The film was suggested by screenwriter Beirne Lay Jr., a Colonel in the Air Force Reserve, to General Curtis LeMay, then commander of the Strategic Air Command (SAC), who had discussed with Lay the problem of the high rate of divorce among flight crews.
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But I don't really look at life like that. I don't set the mics up and get levels on the drums. Those are real trumpets, saxophones, trombones, guitars, harpejjis, chimes, snaps and tambourines. HC: The drums you hear are real, unless they're an analog drum machine. How different was it to make an entire album by yourself? TAS: I'm sure you record demos in your home studio all the time. When other people hear it and they get influenced by it, and they're all in the same community, when that catches fire and you have musicians playing all kinds of stuff it just shoots off in all these different directions. A lot of that stuff is from the church, probably the majority of it. It's stuff that doesn't even have a name, like the way James Booker played piano - some call it New Orleans piano, some people call it butterfly style. A huge part of what I do comes directly from negro spirituals and then it ventures off into all different kinds of harmonies and rhythms. TAS: Does that faith have something to do with the city’s rich musical culture?