logo
What to know about Scottsdale Airport, scene of deadly plane crash that killed 1

What to know about Scottsdale Airport, scene of deadly plane crash that killed 1

Yahoo11-02-2025
The city-owned Scottsdale Airport, where planes have been flying since 1942, was the scene of a deadly crash between a Learjet 35A owned by Mötley Crüe frontman Vince Neil and a parked Gulfstream 200 jet.
Neil was not on board when its landing gear apparently failed Monday and collided with the other aircraft on the runway, according to a written statement released to media from Worrick Robinson, an attorney in Nashville, where Neil is based. Mötley Crüe is a long-running heavy metal rock band known for songs such as "Shout at the Devil," "Girls, Girls, Girls" and "Dr. Feelgood."
Four people were on the Learjet and one person was on the Gulfstream 200, according to the Federal Aviation Administration.
Scottsdale Airport, near Scottsdale and Thunderbird roads, is an open-to-the-public general aviation reliever that accommodates smaller, privately owned airplanes than the bigger commercial facilities in Arizona such as Phoenix Sky Harbor International Airport.
Here's what else to know about Scottsdale Airport.
Who is Vince Neil? Motley Crue rockstar owns plane involved in Scottsdale Airport crash
Scottsdale Airport's precursor, the old Thunderbird Field II, debuted on June 22, 1942, a little more than six months after the Japanese attack on Pearl Harbor.
The airfield is described on the airport's website as "a basic training facility for World War II Army Air Corps pilots" that "graduated more than 5,500 students." Thunderbird Field I was another training facility in Glendale.
Scottsdale in the 1960s became interested in opening a satellite municipal airport. In April 1964, then-Mayor John Woudenberg released a feasibility study that pointed to the former Thunderbird Field site, shuttered since October 1944, as the frontrunner location.
Sky Harbor already was getting overwhelmed by air traffic, The Arizona Republic reported at the time.
The Arizona Conference of Seventh-day Adventists since 1953 had owned the Thunderbird Field property and had been using it for dormitories. The conference asked Scottsdale to rezone 218 acres around the airfield for industrial use. The rezoning request was controversial, but the city Planning and Zoning Commission went ahead and endorsed it. Scottsdale in 1966 acquired the airfield site, according to the city's online history of the airport.
The new Thunderbird Field, now an auxiliary airport owned and operated by Scottsdale, in 1967 opened for air traffic with a 4,800-foot runway.
Scottsdale Airport, and the surrounding 2,600-acre Scottsdale Airpark commercial zone, over the years has become central to the city's business growth and has proven itself an essential economic asset.
Scottsdale's airport website boasts that Scottsdale Airpark has become the Phoenix metro area's "third-largest employment center" with more than 25 national or regional corporations, more than 2,500 small to medium-sized companies and 48,000 workers.
As Scottsdale's residential development grew northward, complaints about noise at Scottsdale Airport became a chronic headache for city officials.
Scottsdale in 1999 set up a Noise Abatement Program and includes a page about noise on its airport website. It tracks noise complaints from inside what it calls the "Scottsdale Airport Influence Area" between 40th Street, Jomax Road, 112th Street and Mockingbird Lane.
The airport operates 24/7 but aviators are encouraged "to fly before 10 p.m. and after 6 a.m.," the city says.
The Monday afternoon collision between Neil's Learjet 35A and the Gulfstream 200 jet was the first fatal accident at Scottsdale Airport since six people died on April 9, 2018, after a Piper PA-24 Comanche crashed shortly after takeoff onto the TPC Scottsdale golf course.
A 28-year-old student pilot on the doomed flight, James Pedroza, had cocaine and MDMA in his system at the time of the accident.
Dan Nowicki is The Arizona Republic's national politics editor. Follow him on X at @dannowicki.
This article originally appeared on Arizona Republic: Scottsdale Airport: What to know about site of deadly plane crash
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

What time does new 'South Park' come out? Premiere date, where to watch Season 27
What time does new 'South Park' come out? Premiere date, where to watch Season 27

USA Today

time3 days ago

  • USA Today

What time does new 'South Park' come out? Premiere date, where to watch Season 27

