#adair records

[solomon-revisited]

for those interested, i currently have 6 different ideas for "unreleased compilation" CDs/mixtapes --

going to... (compilation of unreleased "going to" songs, but we'll see if this is feasible)

love songs (what it says on the tin. so far featuring adair, i've got the sex, 02-75, and i love you let's light ourselves on fire)

covers (this will entirely depend on how many "good quality" recordings i can find -- good quality being subjective for tmg)

sad/contemplative (so far featuring you were cool, from TG&Y, warm lonely planet, we shall all be healed, and maybe stack em up -- thanks to those in my notes!!)

upbeat/kicking ass (this is my favourite one. so far featuring ethiopians, the big unit, high doses 2, counting song for bitter children, and so on)

impending doom (shrimp emotions, but featuring tribe of the horned heart, elizabeth barrett browning, sign of the crow 2, deserters, and so on. might also put in the shadow of the western hills and water song on this one)

[statelibraryqueensland]

Remnants of Lost Media: A Girl Detective in 1921

This film advertisement is one of the only remaining records of the 1921 silent film Retribution, filmed in Queensland and considered to be one of the first full-length feature films made in the state. Directed by Armand Lionello and starring Thorene Adair as the suit-wearing, sharp-shooting girl detective, Retribution told the story of a young woman seeking to absolve her sister of the murder of the "Sapphire King of Anakie" and the theft of his sapphires.

There are no known surviving copies of this film, however a record of the film's script was registered for copyright in August 1921, and a copy of this script is held in the National Archives of Australia.

Original images HERE.

[veil-touched-rights-org]

This is Part 1 of a series of posts about moments in the Night Shift Podcast that made me pause/things that I look back on and have thoughts about (or just thoughts). I’m not planning on doing any kind of deep analysis here (though I’m sure I eventually will be doing that as well), as much as just highlighting some moments that for whatever reason stood out. This will be long, as its the entirety of the first episode. 

I also want to be clear that there are spoilers throughout - I’ve also tagged as such. The general tag for this series will be "the veil opens", so watch for that!

All transcript portions pulled from the Night Shift web site (https://www.nightshiftpod.com/)

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads “[Audio cuts]”. End ID.]

Take this in, savor it, it will be a rare occurrence, as Seb has a lot of trouble turning off recorders, as you will later see. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “My goal here, really, isn’t to prove anything. It’s just to talk about it.” End ID.]

Seb, baby, my dear, sweet man, stop lying to yourself. 

All jokes aside, I have no doubts that Sebastian actually started with this mentality, at least sort of. Like wanting to talk about it with sources that weren’t exclusively bought out by Augur or state-owned, and as he did so his natural want to know and understand strengthened this into a more investigative thing. Then his goal wasn’t to prove anything specific as much as that something generally was wrong. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “If you’re from Echor, you’ll also know a thing or two about ALPHAs. If you’re not, you’ve probably heard of them on the news or something. Augmented humanity, manufactured by the most progressive - and impressive - scientific minds in the United States.” End ID.]

It’s actually wild that this was the least shady thing going on here. Like, the super soldier genetic engineering program was fine, in the face of everything else. I remember hearing this and being like “that must be a controversial program” and it just wasn’t. Thinking it was weird was the controversial opinion and a rare one. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Of course they’d say that. Augur are responsible for creating these genetically engineered freaks.” End ID.]

Sebastian, I have some news for you, about your genes.

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “North: Well, I think it’ll be good for you anyway. Something to channel all that energy into. Even if Feldman’s a creep. Sorry - is he going to listen to this? Actually, I don’t care. He’s a creep and he should know it. So, how many shots of espresso do you think I can drink before I see God?” End ID.]

I don’t actually have anything to say other than that I love them. Adair North is a treasure who is doing their best, even if they’ve bought the corporate propaganda. In their defense, it seems that not doing so is an even bigger rarity in Echor than in our world. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Sebastian: I don’t really like the idea of being experimented on for science. End ID.]

This, my friends, is what we call foreshadowing (or just an unfortunate coincidence). 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Sebastian: It’s Friday night, about 1am. The shop is empty as usual. Who wants coffee on a Friday after midnight? Still it pays the bills.” End ID]. 

Me. I want coffee on a Friday after midnight.

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “preternatural”. End ID.] 

