Plane On Deck

Plane On Deck

On the morning of April 29, 1975, Major Buang-Ly knew his country had hours left to live.
The South Vietnamese Air Force officer was stationed on Con Son Island, a small outpost fifty miles off the southern coast. The island served primarily as a prison camp, but it also had a small airfield—and on that airfield sat a two-seat Cessna O-1 Bird Dog, a light observation plane built for reconnaissance, not escape.
Buang-Ly looked at his wife. He looked at their five children, the youngest fourteen months old, the oldest just six. North Vietnamese forces were closing in. The prison guards were abandoning their posts. If they stayed, there would be no mercy for a military officer and his family.
He made his decision.
The Bird Dog was designed to carry a pilot and one observer. Buang-Ly helped his wife and all five children squeeze into the backseat and the small storage area behind it. He hot-wired the engine. As the tiny plane lifted off and banked toward the open sea, enemy ground fire zipped past them.
He had no radio. He had no destination. He had only the hope that somewhere out there, the American fleet was still operating.
For thirty minutes, Buang-Ly flew east over the South China Sea. Then he spotted them—helicopters, dozens of them, all flying in the same direction. He followed.
The helicopters led him to the USS Midway.
The aircraft carrier was in the middle of Operation Frequent Wind, the largest helicopter evacuation in American military history. More than seven thousand Americans and at-risk South Vietnamese were being airlifted from Saigon to the ships of Task Force 76. The Midway’s flight deck was chaos—helicopters landing, refugees pouring out, aircraft being pushed aside to make room for more.
At one point, the ship’s air boss counted twenty-six Huey helicopters circling the carrier, not one of them with working radio contact.
And then the spotters noticed something different. A fixed-wing aircraft. A tiny Cessna with South Vietnamese markings, circling overhead with its landing lights on.
Captain Lawrence Chambers had been in command of the Midway for barely five weeks. He was the first African American to command a U.S. Navy aircraft carrier, a graduate of the Naval Academy who had risen through the ranks at a time when such advancement was far from guaranteed. Now he faced a decision that could end his career.
The admiral aboard the Midway told Chambers to order the pilot to ditch in the ocean. Rescue boats could pick up the survivors.
Chambers understood immediately why that wouldn’t work. The Bird Dog had fixed landing gear. The moment it hit the water, it would flip. With a plane packed full of small children, ditching meant drowning. The ship was a hundred nautical miles from the coast—too far for the Cessna to return even if there had been anywhere safe to land.
As the small plane continued circling, Buang-Ly tried to communicate the only way he could. He wrote a message on a scrap of paper and dropped it during a low pass over the deck.
The wind blew it into the sea.
He tried again. And again. Three notes disappeared into the water.
On the fourth attempt, desperate to make himself understood, Buang-Ly dropped a leather pistol holster with a message tucked inside. This time, a crewman grabbed it.
The note was scrawled on a navigational chart. The spelling was imperfect, the handwriting hurried, but the meaning was unmistakable:
“Can you move these helicopter to the other side, I can land on your runway, I can fly 1 hour more, we have enough time to move. Please rescue me. Major Buang, wife and 5 child.”
The message was rushed to the bridge. Chambers read it. He picked up the phone to call his air boss, Commander Vern Jumper.
“Vern,” he said, “give me a ready deck.”
Jumper’s response, Chambers later recalled, contained words he wouldn’t want to print.
It didn’t matter. Chambers called for volunteers—every available sailor, regardless of rank or duty, to the flight deck immediately. What followed was controlled pandemonium. Arresting wires were stripped from the deck—at the Bird Dog’s slow landing speed, they would trip the plane and send it cartwheeling. Helicopters that could be moved were shoved aside.
And the helicopters that couldn’t be moved quickly enough?
