
Historic ‘Freedom Flyover' airshow includes nearly every Air Force fighter and bomber jet
A breathtaking flyover of nearly every United States Air Force fighter and bomber jet soared during a Florida air show Saturday, stunning footage of the historic aerial display showed.
Seven of the top military aircraft called the 'Freedom Flyover' united as 'one unstoppable force' for thousands of people to take in over Memorial Day weekend at the Hyundai Air and Sea Show in Miami Beach.
The historic formation was led by the B-2 stealth bomber and followed by the B-1B Lancer, B-52H Stratofortress, F-22 Raptor, F-15C Eagle, F-16C Fighting Falcon and the attack aircraft A-10 Thunderbolt II, according to Air Force Global Strike Command.
Advertisement
3 The flyover featured seven Air Force aircraft.
CRISTOBAL HERRERA-ULASHKEVICH/EPA-EFE/Shutterstock
The only bomber missing was B-31 Raider, while the lone absent fighter jet was the F-35A Lightning II. The AC-130J Ghostrider, the other attack aircraft in the Air Force's fleet, was also not included.
While other air shows have featured a tri-bomber flyover, this was the first time fighter aircraft were also part of the formation, according to military officials.
Advertisement
'This wasn't just an air show – it was a powerful tribute to those who gave everything and a celebration of the strength that defends our nation every single day!' the AFGSC wrote in a social media post.
3 The formation was historic, military officials said.
CRISTOBAL HERRERA-ULASHKEVICH/EPA-EFE/Shutterstock
Video of the moment showed the seven aircraft in perfect formation rev through the sunny skies to a round of applause from the delighted crowd below.
3 The air show in Miami wowed the Memorial Day crowd.
CRISTOBAL HERRERA-ULASHKEVICH/EPA-EFE/Shutterstock
Advertisement
More footage captured by a staff sergeant in a plane ahead of the formation gave an up-close glimpse of the flyover.
The aircraft were manned by active-duty Air Force Reserve and Air National Guard pilots, 'representing the Air Force's ability to collaborate across components,' according to officials.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Digital Trends
3 hours ago
- Digital Trends
3 underrated movies you need to watch in June 2025
It's been a strong few weeks at the box office. Lilo & Stitch and Mission: Impossible — The Final Reckoning powered a record-breaking Memorial Day box office. While Ballerina stumbled the week after, the live-action How to Train Your Dragon got off to a fantastic start with an $84 million opening. June still has several high-profile releases coming, including 28 Years Later, Elio, and F1. Many of these movies are sequels and IP-based projects, which tend to release during the summer blockbuster season. However, there are several underrated movies to watch this month. Some of these projects, like Ash, can be streamed at home. Recommended Videos When you're done here, check out the best new movies to stream this week, the best movies on Netflix, the best movies on Hulu, the best movies on Max, the best movies on Amazon Prime Video, and the best movies on Disney+. Ash (2025) Ash is exactly what a B-movie should be. Directed by Flying Lotus, Ash follows Riya Ortiz (Eiza González), an astronaut who wakes up in a space station on a foreign planet with no memories. As Riya explores the station, she finds several crew members have been brutally slaughtered. The key to Riya's questions lies with Brion (Aaron Paul), a fellow astronaut who comes to the station after receiving a distress call. At first, Riya cannot comprehend what happened to the crew. As she experiences flashbacks, Riya starts to consider that perhaps she had something to do with her team's demise. Ash doesn't reinvent the wheel, but it packs a punch thanks to starry visuals, gory action, and a standout performance from González. Stream Ash on Shudder. Echo Valley (2025) Julianne Moore and Sydney Sweeney star in Echo Valley, Apple TV+'s thriller ripped directly from the '90s. Written by Mare of Easttown's Brad Ingelsby, Echo Valley introduces Kate Garrett (Moore), a horse trainer on her farm in Pennsylvania. Kate's life is in shambles after the loss of her wife, which affects her ability to pay the bills and keep the farm running. Kate's daughter, Claire (Sydney Sweeney), mistakenly throws a heroin stash in the river, leading to an explosive confrontation with the drug dealer on the farm. A few nights later, Claire shows up covered in the blood of her boyfriend. Kate now tackles the question faced by many parents: How far are you willing to go to protect your child? Stream Echo Valley on Apple TV+. Dangerous Animals (2025) It's fitting that a new shark movie comes in the same month that Jaws celebrates its 50th anniversary. While a great white shark plays the villain in Jaws, a serial killer becomes the primary antagonist in Dangerous Animals. Tucker (Jai Courtney) runs a cage diving business, recruiting tourists to swim with sharks. Yet Tucker has a dark secret — he feeds his passengers to the sharks and films their deaths. For his next victim, Tucker kidnaps the rebellious surfer Zephyr (Hassie Harrison) and shackles her on his boat. Zephyr won't go down without a fight, which surprisingly excites the eccentric Tucker. Courtney lets it all go to play this flamboyant serial killer, while Harrison's star-making performance shines in this effective summer thriller. Dangerous Animals is now in theaters.