This sounds like a joke but I did actually pause this here because I LOVE the word preternatural. Like, I sat for a minute happy that this word was here. I’m not sure why I like this word so much, but hearing it so early on probably helped with how much this podcast dug its way into my heart. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: I understand what you’re asking here - the answer is yes. It would be possible. Theoretically, it would be easy. I’m sure you’ve heard stories of the incredible feats people can pull off in life or death situations, right? How people can survive climbing down mountains with broken legs or wrestle a polar bear to save their children? It’s called Hysterical Strength, and it happens in extreme situations when there’s just the right cocktail of cortisol, adrenaline, and endorphins. Humans only use a fraction of our maximum theoretical strength and our bodies naturally conserve energy, not waste it. In most cases, pain and fatigue keep us from reaching our max potential to prevent injury, but when those aren’t a factor, anyone could - again theoretically - run at intense speed or lift an unnatural amount of weight. It’s entirely possible that a drug could be developed that would replicate the physical conditions to set off” End ID]. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: Hysterical Strength. Although, it's never been replicated in a lab on public record, so it still seems unlikely. End ID.]

So, I’m mostly highlighting this to talk about how much I love the way Night Shift grounded itself in reality. (Briefly I also want to praise it for both clearly branding itself as fictional, and making itself obviously fictional as things move on. There have definitely been some podcasts in this style that I had to stop listening to because it messed with my head, and I think this made it much more accessible than it would otherwise be.) Hysterical strength is a very real thing, it really exists in our very real world! And while the specifics of genetics don’t match, the idea of things in our environment altering us in ways we don’t get, and genes being unexplainable also pulls from science in a grounded way. (I personally, have a genetic mutation that is not super understood that does things to me that aren’t entirely understood - unfortunately none of that include preternatural abilities.) 

It does a lot to make this show more understandable, as it means that there is more of a base for what’s new, and not explained by the podcast (as it's assumed to be understood by the in-world listeners.) It makes urban fantasy work so so so well! 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “augmentation programs, and I’m inclined to believe it. It’s been more than two centuries since widespread magic died out. What remains is little more than the echoes of hereditary powers, and that’s limited to a fraction of our population. End ID.]

When I tell you I gasped. Firstly, this is new for the Urban Fantasy I’ve encountered. The idea that the magic of this world is largely inconsequential now? Again, a moment that got me hooked - how would they compensate for that (amazingly as it turns out). Around here is also when I decided that when I was recommending it to people, I was going to call it “Urban Fantasy with a Sci-Fi flair”. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Sebastian: This was an interview with Volta earlier this year after CEO Wesley Hastings announced the ‘Alpha Prime’ initiative. This initiative intends to see an ALPHA Prime, aka an ALPHA with superior powers like…generating fire and camouflaging into their environment, placed in law enforcement in every capital city in the United States in the next ten years. As usual, Volta was the poster boy for the project.” End ID]

The impersonal nature and derision of how he approaches Angelo is almost startling after finishing the first season to be honest - but all relationships start somewhere, and the way their relationship grows is great. More importantly than my character/relationship/ship musings is the terror that I have with the idea of every police force having a super soldier who can set me on fire. It effectively set me up to distrust Augur, even more than everything else// 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Sebastian: Never underestimate my ability to stick to a useless task. That is my superpower. End ID.]

Sure it is, buddy. The only one too, I’m sure. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “North: My opinion on ALPHA is… that they’re hot. If you’re an ALPHA you’re hot. It’s like a given, you know?” End ID.]

Look, they're right, right? Like, I’m an asexual lesbian so it's probably a different kind of hot for me than most, but like, they have to be right, at least for the most part. I think that if I saw Lea Parish in real life there’d be a minute where that was on my brain almost exclusively..

(I will say that I think I’d have more thoughts on ALPHA than that, because like, the idea of them is fishy at the very best, but it’d almost definitely be on my mind somewhere. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “What’s not to love anyway? Augur is the future. One day I’ll be living in my smart home, with my smartwatch and my A.I. assistant taking care of everything so I can live a carefree lids in the lap of luxury, and you’ll be grumpy and alone in your tinfoil hat scrounging for dinner in a dumpster. You’ll see.” End ID.] 

There is so much not to love about this. Dystopian image of a future, to me. I get why some stuff gets smart/automated (disability reasons mostly), but my whole home absolutely will not be.

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “In a simple sense, I don’t agree with any private entity holding as much power as Augur does. Yes - they are the very heart of technological progress, and I don’t begrudge progress by any means - but they also have a chokehold on energy, healthcare, housing… Even balancing their grip on ths country with charity work and initiatives to help people in need, it wouldn’t be a stretch to imagine they’re holding puppet strings in the government.” End ID.]

Seb is so real for this one, actually. I love his anti-corporate sentiments almost as much as I love everything else about him. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “[Sound: Footsteps walking away, stopping] North: Oh Seb? No, he’s really busy right now.] End ID.] 

People looking specifically for Sebastian are such great moments!! Especially because at this point it's not because of the podcast, you know? Like whoever this is just wanted to see or talk to him just to do so. The guy is so so good at endearing himself to people and it makes me sad that he doesn’t know that. 