Chambers ordered them pushed over the side.
The sailors of the Midway shoved four UH-1 Huey helicopters and one CH-47 Chinook into the South China Sea. Ten million dollars worth of military hardware, tumbling into the waves. Chambers didn’t watch. He already knew the admiral was threatening to put him in jail.
“I was scared to death,” he admitted years later. But he also knew what would happen if he followed the order to let the plane ditch. “When a man has the courage to put his family in a plane and make a daring escape like that, you have to have the heart to let him in.”
Meanwhile, the ship’s chief engineer reported a problem. Half the Midway’s boilers had been taken offline for maintenance. They didn’t have enough steam to make the twenty-five knots Chambers needed to generate proper headwind for the landing.
Chambers told him to shift the hotel electrical load to the emergency diesel generators and make it happen.
The old carrier groaned as she picked up speed, turning into the wind. The ceiling was five hundred feet. Visibility dropped to five miles. A light rain began to fall. Warnings about the dangerous downdrafts behind a steaming carrier were broadcast blind in both Vietnamese and English—hoping the pilot could somehow hear them even though he had no radio.
Buang-Ly lined up his approach.
He had never landed on an aircraft carrier before. The runway was 1,001 feet long—enormous for a carrier, impossibly small for what he was attempting. The downdraft behind the ship could slam his overloaded plane into the deck or flip it over the side. He had one chance.
He looked at his family.
“When I looked at my family,” he said later, “my gut told me I could do it.”
He pushed the throttle forward and began his descent.
The Bird Dog crossed the ramp, bounced once on the deck, touched down in the exact spot where the arresting wires would normally have been, and rolled forward. The flight deck crew sprinted toward the plane, ready to grab it before it went over the angle deck.
They didn’t need to. Buang-Ly brought the Cessna to a stop with room to spare.
The crew erupted in cheers.
And then something unexpected happened. Major Buang-Ly and his wife jumped out of the cockpit, pulled the backseat forward—and out tumbled child after child after child. The deck crew had expected two passengers. They watched in amazement as five small children emerged from a plane built for one.
Captain Chambers came down from the bridge. He walked up to the exhausted pilot, this man who had risked everything on an impossible gamble, and did something that no regulation authorized but every sailor understood.
He pulled the gold wings from his own uniform and pinned them on Buang-Ly’s chest.
“I promoted him to Naval Aviator right on the spot,” Chambers said.
The crew of the Midway adopted the family. They collected thousands of dollars to help them start their new life in America. The Buang family became seven of the estimated 130,000 Vietnamese refugees who eventually resettled in the United States. All seven are now naturalized American citizens.
Captain Lawrence Chambers was never court-martialed. He was promoted to Rear Admiral and retired in 1984 as the first African American Naval Academy graduate to reach flag rank. Today, at ninety-six years old, he still speaks about that day with the same conviction.
“You have to have the courage to do what you think is right regardless of the outcome,” he said at a recent commemoration. “That’s the only thing you can live with.”
Major Buang-Ly, now ninety-five, lives in Florida. The Bird Dog he flew that day hangs from the ceiling of the National Naval Aviation Museum in Pensacola, still bearing its South Vietnamese markings. Beside it, in a display case, is the crumpled note he dropped onto the deck of the Midway.
Fifty years later, both men—the pilot who refused to let his family die and the captain who refused to let them drown—are still here to tell the story.
Some moments become symbols larger than themselves. This was one of them. Not just an escape, but a testament to what becomes possible when desperate courage meets uncommon decency.
A father who would not give up. A captain who would not look away.
And a flight deck cleared for landing.