CBS News
4 hours ago
- CBS News
Cavin Yarbrough, Dallas-born R&B legend and half of iconic duo Yarbrough & Peoples, dies at 72
Cavin Yarbrough, a Dallas native and one-half of the R&B duo Yarbrough & Peoples, best known for the early 1980s No. 1 hit "Don't Stop the Music," has died at age 72, his wife confirmed Saturday. Alisa Peoples, his musical partner and wife, told CBS News Texas that his death was sudden and unexpected. She said Yarbrough had been vibrant the day before, even making plans for her upcoming birthday. Celebration of life scheduled A celebration of life is scheduled for 11 a.m. Monday at the Kay Bailey Hutchison Convention Center in Dallas. The event will be hosted by the Black Academy of Arts and Letters. Alisa Peoples and Cavin Yarbrough Getty Images Breakout hit topped R&B charts "Don't Stop the Music," the duo's breakout hit, was released in 1980 as part of their debut album, The Two of Us. The song topped the Billboard R&B chart, launching the pair into national fame and becoming a defining track of early '80s funk and R&B. Musical roots and early career Yarbrough's musical roots ran deep. He was a classically trained pianist who first crossed paths with Peoples during childhood piano lessons. Their shared passion for music eventually led to a professional partnership, and with the support of Gap Band frontman Charlie Wilson, they signed with Total Experience Records. LOS ANGELES - MARCH 1986: R&B duo Yarbrough & Peoples (Cavin Yarbrough and Alisa Peoples) perform on 'American Bandstand in March 1986 in Los Angeles, California. Getty Images 1980s R&B chart success The duo enjoyed a string of R&B hits throughout the 1980s, including: "Don't Waste Your Time" (1984) "Heartbeats" (1983) "Guilty" (1986) "I Wouldn't Lie" (1986) Life after the spotlight In 1987, a year after leaving the label, Yarbrough and Peoples married and returned to their hometown of Dallas. There, they launched a production company and became music directors at their church, continuing to inspire others through mentorship and community engagement.


San Francisco Chronicle
9 hours ago
- San Francisco Chronicle
The finale after the finale: S.F. Symphony Chorus shines in Verdi's Requiem
Like a baseball game rescheduled after a rainout, there was one more concert on the San Francisco Symphony's season calendar after last week's grand finale with outgoing Music Director Esa-Pekka Salonen. The orchestra staged its makeup performance of Verdi's Requiem on Friday, June 20, a concert that was canceled during the Symphony Chorus' strike in September last year. James Gaffigan generously stepped in to conduct the work, which Salonen would have led in the fall. The program is slated to be repeated on Sunday, June 22, at Davies Symphony Hall. After its extraordinary contributions to Salonen's farewell performance of Gustav Mahler's Symphony No. 2, the Chorus showed it was worth every penny of the anonymous $4 million gift made in the months following the strike. The singers came to the fore not just in the 90-minute Requiem, normally programmed by itself, but in a first part that included three choral pieces by Gordon Getty, himself a generous donor to the Symphony (and a co-founder of San Francisco Classical Voice). Getty's works are genial, melodic and accessible, and Gaffigan, a friend of the composer, led them deftly and with evident care. The Intermezzo from Getty's 2017 opera 'Goodbye, Mr. Chips' begins delicately, with spare lines in the marimba giving way to the harp, then acquiring a more definitive melodic profile in the strings. It's a meditative piece that finds an unexpected climax when the choristers interject a school hymn, almost as if overhead from afar. The Chorus also gave fine performances of 'Saint Christopher' (2024), which features effective writing for voices, and 'The Old Man in the Snow' (2020), a more substantial work in several sections that Getty skillfully sets apart with different instrumentation, including a trombone choir, keyboards and mallet percussion. If the performance of the piece as a whole lacked finesse, their contributions were nonetheless stellar. The singing was artful, from the opening 'Requiem aeternam,' with the sound humming in the air through the nasal consonants, to the explosive 'Dies irae' and the stentorian 'Rex tremendae.' The women made a luminous entrance in the 'Lacrimosa' at the line 'Huic ergo parce, Deus' (Therefore spare him, O Lord), and the whole chorus concluded with the fearful declamation and hortatory final fugue of the 'Libera me.' The singers encompassed the range of Verdi's writing in finely balanced sound that pulled emotion from every chord change. Gaffigan's conducting, however, emphasized drive and the titanic climaxes while shorting the Requiem's poetic side. Certainly, this is a public religious work, conceived as a memorial to Italian art — first to the composer Gioachino Rossini and then, when that initial plan fell through, to author Alessandro Manzoni. But it's not only theatrical. This interpretation was driven by inflexible tempos and a sameness to all of the climaxes and fortissimo outbursts that ultimately became wearing. Though the orchestra played well, earning deserved applause, the performance was missing a sense of transcendence and the overarching struggle of mourning and fear giving way to tranquility and acceptance. The soloists — soprano Rachel Willis-Sørenson, mezzo-soprano Jamie Barton, tenor Mario Chang and bass Morris Robinson — were generally excellent. The notable exception was Chang's effortful 'Ingemisco' prayer, sung without any bloom in the tone and generally unresonant and unconvincing. The violins joined Willis-Sørenson in a moving 'Sed signifer sanctus Michael' (Let the standard-bearer holy Michael), the soprano singing sweetly in one of the score's many standout lyrical moments. If there had been more of those, this Requiem would have been even better.