mitchell goes in and pershing says billy mitchell, we'll do a big attack, can you do an air attack in support? he says absolutely. i'll need 1500 planes. he gets them and it's a mix of european pilots and they do a lot of different stuff and part of what they're doing is we need to eliminate those german aircraft so any time german aircraft come up to engage they'll do air to air and they'll bomb the air drones to try to take out as many planes on the ground as they can and they're successful and they're doing what they at the time talk about strategic bombing and we call it more interdiction. they're trying to hit rail line, supply depots and it's one of the reasons why the san miguel offensive works as well as it does and at least it's part of that -- i can talk about it all day. >> he's currently watched me with all of the other speakers so we'll go to the lasty request of the day. >> thank you, sir. >> do chopper pilots have the same culture? >> this is very interesting and it's something i try to get at in my longer works and how do the different flyers have different cultures? i

no less than an air body leader than billy mitchell who goes on to become the father of the u.s. air force. he's talking about fighter pilots and he says this. reunite us i had no greater odds against them than these aviators. fighter pilots the heart of a lion, the speed of thought of mercury. not only are these guys heroes they are kind of like the gods themselves is what billy mitchell is saying. and again, they see themselves this way. they are not necessarily living up to it. but the ways in which they express this individuality was a big part of it. you want to be the lone warrior. this is a problem because the early planes, especially the early recon planes, fighter planes, they have two cockpits. you've got the pilot, a guy behind with you some sort of gun, maybe a camera for observation, something like that, and a lot of pilots did not like that one bit. i don't want another guy shooting the gun for me. and they are all guys. so what can i do about this? now, every nation was trying they had recognized the problem, if you mount a machine gun right in front of the cockpit

is what billy mitchell is saying. again, they see themselves this way. they're not necessarily living up to it. but the ways in which they express this individuality was a big part of it. you want to be a lone warrior. the early planes, some of the early fighter planes, they have two cockpits in them. you you've got a pilot and a guy behind you with some sort of gun. a lot of pilots did not like that one bit. i don't want another guy shooting the gun for me. and they're all guys. so what can i do about this? now every nation was trying to -- they had recognized the problem. if you mount a machine in front of the cockpit you'll shoot your own propeller off. about one out of every ten bullets would hit the propeller. before the war started every nation has engineers trying to solve that problem. they come up with some version of an interrupter gear. before that was fully operational, there's a french pilot, roland garros who says i've got another solution before we get to the interrupter gear working, i'll just put these big metal plates on my propeller. i

[mo'] well, the was a band called the billy mitchell trio, and quentin dennard was the drummer in that band. they played at a club called the nucleusuance in l.a., durin' the late '80s and '90s. they didn't have a guitar player because it was a jazz trio. so i would go in and play for free. my job was to play along with the band. it wasn't really a job, [smith] it was a gig. [mo'] whenever i felt like it. and i would play tes. when it was blues time, i was on. somohen, they'd go, "keb all right!" "kevin moore and the blues." (laugh [smith] kevin moore is not much of a blues name. it's more like an accountant. [mo'] yes. [smith] right, i get that. (audience laughs) so, keb' mo', that's it. [mo'] keb' mo'. [smith] and it stuck. [mo'] yeah. [smith] let's starout los . i wanna start, actually, in the reverse order i would ordinarily start. i'd want to talk the record first, and we'll get to the record, eventually. but i wanna talk about the origin story here ofeb' mo'. so you grew up in los angeles? [mo'] los angeles, in the ty of compton. [smith] city of compton. your parents, actually, w

[mo'] well, the was a nd called the billy mitchell trio, and quentin d was the drummer in that band. they played at a club called the nucleus nuance in l.a., durin' the late '80s and '90s. they didn't have a guitar player because it was a jazz trio. so i would go in and play for free. my job was to play along with the band. it wasn't really a job, [smith] it was a gig. [mo'] whever i felt like it. and i would play the blues. when it was blues time, i was on. so with kevin, you cat go like, "kevin moore and the blues." (laugh [smith] kevie is not much of a blues name. it's more like an accountant. [mo'] yes. [smith] right, iet that. (audience laughs) so, keb' mo', that's it. [mo'] keb' mo'. [smith] and it stuck. [mo'] yeah. [smith] leles start about los an i wanna start, actually, in the reverse order i would ordinarily start. i'd want to talk about the record first, and we'll get to the record, eventually t i wanna talk about the origin story here ofeb' mo'. so you grew up in los angeles? [mo'] los angeles, in the city of compton. [smith] city of compton. your parents, actually, were

[mo'] well, the was a band called the billy mitchell trio, and quentin dennard was the drummer in that band. they played at a club called the nucleus nuance in l.a., durin' the late '80s and '90s. they didn't have a guitar player because it was a jazz trio. so i would go in and play for free. my job was to play along with the band. it wasn't really a job, [smith] it was a gig. [mo'] whener i felt like it. and i would play the blues. when it was blues time, i was on. so then, they'd go, "keb' mo', all right!" so with kevin, you can't go like, (laugh [smith] kevin moore is not much of a blues name. ore like an accountant. [mo'] yes. [smith] right, i get that. (audience laughs) so, keb' mo', that's it. [m] keb' mo'. [smith] and it stuck. [mo'] yeah. [smith] let's start about los angeles. i wanna start, actually, in the revlyse order i would ordinatart. i'd want to talk about the record first, and we'll get to the record, eventually. but i wanna talk about the origin story here ofeb' mo'. so you grew up in los angeles? [smith] city of compton. your parents, actually, were not from los ange