Jim Croce

Jim Croce and Family

He wrote a song about saving time for his newborn son. Three months after he died, it became #1 in America—and sounded like prophecy.
September 1971. Jim Croce held his newborn son for the first time, feeling the impossible weight of something so small. A.J. was tiny, perfect, and entirely dependent on a father who was rarely home.
Jim sat down with his guitar, thinking about all the moments he would miss—first steps, first words, bedtime stories. The road had always called him away. Music demanded everything. But now, holding this child, Jim wanted something music had never given him: time.
He began to write.
“If I could save time in a bottle…”
The melody came gently, like a lullaby. The words were a father’s wish—impossible and tender. He wanted to save every moment, to make days last forever, to somehow stop the clock that kept pulling him away.
“It was a prayer more than a song,” his wife Ingrid later said.
Jim Croce understood time’s cruelty better than most. He’d spent years chasing an impossible dream while time kept running out.
The Long Road Before the Music
For years before fame found him, Jim Croce lived the hard, ordinary life he would later sing about.
He hauled lumber. He drove trucks. He taught at small colleges. Anything to keep the lights on while pursuing music that nobody seemed to want.
He played in smoky bars where drunks talked over his songs. He packed up his guitar at 2 a.m. and drove home alone, wondering if any of it mattered.
“Every song I write is like a little movie,” he once said. “Only mine end in diners and bars instead of sunsets.”
His songs were filled with characters America would later love: dreamers in dive bars, hustlers with bad reputations, telephone operators connecting desperate calls, ordinary people living fragile lives.
But in 1972, something shifted.
When Lightning Finally Struck
You Don’t Mess Around with Jim hit the radio like a warm breeze through a cold life. America recognized something in him—that lived-in poetry of a man who’d seen the hard parts and still found something beautiful to sing about.
Operator (That’s Not the Way It Feels) broke hearts across the country.
Bad, Bad Leroy Brown made jukeboxes roar in every small town.
For the first time in his life, Jim Croce wasn’t just surviving. He was soaring.
But fame, for Jim, was no home. The stages were loud, the crowds were large, but he was tired. Tired of motel rooms. Tired of being away from Ingrid and A.J. Tired of missing his son’s childhood for three-minute songs.
He wrote letters home from the road: “I’m tired of being away from you and the boy. When this tour ends, I’m coming home for good.”
He was thirty years old and ready to trade stages for peace. Just one more tour. Then home. Then time—finally, enough time.
He Never Made It Home
September 20, 1973. Natchitoches, Louisiana.
Jim had just finished a concert at Northwestern State University. The crowd had loved him. He was exhausted but satisfied. One more show, then a few more, then home.
He boarded a small charter plane with five others—his guitarist Maury Muehleisen, their road manager, the pilot, and two others.
Minutes after takeoff, the plane struck a pecan tree in the darkness.
It fell from the sky.
Everyone aboard was killed instantly.
A silence followed that no radio could fill.
When Time Ran Out, The Song Began
“Time in a Bottle” had been recorded in 1972 but was never released as a single. It sat quietly on an album, a gentle song overshadowed by louder hits.
After Jim’s death, a movie director used the song in a television film. Radio stations began playing it. Listeners heard the lyrics differently now.
“If I could save time in a bottle…
If I could make days last forever…
If words could make wishes come true…”
Three months after Jim Croce died, “Time in a Bottle” reached #1 in America in December 1973.
The song he’d written for his son—a father’s wish for more time—became an anthem for everyone who’d ever lost someone too soon.
The lyrics, once a lullaby, now sounded like prophecy.
The Echo That Never Stops
Jim Croce never got more time. But somehow, he gave it to everyone else.
His songs play in kitchens where couples slow dance. They hum from car radios on long drives through small towns. They speak to anyone who’s ever wished for one more day, one more moment, one more chance to say what matters.
His son, A.J. Croce, grew up to become a musician himself—carrying forward the music his father left behind. The boy Jim wrote “Time in a Bottle” for now plays his father’s songs, keeping the melody alive.
Jim sang for the ordinary dreamer, the struggling artist, the father who wanted to come home. Though his clock stopped too soon, his voice kept ticking—soft, steady, eternal.
The Lesson in the Song
“Time in a Bottle” reminds us that we never have as much time as we think we do.
Jim Croce spent years struggling toward success. When it finally came, he was ready to leave it behind for something more important: being present for the people he loved.
He didn’t get that chance.
But his song became a gift to everyone who hears it—a reminder not to wait. Not to assume there will always be tomorrow. Not to trade what matters most for what merely seems urgent.
Jim Croce proved that a man doesn’t need a long life to leave a long echo—just a guitar, a few true words, and the courage to sing them before the music stops.
He wanted to save time in a bottle for his son.
Instead, he saved a moment for all of us—a three-minute reminder that time is the one thing we can never get back.
So we’d better use it while we have it.

Carole King

Carole King

Carole King once sat in a publisher’s office listening to a male executive explain why her name should appear second on a song she had written nearly alone, and she replied, “I am done letting anyone borrow my work without my permission.”

The executive laughed.

King stood up.

The Brill Building had just gained a problem it did not expect.

Before Tapestry made her a household name, King was the writer behind hits that other performers got credit for. Labels pushed the singers, not the writers. Publishers favored male composers. King turned out songs faster than most teams in the building, but her name rarely appeared in the spotlight. She received checks. Others received fame.

The quiet scandal started when one producer suggested that her songs would sell better if a man signed first on the sheet. King refused. He insisted. She left the room before he finished speaking. That small rebellion spread through the corridors. Several writers told her she was risking her entire career. King said she could not keep giving away her voice to people who never thanked her for it.