The raunchy animated series "South Park" is nearing 30 years on air, and it's back for another season that promises a post-election return more wacky and ominous than ever. Co-created by Trey Parker and Matt Stone, "South Park," like "The Simpsons" or "Bob's Burgers," offers the joy of Sunday cartoons without any of the charming naivete. Instead, the program leans into dark comedy and a "you're so wrong for that" sensibility. Known for satirizing real-life politics and pop culture issues, this season will again touch on topics other shows would steer away from, like recent airplane crashes, a crisis at the Federal Aviation Administration and the fate of American democracy. The previous season of "South Park" premiered over two years ago. The show did not air during the 2024 presidential contest between Donald Trump and Kamala Harris, a choice Parker and Stone told Variety at the time they made "on purpose." Here's what to know about Season 27. What time does 'South Park' Season 27 premiere? The newest season of "South Park" is set to premiere Wednesday, July 23, at 10 p.m. ET/PT on Comedy Central. The episode will be rebroadcasted at 11:35 p.m. ET. Where to watch 'South Park' Season 27 The new episodes of "South Park" will air on Comedy Central and then stream on Paramount+ the following day, Paramount said in a news release announcing its deal to acquire the show's past episode. You can also stream the series through FuboTV, Philo, Sling TV, YouTube TV, Hulu + Live TV or DirecTV. Watch the 'South Park' Season 27 teaser We occasionally recommend interesting products and services. If you make a purchase by clicking one of the links, we may earn an affiliate fee. USA TODAY Network newsrooms operate independently, and this doesn't influence our coverage.

Judd Apatow Praises Viral ‘Girls' Scene Amid ‘Too Much' Buzz: Andrew Rannells Is a ‘Remarkable' Actor
Judd Apatow Praises Viral ‘Girls' Scene Amid ‘Too Much' Buzz: Andrew Rannells Is a ‘Remarkable' Actor

Yahoo

time3 days ago

  • Yahoo

Judd Apatow Praises Viral ‘Girls' Scene Amid ‘Too Much' Buzz: Andrew Rannells Is a ‘Remarkable' Actor

'Girls' always seems to surge back into the cultural conversation, particularly since Lena Dunham's new series 'Too Much' premiered on Netflix earlier this month. In the near-decade since 'Girls' aired its HBO finale, its cast has gone on to become film and TV stalwarts. Among the most prolific, of course, is Andrew Rannells — who appeared with Dunham on 'Too Much,' giving fans the Hannah and Elijah reunion they were waiting for. 'Too Much' might've been the latest project pairing Dunham and Rannells, but it was far from the first. Actually, according to none other than Judd Apatow — 'Girls' executive producer (among other things) — we now know exactly what the first scene they shot together was… and it's a biggie. More from IndieWire Remembering Ozzy Osbourne, Rock's Prince of Darkness Who Also Created Reality TV as We Know It Marc Maron Says Jon Stewart Doesn't Like Him: 'There's No Love Here' In the scene — from way back in 2012 — Hannah and Elijah, her former college boyfriend, have a contentious (and hilarious) conversation about Elijah's sexuality, focusing on how much more queer-coded he has gotten since coming out and how he believes her father is also gay. The 'Girls Rewatch' podcast posted the scene, and it has since gone viral — so viral, in fact, that both Rannells and Apatow commented, with the latter revealing a nice nugget of trivia. 'Andrew's first day at work,' Apatow wrote. 'Remarkable. Both of them so in the pocket it's ridiculous.' Rannells meanwhile said simply, 'You all are the best.' 'Too Much' had brought Dunham renewed success. Rannells is but one of many fun guest stars and cameos littered throughout the series. At Tribeca in June, Dunham told the audience (via THR) that she 'always try to write with somebody in mind.' 'It just helps me when I'm writing, and usually it's somebody either that I admire or somebody that I already have a really great collaborative relationship with, and then you just kind of write them,' she said. 'And my goal is always: I love this person, so what is going to get them to come do a role, a couple episodes in a half-hour TV show like this?' Dunham also has the Netflix romcom 'Good Sex' on the horizon, boasting a cast that includes Natalie Portman, Meg Ryan, Mark Ruffalo, and Rashida Jones. Rannells, meanwhile, recently appeared in the horror comedy 'I Don't Understand You,' now available to stream. Dunham has also teased a possible 'Girls' revival, which you can read all about here. Watch a hilarious 'Too Much' scene with Dunham and Rannells below. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie Nicolas Winding Refn's Favorite Films: 37 Movies the Director Wants You to See Solve the daily Crossword

