Notable Appearances in Media
The A-1 Skyraider received various nicknames including: "Spad" and "Super Spad" (derived from the aircraft's AD designation, its relative longevity in service and an allusion to the "Spad" aircraft of World War I), "Able Dog" (phonetic AD), "the Destroyer", "Hobo" (radio call sign of the USAF 1st Air Commando/1st Special Operations Squadron), "Firefly" (a call sign of the 602nd ACS/SOS), "Zorro" (the call sign of the 22nd SOS), "The Big Gun," "Old Faithful," "Old Miscellaneous," "Fat Face" (AD-5/A-1E version, side-by-side seating), "Guppy" (AD-5W version), "Q-Bird" (AD-1Q/AD-5Q versions), "Flying Dumptruck" (A-1E), "Sandy" (the 602nd ACS/SOS call sign for Combat Search And Rescue helicopter escort), and "Crazy Water Buffalo" (South Vietnamese nickname).
While the Skyraider is not as iconic as some other aircraft, it has been featured in some Vietnam-era films such as The Green Berets (1968), Flight of the Intruder (1991) flying as Sandy escort, and in We Were Soldiers (2002) in the ground support role. The Skyraider also played a computer-generated role in Werner Herzog's Rescue Dawn (2007). Skyraiders were also featured in the classic Korean war movie The Bridges at Toko-Ri (1953). A formation of U.S. Navy A-1s stood in for U.S. Army Air Force P-47s in the 1962 film, The Longest Day.
Read more about this topic: Douglas A-1 Skyraider
Famous quotes containing the words notable, appearances and/or media:
“a notable prince that was called King John;
And he ruled England with main and with might,
For he did great wrong, and maintained little right.”
—Unknown. King John and the Abbot of Canterbury (l. 2–4)
“We often think ourselves inconsistent creatures, when we are the furthest from it, and all the variety of shapes and contradictory appearances we put on, are in truth but so many different attempts to gratify the same governing appetite.”
—Laurence Sterne (1713–1768)
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.”
—Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)