Her turning point came when she wrote a song that a major artist wanted immediately. The label demanded changes that would remove the emotional core of the lyrics. King rejected every note. The artist begged her to reconsider. King refused again. The label eventually caved. The song became a hit, and the artist publicly credited her as the creative center of the track. That moment changed her leverage overnight.

But the real battle came when she told industry leaders she intended to release her own album as a performer. Several executives told her bluntly that her voice was not marketable. They wanted her to stay behind the scenes. She recorded Tapestry anyway. She funded writing sessions herself. She insisted on producing decisions she was not invited to make. The project looked fragile to everyone but her.

When Tapestry exploded into a cultural phenomenon, executives who doubted her pretended they had supported her from the start. King saved the receipts. She told friends she remembered every meeting, every dismissal, every casual insult disguised as advice.

Years later, younger singer songwriters asked her how she survived an industry that tried to keep her invisible. King told them one rule.

“If you give away your voice, someone else will use it to build their name. So keep your voice.”

Carole King is celebrated for warmth, honesty, and timeless melody.

The truth carries more force.

She fought the system that tried to hide her, she won battles no one thought she could win, and she turned the quiet power of a songwriter into the loudest success the industry had ever seen.

Here’s Why Smart Parents Are Skipping College and Choosing This Instead

The Preparation

For the past few years, I’ve been on a journey that started with a single, terrifying question…

My son, Maxim, was 18. He’d just finished high school (home school), and he had no idea what to do next.

And frankly, neither did I.

The default path we’ve all been sold—go to college, get a degree, get a job—felt broken. It felt like a trap.

Rising costs, ideological indoctrination, and degrees that no longer guarantee competence or opportunity… it was clear that modern academia had failed.

And now, with the exponential rise of AI, going to college has become the single worst financial decision a young person could make today.

Think about it. By the time a freshman graduates in four years, AI will have completely disrupted the global workforce. They’ll be spit out into an even more AI-dominant world in 2029, saddled with $150,000 in debt, maybe more.

They’d be completely screwed.

So, what’s the alternative?

That’s the question that led my son and me, along with my mentor, the legendary Doug Casey, to create “The Preparation.”

It’s a 4-year process, a “right of passage,” that replaces classroom memorization with real-world experiences. It’s designed to build virtue, values, skills, connections, and confidence in a young man or woman to navigate an increasingly unstable and unclear future.

And as my friend Mike Dillard so eloquently put it, “It’s fucking brilliant.”

Instead of turning someone into a specialist with a singular career path, The Preparation is designed to turn them into a “generalist” with the knowledge, skills, real world experience and the contacts needed to adapt to a rapidly changing world.

Over the past two years, Maxim has been pioneering this model. He’s…

•Gotten his EMT or Emergency Medical Technician license…

•Worked as an apprentice to an Uruguayan gaucho…

•Worked with a geophysics crew for a gold exploration company…

•Learned how to sail in the Falkland Islands…

•Started an agricultural drone business…

•He as even learned to fly a plane…

And that’s just scratching the surface.

He’s done all of this by the age of 20.

This process is providing him with a lifetime of real-world experiences, contacts, and opportunities that most adults will never see. And the best part? He’s getting paid along the way.

But don’t just take my word for it. The response from people I deeply respect has been overwhelming.

James Altucher, the bestselling author of “Choose Yourself,” called it “mandatory listening (and reading)” and said, “This is exactly what young people should do now instead of college.”

Tom Woods, the NY Times bestselling author, said, “When I read The Preparation, my jaw was on the floor. I thought: this is exactly what young men need today. It’s practical, brilliant, and long overdue.”

And Glenn Beck dedicated an entire episode of his podcast to it, titled “How to Make Men DANGEROUS Again.”

Ultimately, your child’s education isn’t about what they learn. AI can teach them anything they want to know.

It’s about who they become.

Will they become another beer-drinking frat-boy, saddled with debt and stepping into a world that doesn’t need them?

Or will they become a true renaissance man or woman, capable of adapting to a world that needs their adventurous, adaptable spirit, and real-world experience?

If you have a child or grandchild, or know any young person trying to find their way, here are three things you can do right now:

1. Buy a copy of “The Preparation” here on Amazon. https://www.amazon.com/dp/B0FLRKZCKL

2. Subscribe to Maxim’s email newsletter to follow his journey as he documents this process. https://www.maximsmith.com/

3. Watch the fantastic interview with Glenn Beck here.
https://www.youtube.com/watch?v=FsHENFPGXF8

This is more than a book. It’s a new path forward.