[Image ID: A portion of a Night Shift: An Urban Fantasy Audio Drama transcript that reads: “Sebastian: I’ve been investigating some rumors about your ALPHA program? And about a street drug called Hunter that supposedly gives users temporary abilities like ALPHAs have? I found some leads, but it gave me more questions than answers, and I thought for clarity I could speak to… [Silence] You know what, never mind. Sorry to bother you. Angelo: Mr. Fen. Sebastian: Huh? Angelo: Take a seat.” End ID]. 

This will probably get its own post at some point because I have what those in the industry call thoughts about this. Like, okay, firstly the establishment of Seb as someone with all the audacity on this planet, who will go up to someone who is on their break and just ask to interview them is great. Then, Angelo just being willing to talk to this amateur reporter on said break, especially with what we know, also great. 

There are ideas about parallels floating vaguely in my brain that I’m excited to delve into. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

And that is all for this post!! I hope that you enjoyed this long post and dive into this episode, and that you stick around for the next one!! Enjoy your coffee, get some sleep, and remember that the veil touched are just people. 

[doedipus]

jazz season cancelled there's a big fuckin lobster

I think it's gonna fight godzilla

credits under break

Peter Vettese keyboards

Jeff Berlin bass, composition

Bill Bruford electronic drums, composition

Kazumi Watanabe guitar, composition

Akira Yada producer

Adam Moseley recording engineer, mixing

James Hatton assistant engineer

Nick Blundell assistant engineer

Julian Adair assistant engineer

Beth Yenni art direction

Izumi Inoue Design Plus design

Yutaka Kawachi photography

Lawrence Lawry photography

[gildcdglory]

WHO: Link Adair & Maddox Luo (@yuungmenace) WHERE: The Godfather

In another life, Link could've been a true musician. In this life, however, he couldn't be further from that goal. He admired the art form from a distance, but he never had the skillset to show for it. He tried playing the recorder back in his youth (at least, that's what his programmed memories showed) but it resulted in nothing other than aching ears and shattered dreams. He tried a few more times to obtain that musical ability, only for him to accept that the closest he'd get was his poetry.

That acceptance didn't stop him from bombarding the jazz musicians with questions every chance he could. He had been watching the musicians rehearse all afternoon, but it wasn't until he was allowed to go on break that he took a chance to go over. He initially wanted to bug one of the saxophone players, but after noticing they already left for their lunch break, he pivoted towards MADDOX LUO instead.

He tried to smoothly lean against the piano as he watched the musician, but his hand slipped and wound up hitting some of the keys. A wince echoed through his body before he tried to adjust himself. After a moment of awkward repositioning, he finally spoke, ❝Do you guys ever take song requests?❞ The question had been lingering in his mind for a while. ❝If so, I heard this cool, retro song that might be fun to play. I think it was called the Cupid Shuffle. It's not jazz but I'm sure the audience would love it.❞ 

[beardedmrbean]

A man and woman from Columbia have pleaded guilty to federal hate crime charges after engaging in a crime spree targeting Hispanic people.

Gabriel Brunson, 20, and Sierra Fletcher, 33, both of Columbia, targeted people they identified as Mexican and Hispanic, sometimes tracking victims to their homes before robbing them at gunpoint, according to the U.S. Department of Justice.

Both defendants pleaded guilty to hate crimes for their involvement in a Jan. 22, 2021, armed robbery when they followed victims from a grocery store and restaurant to their home before robbing them at gunpoint, according to a statement released by the U.S. Attorney’s Office for South Carolina. The pair stole cash and a cellphone.

“These defendants targeted Hispanic victims for violent acts of armed robbery because of their race, national origin and perceived vulnerability,” said Assistant Attorney General Kristen Clarke of the Justice Department’s Civil Rights Division. “No person should have to fear for their lives or property because of their race or national origin.”

The plea agreement, announced Thursday, was filed on Aug. 17. Fletcher, known as “Yella Flow” according to court records, also admitted to being involved in several other robberies on Jan. 30, 2021, including a carjacking and a home invasion of other Hispanic victims, according to prosecutors.

Brunson and Fletcher were also charged with conspiracy, federal robbery charges and carrying firearms in connection with those crimes.

“These were not crimes of opportunity. The defendants systematically robbed at gunpoint people whom they identified as Mexican or Hispanic,” said Assistant Director Luis Quesada of the FBI’s Criminal Investigative Division.

There is no law punishing hate crimes in South Carolina. As a result, it falls to federal prosecutors to charge cases that target victims because of identifies such as race, gender or sexual identity.

