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Implied violence, such as a flight attendant putting a baby into an overhead compartment, or a dog getting frozen to death in the hold.

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These incidents are suggested or described but not shown. Airport merchants include McDonald's, W. Smith, Claire's, and Clarke. They're mentioned by name, and sometimes their logos are visible.


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Parents need to know that this series pushes the envelope when it comes to racial and ethnic stereotypes, which could offend some viewers. Some characters are racist or dishonest, while others treat customers poorly, etc. There's also some bleeped swearing as well as audible terms like "bitch," along with some visible and audible brand names.

Add your rating See all 1 parent review. Add your rating See all 5 kid reviews. Poking fun at the fly-on-the-wall British documentary series Airport and Airline which spawned a U. But whether Americans will embrace the show's blatantly British humor and love it, too, is up in the air. With so many characters sharing screen time and two actors practically playing them all , it stands to reason that some creations will be funnier than others. But married pilots Jackie and Simon Trent, at least -- whose hilariously dysfunctional dynamic as "Britain's first husband-and-wife flying team" stems from Jackie's jealously over Simon's one-time indiscretion with a female flight attendant -- are funny enough to land their own programme Families can talk about the fine line between satire and stereotyping.

Can something be funny and offensive at the same time? Do any of the characters on this show cross the line? How does the show use satire to make light of current events, including terrorism and airport security? Is throwing humor at the problem disrespectful -- or refreshing? Do you think American audiences will embrace it?

Is there a cultural gap when it comes to any of the show's humor? Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners. See how we rate. Common Sense Media, a nonprofit organization, earns a small affiliate fee from Amazon or iTunes when you use our links to make a purchase. Thank you for your support. Our ratings are based on child development best practices.

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Your purchase helps us remain independent and ad-free. Get it now on Searching for streaming and purchasing options A lot or a little? The parents' guide to what's in this TV show. And Stevie Wonder. And what always messed me up were Frank Sinatra songs, because of the lyrics and the melodies and how catchy they are. No one writes like that anymore, because it's hard.

And, even when it didn't, it sounded easy, and breezy - and never more so than in their title song for a fun Sinatra travelogue. In fact, the fun starts before Van Heusen's melody or Cahn's lyric, but in Billy May's marvelous, unmistakeable intro with its taxi-down-the-runway-and-smooth-glide-take-off. At which point Frank is cleared to swing:. Come Fly With Me! Let's fly! Let's fly away! Let's fly away The exclamations are Sammy Cahn's.

He wrote the lyric first and, in lieu of notes to bounce off, he liked punctuation. Asked what came first - the words or the music - he liked to reply "The phone call. On this particular occasion in , the call was from Frank Sinatra, who wanted to know if Sammy and Jimmy could write him a title song for a new album. Sammy said sure, why not?

"Come Fly With Me!" The Sammy Cahn Songbook | Florida Studio Theatre

Commissioning someone to write a title song for an album was unusual in It was the first time Frank had done it, and, as far as I can tell, it was the first time any singer had done it. Sammy and Jimmy chewed things over for a bit, kicked around a few possibilities, and settled on the title "Come Fly With Me". That was unusual, too, in The first commercial airliner - the De Havilland Comet - had only been introduced into scheduled service by BOAC five years earlier it was also the first commercial airliner to suffer from metal fatigue, but that's another story.

So air travel was not yet a common, shared experience - and yet there's Frank on the LP cover, on the runway with the steps up to the plane behind him and a cheery thumb saying "Hop aboard! For 40 minutes, you too can live the high life with Sinatra. Sammy Cahn told me years ago that he didn't think he could "get away" with exotic "booze": The radio stations might not care for it. So he originally wrote "exotic views", and at the end of the session offered Frank the "booze" substitute to sing live, in Vegas and the like.

Sinatra called the orchestra back, already heading out for some not so exotic booze, and re-recorded the song, deleting "views" and singing "booze". Let's take off in the blue That's a bar phrase, as with " The Tender Trap ". Sammy wasn't always the most punctilious lyricist but this is Cahn at his breezy best, in the voice that so suited Sinatra. Hey, why not? And that "one-man band" is in reality some droning pan-piper who'll bore the pants off you after ten minutes - but not in FrankWorld where he'll "toot his flute" just for you. Notice all the internal rhymes here: "a bar in far Bombay", "he'll toot his flute for you".

Sammy wasn't an exhibitionist rhymester like Cole Porter or Larry Hart: these are not clever-clever rhymes designed to advertise the writer. They're not even particularly important words "far" , but Cahn believed that you should always use internal rhymes when the opportunity presented. But, when you have a composer as sensitive to the shape of a lyric as Van Heusen, they help to bounce the tune along and give it a freewheeling brio. Wait a minute, what happened to those internal rhymes: It ought to be bar-in-far, toot-his-flute, ac-a-pac.

But Sammy never worried too much about consistency. So instead of an internal rhyme for the final go-round we get that very distinctive pause between "Ac" and "-apulco". It's not the way you'd say it, but, as Cahn was wont to respond, "You're not speaking, you're singing. If Sammy liked a line, his first inclination was to sing it again. An example from one of Sinatra's early solo hits:. At which point, Cahn's composer Jule Styne said: "Is there an echo in here?

Jimmy Van Heusen had worked with Sammy Cahn long enough not to send his endless repetitions to the same notes, and he made an interesting musical decision. The opening "flies" if you'll pardon the expression are set up high on top D if you're in C But the "flies" at the end of the section are down low, from E to E flat down to C. So the opening sounds as if you're taking off, right from that first leap on "Come fly", whereas the end of the section sounds as if you're settling into cruising altitude - and a smooth glide to Bombay.

Then he lifts off again for the Peruvian leg. Van Heusen, as we've noted , had a second string to his bow as a test pilot for Lockheed Martin fighter jets, which were undoubtedly a bumpier ride than "Come Fly With Me". But he constructed this tune on a kind of flight pattern.

Following what Sammy called the "notey" rhythmic main strain, the writers opted for something broader and legato for the middle section, beginning with:. And then he leaps up on "up" to top C, and suddenly the tune is itself "up there" There's Sammy with his internal rhymes again: the "air" is "rar"-efied. The rhyme drives the thought: Why, in strict logic, should angels give a hoot whether we're together?

David Walliams and Matt Lucas's BBC spoof Come Fly With Me accused of racism

But it's a cute conceit and, as Meghan Trainor recognized, makes the song entirely distinctive. Coming out of the middle section, Cahn used another favorite trick he commended to me - immediately rhyming the last word of the release with the first word of the main theme:.

I don't know if we're in a garden Or on a crowded ave nue You are here, so am I It was the perfect title for the album, and he'd found the perfect arranger. Notwithstanding his newfound success with Nelson Riddle, Frank didn't want him to be his only, permanent, full-time arranger in the way that Axel Stordahl had been all through the Forties.