when Rogers stopped by “CBS This Morning.” “We’re both married. Why would you want us to get together?” Rogers responded, smiling, as the anchors laughed and King quickly started to walk back the question. “In all fairness, Dolly and I have been accused of having an affair for the last 30 years. And we never did.” He added that they indulged in some “harmless” flirting, but that was all. What was most important, he said, was their friendship: “She’s one of those rare people that if she walked in the door and I hadn’t seen her in five years, it would be like we were together yesterday.” The two first crossed paths in Nashville in the early days of their careers, and he helped her when she headlined a syndicated TV show in the 1970s. “Kenny was a big star, and I couldn’t get any people on my show,” Parton told the Associated Press in 1990. “Kenny said ‘I’ll do it,’ and I’ll never forget it. He’s always been there for me as a friend.” Nearly a decade later, Rogers was in the recording studio with Barry Gibb of the Bee Gees, who had just co-written “Islands in the Stream” and decided to give it to Rogers. After a few days trying to record, Rogers didn’t like how it sounded and was ready to give up. According to Rogers, Gibb said, “You know what we need? We need Dolly Parton.” By coincidence, Rogers told People magazine, Parton happened to be the same studio that day. Rogers’s manager went to go find her. “She came marching into the room, and once she came in and started singing the song was never the same. It took on a personality of its own,” Rogers said. “Islands in the Stream” became a massive hit when it was released in 1983 and fueled interest in Rogers and Parton as a duo — they released a Christmas album and filmed a TV special and started touring together. “We didn’t plan it. People just put us together because they liked us together,” Parton said in 1986. “We did that one song and out of that came years of concerts and friendship.” Their easygoing chemistry remained the same for decades, as they could quickly veer from joking (“So this is my lead-in for me to talk about how handsome you are,” Parton said dryly in a 2013 Great American Country interview when Rogers called her “gorgeous”) to introspective: “One of the things that affects a relationship when you’re working with someone is your upbringing and your background,” Rogers said on an episode of Parton’s show in the ’80s, noting that they had similar family situations and religious beliefs. “She’s a very special person who has a very special place in my life.” They collaborated on more duets through the years: “Real Love” in 1985; “Love is Strange” in 1990; Rogers recorded the Parton solo-written “Undercover” in 2003. And finally, “You Can’t Make Old Friends,” which was nominated at the 2014 Grammy Awards for country duo/group performance. Even though they didn’t write it, they considered it autobiographical. “[‘Islands in the Stream’] was a song about objective people. This was about us,” Rogers said in the 2013 GAC special. “And I think that shouldn’t go unnoticed.” They clearly knew how meaningful their partnership was to fans — Parton also used her tribute video on Saturday to comfort people about the world’s current nightmarish situation. “I know that we all know Kenny’s in a better place than we are today. But I’m pretty sure he’s going to be talking to God sometime today if he’s ain’t already,” she said. “And he’s going to be asking him to spread some light onto this darkness going on here.”

Thanks!

Can someone please upload 25 Oct 84, opening night in LA? TIA!

Your choice. I'm happy you gave that rendition of LITF a listen, hope you agree that it was worth your time