I hope you’ll join us.

Kevin Costner and Dances With Wolves

Kevin Costner

In 1988, Los Angeles. Kevin Costner walked into a studio conference room holding the script for Dances with Wolves and said, “This will cost twenty million dollars and I am directing it myself.” Executives stared at him like he had announced his own career funeral.
Costner had spent months hearing the same rejection. Too long. Too expensive. Too quiet. No one wanted a three hour Western told in Lakota with a first time director. Orion Pictures finally agreed, but only if he took three million dollars upfront and accepted personal financial risk. Costner signed without negotiating. His agent warned him that if the film collapsed, he would owe more than he earned in a decade.
Filming began in South Dakota in June 1989. A violent storm destroyed twenty miles of fencing and scattered the buffalo herd across the plains. Each animal cost fourteen hundred dollars per day. Costner climbed onto a horse at sunrise and spent hours with wranglers rounding them back into position. He returned to set covered in dust and told the crew, “We roll again. The story comes first.”
Production fell behind. Crew members quit. Investors threatened to pull financing. Cinematographer Dean Semler told Costner that waiting for perfect light would ruin the schedule. Costner looked at the ridge they needed and said, “Then the schedule breaks. Not the scene.”
The buffalo stampede became the breaking point. Remote cameras were buried in trenches so the herd could pass inches above them. Four cameras were crushed. The sequence cost two and a half million dollars. Costner refused to move back. He wanted to feel the ground shake because the audience needed to feel it too.
By the end of production, the film was twenty percent over budget and hanging on by a thread. In the final mix Costner watched every cut, every sound pass, every frame. At the first test screening in 1990, the audience stood in silence and then applauded for a full minute. The film earned more than four hundred twenty million dollars worldwide and won seven Academy Awards.
People said it was ego. Costner called it belief. “If you think something is worth doing,” he said, “you walk toward it until your legs give out.” That is why Dances with Wolves exists. He carried it when no one else would.

Raking Leaves

Raking Leaves

Two kids knocked on my door and offered to rake my whole yard for $10. What I did next changed how they’ll see hard work forever.

I heard the doorbell on a Saturday afternoon. Two boys, maybe 11 or 12 years old, were on my porch holding rakes that looked too big for them.

The taller one nervously asked, “Excuse me, sir. Would you like us to rake your yard? We’ll do the whole thing for ten dollars.“

I looked at my lawn. It was covered in leaves. It was a big job, at least two or three hours of work.

“Ten dollars each?“ I asked.

They looked at each other. The shorter one shook his head. “No sir. Ten dollars total. We’ll split it.“

Five dollars each. For hours of hard work.

I could have said yes and gotten my yard raked for almost nothing. But the way they stood there—hopeful, polite, and ready to work—reminded me of myself at that age, just trying to get a chance.

“Alright,“ I said. “You’ve got a deal. Get started.“

For the next two and a half hours, I watched them. They worked hard and didn’t cut corners. They didn’t complain. They raked every part of the yard, bagged the leaves, and even swept my driveway without me asking.

When they finally knocked to say they were done, they were sweating, tired, and smiling.

I walked out with my wallet. “You boys did incredible work,“ I said, and I handed them four twenty-dollar bills ($80).
“Here’s your payment.“

The taller one’s eyes got wide. “Sir, we said ten—“

“I know what you said,“ I told him. “But I also know what hours of good work are worth. You earned every dollar of this.“

They stared at the money like they couldn’t believe it was real. Then the shorter one looked up at me and said quietly, “Thank you. Really. Thank you.“

As they walked away, I heard them talking excitedly about what they would buy. I realized something: We talk a lot about teaching kids the value of hard work, but we don’t always show them that hard work is actually valued.

Those boys didn’t ask for a handout. They offered to work. They showed up. They did a great job. I wanted them to walk away knowing that good work doesn’t go unnoticed.

If you work hard and do your best, even when no one is watching, good people will see it. And they will reward you for it.

That’s not just a lesson for kids. That’s a lesson for all of us.

Quote of the Day

“If you realized how powerful your thoughts are, you would never think a negative thought.” Peace Pilgrim – Activist (1908 – 1981)