Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.
Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.
In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.
‘A complete innovator’
Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.
Cindy Blackman Santana and her husband Carlos Santana in 2019.
(Ethan Miller / Getty Images)
Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.
Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.
Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.
(Slaven Vlasic / Getty Images for Find Your Light)
Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.
‘Always evolving’
Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.
(Noam Galai / Getty Images for Tibet House US)
Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.
Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.
Flea of the Red Hot Chili Peppers released a solo jazz album in March.
(Allen J. Schaben / Los Angeles Times)
Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”
Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.
Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.
Musician Ron Carter in 2011.
(Theo Wargo / Getty Images)
Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.
Ibrahim Maalouf, trumpeter:Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.
Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.
Don Was performs onstage at Ryman Auditorium in Nashville in 2022.
(Jason Davis / Getty Images for Americana Music)
Don Was, musician and producer:In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.
‘More than that’
Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.
Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.
(Julien M. Hekimian / Getty Images)
Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.
Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.
Trombone Shorty performs at the Anaheim Convention Center in 2015.
(Jesse Grant / Getty Images for NAMM)
Trombone Shorty: The swagger, he may have created the swag.
Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.
Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.
Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”
‘Larger than life’
Musician Wyclef Jean performs in 2023.
(Christian Petersen / Getty Images)
Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.
Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.
Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.
Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.
Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.
Theo Croker plays trumpet the Kennedy Center in 2018.
(Paul Morigi / Getty Images for Thelonious Monk)
Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.
Musician Mia Doi Todd performing in 2012.
(Paul Redmond)
Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”
Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.
Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.
Bilal performs in New York City in 2023.
(Roy Rochlin / Getty Images)
Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.
Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.
‘Playing within the language that he created’
Nas performs in New York City in 2018.
(Bennett Raglin / Getty Images for Jenn-Air)
Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.
Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.
Musician Vince Wilburn Jr. in 2011.
(Theo Wargo / Getty Images)
Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.
Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.
Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.
Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.
Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.
Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.
Each one says less about the candidates involved, and more about this moment in politics and where the races for California governor and L.A. mayor may be headed. Each ad also hints at deeper issues that haven’t quite reached the water-cooler conversation level, but maybe should.
Becerra blunder
The first ad that grabbed my attention was a quick-turn by San José Mayor and gubernatorial candidate Matt Mahan (still stuck in single-digit polling numbers), who jumped on Xavier Becerra’s first major mess-up.
Becerra chastised KTLA interviewer — on camera — not to give him too many hard questions because, “This is not a gotcha piece, right?”
That left a lot of folks wondering about his temperament and transparency, something rival Katie Porter knows a bit about.
The video went viral, and Mahan mashed it up with now-infamous clips of Porter walking out of a different interview earlier in the campaign cycle.
The result was a fast, funny, pointed jab that made both Becerra and Porter look prickly and unaccountable. For Porter, that damage was done long ago. But this moment for Becerra, the very-slim-margin front-runner, could have sticking power.
The bigger issue is that there are many hard questions that Becerra will likely need to answer if he does make the general election — questions he’s largely been dodging with pat answers.
This week, one of the lobbyists charged in a scheme that allegedly stole more than $200,000 from one of Becerra’s old campaign accounts will appear in court again.
She’s apparently been working on a plea deal, so it’s likely either that will be formalized, or the case will move forward to a trial. Becerra is not accused of any wrongdoing and told my colleague Dakota Smith that he had testified before the grand jury in the case.
But Becerra has also said he was aware that up to $10,000 a month was being paid out of a dormant campaign account to manage that money, since his role as the Health and Human Services Secretary made it illegal for him to be involved directly.
The question that seems relevant in this age of fraud-and-waste panic is who pays $10,000 a month to have someone watch over a dormant account and doesn’t think that’s excessive? Becerra may have been an innocent victim, but $120,000 a year is a lot of money to pay someone to babysit a largely unused stack of cash.
If Becerra does make it through to the primary and faces Hilton or potentially Steyer, both successful businessmen, expect this lack of financial acumen to be an issue — a hard question that is fair to ask of the person who wants to run the fourth largest economy in the world.
Steyer backers
Speaking of money, the second ad (or sort-of ad) that caught my attention is tied to Steyer, the billionaire who has spent more than $100 million of his own money in this race.
The Sacramento Bee reported that Steyer’s campaign has been paying influencers to post support of him online. The account mentioned in the Bee’s report seems to have removed those videos, but others have archived some of them.
These posts are meant to decidedly not feel like advertisements, but just organic support from Steyer supporters. Steyer’s is far from the first campaign to do this and won’t be the last.
While there may be nothing shocking in Steyer’s digital strategy, it should alarm us on the larger level of having a healthy democracy. We’ve largely forgotten the black hole of delusion that millions of Americans fell into during the pandemic era from online misinformation brokers. Remember QAnon?
Influence campaigns are shockingly powerful, and growing in sophistication by the minute. While Steyer’s efforts may be run-of-the-mill, it’s an area of political communication that demands greater transparency and regulation.