Review: ‘Girls & Boys' by Griffin Theatre is a devastating solo memory play
Review: ‘Girls & Boys' by Griffin Theatre is a devastating solo memory play

Chicago Tribune

time4 days ago

  • Chicago Tribune

Review: ‘Girls & Boys' by Griffin Theatre is a devastating solo memory play

As I walked out of Griffin Theatre's extraordinary production of 'Girls & Boys,' in that dazed state that sets in after a show really messes with your head, two thoughts immediately ran through my mind. First: Cynthia Marker just gave a hell of a solo performance — one of the best I've seen in a long time. Second: how on earth am I going to convey the impact of this play without spoiling too much of the plot? I'll give the latter my best attempt. In this one-woman play, British writer Dennis Kelly (a Tony Award winner for the book of 'Matilda the Musical') manages a tricky balancing act, tackling an extremely dark subject in almost surgical detail while softening its harshest blows for the audience and maintaining some sense of hope in humanity. Oh, and the show is also hilarious. Griffin's Midwest premiere of this 2018 play is directed by Robin Witt, who excels at the helm of intimate dramas, as recently demonstrated by the moving two-handers 'A Case for the Existence of God' and 'A Slow Air' at Steep Theatre. Her knack for shaping exquisitely paced, quietly devastating emotional arcs works equally well in 'Girls & Boys.' With a skilled writer and a sensitive director in her corner, Marker holds the audience in rapt attention for 100 minutes straight in the role of the unnamed narrator, a quick-witted, irreverent Londoner from a working-class background. She launches her opening monologue with a bit worthy of a stand-up comedy set, recalling how she first met her future husband while waiting to board a JetBlue flight in Naples, Italy. As he sarcastically dashes the hopes of two gorgeous models trying to flirt their way ahead in the tense queue, this previously unremarkable man starts looking like a Greek god to our narrator. The attraction proves to be mutual, and Marker's character rhapsodizes about their passionate physicality and seemingly perfect compatibility in the early stages of their relationship. Suddenly, a sound cue and a shift from white to blue lighting indicate a leap in time, and this woman begins to relive a mundane interaction with her two young children, Leanne and Danny, while speaking to thin air and miming her motherly motions. Although we don't initially understand the purpose of this disorienting scene, in which the narrator no longer addresses the audience but instead seems wrapped up in her own memories, it does begin to make sense of the striking scenic design by Sotirios Livaditis. The set's ground level consists of a simple couch, throw rug, end tables and lamps in grays and off-whites — an ensemble that is mirrored by blue furniture suspended from the ceiling and strewn with children's toys and two stuffed animals. The overhead set pieces light up during the blue-tinged memory sequences, with lighting designer Brandon Wardell and sound designer Thomas Dixon working in tandem with Livaditis to toggle back and forth in time as the play inches toward revealing how the narrator's own life was turned upside down. When the action flips back to the brightly lit, right-side-up look, Marker's character recounts how her husband, a successful entrepreneur, cheered her on as she pursued a new career in documentary filmmaking. In another comedic moment, she tells the story of her first job interview in the industry, which pitted her against a horde of posh young people who could afford to pad their resumes with unpaid work experience. But with a combination of grit and humor, she gets her foot in the door and works her way up. A happy marriage, a fulfilling job and soon, a growing family — her adult life seems off to a promising start. Of course, that's not where the story ends. I won't reveal more here, but the script drops enough hints of the horrors to come that when the crisis finally arrives, the narrator acknowledges that the audience probably knows where it's going. Then, she gives the gentlest, most generous trigger warning imaginable. When the story gets difficult, she tells us, remember two things: this did not happen to you, and it is not happening now. But in this fictional world, the unspeakable did happen to her, and the narrator's reflections on violence, grief and memory are both poignant and profound. Marker never succumbs to a full breakdown in the telling, and her character has had years to process the trauma, but her pain is no less palpable for this restraint. It's a performance that will haunt me for some time, I suspect. Don't miss 'Girls & Boys' (4 stars) When: Through Aug. 16 Where: Griffin Theatre at the Bramble Arts Loft, 5545 N. Clark St. Running time: 1 hour, 40 minutes Tickets: $30-$43 at

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store