Pratt problems
Which brings us to Spencer Pratt, and the ad (ads, really) that caught everyone’s attention — the AI-generated mini-movies that blatantly steal the “Batman” and “Star Wars” intellectual property and which have earned so much viral attention that the mayor’s race can now fairly say it’s got national reach.
Pratt did not make these ads, but he’s reposted them, and millions have watched. Though it may seem obvious they are made by artificial intelligence, they are not identified as such.
Though parody is protected speech, one of the AI videos Pratt has promoted ends with a crowd, including a child, pelting L.A. Mayor Karen Bass, Gov. Gavin Newsom and Kamala Harris with fruit until they flee.
I disagree. While a certain segment of conservative white male voters might find it hilarious to pelt women of color until they run in fear, I’m pretty sure there are some messages in that missive that aren’t getting the scrutiny they deserve.
The links between hate speech and political violence are well documented. Outrage and action are tied, but now increasingly removed from reality. How AI — especially AI depicting political rivals as unhinged, evil villains — will affect voters, and democracy in general, isn’t yet understood.
I doubt these ads on behalf of Pratt will change the minds of many voters, but they do change politics.
When Cubs center fielder Pete Crow-Armstrong’s scathing remarks about Dodgers fans took off this spring, he wasn’t worried about how fans might interpret them. His back-and-forth with the Dodgers fans dates back several years.
“I wanted to make sure that the people on the other side of the field who I really respect knew where I was coming from, and that it had nothing to do with the people on the field,” Crow-Armstrong told The Times before the Dodgers’ 6-4 loss to the Cubs on Friday, full of gratitude for Dodgers manager Dave Roberts, shortstop Mookie Betts and Freddie Freeman in particular. “I wanted to make sure that nobody took it in that way, that I was going at the Dodgers.
“Was I poking fun at Dodgers fans? Absolutely.”
It all started in late February, with a Chicago Magazine article on Armstrong, which quoted him: ‘‘I love Chicago more and more. It’s just an incredible city. The people are great. … They aren’t just baseball fans who go to the game like Dodgers fans to take pictures and whatever. They are paying attention. They care.’’
After the story came out, Crow-Armstrong went on “Foul Territory” and doubled down.
When the Cubs came to town Friday, Dodgers fans made it clear they hadn’t forgotten. Thunderous boos greeted Crow-Armstrong as he walked up to the plate for the first time. But Crow-Armstrong was expecting that, and he didn’t walk back anything he said.
“What I wish people could see through is, I’m not getting at die-hard Dodger fans,” he said. “They obviously exist, they’re out there. I grew up seeing those people, too, but it’s a see-me city, man. It’s a Lakers city where people show up to sit courtside and look good. And I view it the same way here.
“Thank you, Shohei [Ohtani] and Freddie and Mookie because it wasn’t always like this.”
On that last point, his tone was sincere.
Friday’s announced attendance at Dodger Stadium was 53,733, the seventh sellout of the season.
Dodger Stadium played an important role in Crow-Armstrong’s baseball upbringing. The son of two actors, Ashley Crow and Matthew John Armstrong, Crow-Armstrong grew up in Los Angeles and went to Harvard-Westlake.
He went to plenty of Dodgers games, but when Crow-Armstrong was younger, he latched on to players rather than teams. From the Dodgers, he was drawn to Matt Kemp, Andre Ethier, and of course, Clayton Kershaw.
“I remember specific stuff too, like Adrian Gonzalez’ first homer as a Dodger,” Crow-Armstrong said. “We were all watching that together. The Dodgers were a huge part of my life growing up.”
Pete Crow-Armstrong celebrates in the dugout after scoring off a triple hit by Dansby Swanson during the seventh inning Friday.
(Ryan Sun / Associated Press)
Crow-Armstrong, baseball-hungry from a young age, also would go to Angel Stadium when the Yankees were in town to watch Derek Jeter, one of his favorites, go up against Mike Trout’s Angels. Eventually, his father, an Illinois native, recruited his son into Cubs fandom.
Crow-Armstrong’s L.A. ties made that first trip with the Cubs to Dodgers Stadium feel “special.” Regardless of the size of the stadium, or the major-league stage, part of that first experience in September 2024 made him feel like he was back in high school.
“I’m playing in front of my friends again, and I’m getting a show off for my friends and all that fun stuff,” he said. “There’s nothing better to me than seeing a random face that I didn’t know was coming to the game, and they’re sitting three rows behind our dugout. … That’s by far what I look forward to most about this trip.”
Show off he did.
Crow-Armstrong’s standout defensive showing peaked in a game-sealing catch over the wall in right-center field, robbing Max Muncy of a home run.
The rookie center fielder didn’t bother to hide his delight, jumping and shouting in celebration. He developed a contentious relationship with Dodgers fans in that series.
“They were really quick to talk … to me when I was in center field,” Crow-Armstrong said. “And I appreciate that kind of stuff. Like they’re obviously engaged and in the way that they want to be. … And just very easy to kind of give it right back. Like, ‘Yeah, please, be my guest.’ But I kind of love that.”
The Cubs’ next visit to Dodger Stadium was just as eventful. News broke that the Cubs and Crow-Armstrong’s agents at CAA had engaged in extension talks. Then he broke out of a slump to hit two home runs and a triple in a win that clinched a series victory.
“I love playing here,” Crow-Armstrong said afterward. “It’s a fun crowd, and I like the noise. I think the Cubbies like playing here, too.”
He grinned, in case the jab was too subtle.
Crow-Armstrong had a similar look on his face when that history came up again Friday.
“If we’re going to be immature and childish about it,” he said, “I’d say they started it, they just gave me an opportunity to kind of run with it.”
Crow-Armstrong walked into Dodger Stadium expecting it to be a topic he’d have to address all weekend, fully prepared to keep running with it.
“Each fan base has their own personality,” he said. “And I was really just comparing my own two experiences: playing for the Cubs, and people showing up and enjoying it, and there’s just an air about the place; and then here, it is what it is like. Maybe if I played here, it’d be different. But I don’t.”
His experience with Cubs fans also factored into his desire to stay with the organization long term. This spring, he signed a six-year, $115-million contract. And on Friday, he commended Cubs fans for their patience.
“It wasn’t the hottest start to my career, but I got loved the same way that I do today,” Crow-Armstrong said. “And even right now, when it’s been tough on me results-wise, all I hear running out to the field is, ‘Hey, we love you. We got you. The city loves you. You’re the best.”
The sentiment from Dodgers fans Friday was a little different. Not only did they boo Crow-Armstrong every at-bat, but even the Dodgers’ social media team piled on.
After Crow-Armstrong struck out in his first at-bat — one of Dodgers starter Emmet Sheehan’s career-high-tying 10 strikeouts — the Dodgers’ social media account posted a video of his last whiff, with the caption: “A strikeout worthy of taking pictures and whatever.”
Crow-Armstrong and the Cubs, however, got the last laugh, as the Dodgers’ bullpen buckled. With the game tied in the ninth Friday, Crow-Armstrong lined a single into shallow left field against Dodgers reliever Tanner Scott. Then Scott grooved a fastball down the middle to Dansby Swanson, who hit it over the left-field wall.
Crow-Armstrong had a trip around the bases to relish the relative quiet he and his teammates had induced.
Passengers have been following these instructions for years, but a cabin crew member has now explained the important aircraft safety reason for keeping window blinds open during landings take offs
14:50, 22 Apr 2026Updated 14:50, 22 Apr 2026
Ever wondered why your plane’s window blinds must be up when landing? (Stock)(Image: FG Trade via Getty Images)
Have you ever wondered why cabin crew insist we keep the window blinds up when planes are taking off and landing? If you have, you’re certainly not alone – even frequent flyers are only now learning the reason behind this rule.
The explanation came to light following a video posted by traveller Quinn Kuntz. In footage filmed from her seat, she asked: “Can someone explain why European flights require the window shade to be open for landing? They are so strict about it.” Quinn concluded by pondering whether the rule applies “everywhere”, adding: “I just wanna know why.”
In response, cabin crew member Amelia Richardson was swift to provide a thorough explanation.
“Cabin crew here – lights off in hours of darkness – your eyes are adjusted to darkness in case of evacuation,” she began. “Window blinds open – danger can be seen outside and emergency crews can see in. Tray tables and bags under seats – saves critical seconds in an evacuation.”
Amelia went on with further instructions: “Emergency exits remaining clear – again saves critical seconds, emergency exits are a lifeline in an evacuation. Just remember an aircraft must be evacuated within 90 seconds. Listen to cabin crew, follow the rules. Everyone’s happy.”
A second person added: “Safety. There are no wing or rear view mirrors on a plane. It is so the passengers and crew can alert the pilot of anything untoward.”
A third concurred, writing: “In case the passengers notice something the pilot can’t or doesn’t see. Just an extra precaution.”
Meanwhile, a fourth TikTok user explained the rule has been implemented across the globe.
“Simple: if there a fire or emergency, flight crew needs to see what’s happening so they can better choose which side to evacuate passengers,” they said. “This is an international regulation. It’s worldwide they do this!”
Indeed, pilot school, BAA Training confirms this is correct in guidance on its website.
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“The first reason is your safety,” BAA advises.
“If anything happens during a take-off or landing, your eyes will already be used to the day or night light outside, thus you will be able to react more quickly.”
The firm goes on to state: “Another reason for keeping the blinds open is visibility of aircraft outside. If any problems occur with the engine or wings, the crew can see it out of those tiny round windows in a cabin.”
“If the aircraft needs to be evacuated, passengers and the whole crew is able to see which side of the aircraft is safer for evacuation.”