“Prosecuting civil rights crimes is a priority for our office,” said U.S. Attorney Adair Boroughs for the District of South Carolina. “Federal law recognizes that crimes targeting people of a particular race or national origin is particularly egregious, and we stand ready to enforce the national hate crimes law here in South Carolina.”

The plea agreements require both defendants to pay restitution. Sentencing in federal court does not take place immediately after the plea. A federal district court judge will determine a sentence based on federal sentencing guidelines and a presentence report prepared by the U.S. Probation Office.

The case was investigated by the FBI Columbia Field Office along with the Richland County Sheriff’s Department and the Lexington County Sheriff’s Office.

Assistant U.S. Attorneys Ben Garner and Brook Andrews for the District of South Carolina and trial attorney Andrew Manns of the Civil Rights Division’s Criminal Section are prosecuting the case.

Fletcher was represented by Andrew B. Farley. Brunson was represented by Aimee J. Zmroczek.

[my-chaos-radio]

Release: August 8, 2005

Lyrics:

Look at this photograph

Every time I do, it makes me laugh

How did our eyes get so red?

And what the hell is on Joey's head?

And this is where I grew up

I think the present owner fixed it up

I never knew we'd ever went without

The second floor is hard for sneaking out

And this is where I went to school

Most of the time had better things to do

Criminal record says I broke in twice

I must have done it half a dozen times

I wonder if it's too late

Should I go back and try to graduate?

Life's better now than it was back then

If I was them, I wouldn't let me in

Oh, whoa, whoa

Oh, God, I...

Every memory of looking out the back door

I had the photo album spread out on my bedroom floor

It's hard to say it, time to say it

Goodbye, goodbye

Goodbye

Every memory of walking out the front door

I found the photo of the friend that I was looking for

It's hard to say it, time to say it

Goodbye, goodbye

Remember the old arcade

Blew every dollar that we ever made

The cops hated us hangin' out

They say, "Somebody went and burned it down"

We used to listen to the radio

And sing along with every song we know

We said, "Someday we'd find out how it feels

To sing to more than just the steering wheel"

Kim's the first girl I kissed

I was so nervous that I nearly missed

She's had a couple of kids since then

I haven't seen her since God knows when

Oh, whoa, whoa

Oh, God, I...

Every memory of looking out the back door

I had the photo album spread out on my bedroom floor

It's hard to say it, time to say it

Goodbye, goodbye

Every memory of walking out the front door

I found the photo of the friend that I was looking for

It's hard to say it, time to say it

Goodbye, goodbye

I miss that town, I miss the faces

You can't erase, you can't replace it

I miss it now, I can't believe it

So hard to stay, too hard to leave it

If I could relive those days

I know the one thing that would never change

Every memory of looking out the back door

I had the photo album spread out on my bedroom floor

It's hard to say it, time to say it

Goodbye, goodbye

Every memory of walking out the front door

I found the photo of the friend that I was looking for

It's hard to say it, time to say it

Goodbye, goodbye

Songwriter:

Look at this photograph

Every time I do, it makes me laugh

Every time I do, it makes me...

Chad Kroeger / Ryan Anthony Peake / Michael Douglas Henry Kroeger / Daniel Patrick Adair

SongFacts:

👉📖

[cristalconnors]

SOUND MIXING

Shortlisted: Bones and All, Crimes of the Future, EO

THE NOMINEES ARE:

BLONDE

Sound Mixing by Lisa Pinero, Re-recording Mixing and Sound Design by Leslie Shatz

NOPE

Re-recording Mixing and Sound Design by Johnnie Burn, Sound Mixing by José Antonio García

THE NORTHMAN

Sound Design by Jimmy Boyle and Damian Volpe, Re-recording Mixing by Paul Cotterell and Mark Taylor, Production Sound Mixing by Derek Hehir and Skuli Helgi Sigurgislason

TÁR

Re-recording mixing by Deb Adair, Sound Mixing by Kai Lüde, Effects Mixing by Steve Single

AND THE CRISTAL GOES TO...

ELVIS

Re-recording Mixing by Michael Keller, Michael Minkler, and Andy Nelson, Re-recording Mixing and Sound Design by Wayne Pashley

[dankusner]

Lambert talks about new album, North Texas roots and living out her dreams on a horse

MUSIC ‘Postcards’ from where it all started

When Miranda Lambert played American Airlines Center in 2020, she stopped the show and let loose a confession.

“I didn’t make cheerleader in high school. And I couldn’t play sports for s---.”

In a strange way, those failures paid off.

They prompted Lambert to ask the school board at Lindale High School in East Texas to form a choir — singing was the one thing she was good at. When they agreed, 60 kids promptly signed up. Suddenly, Lambert had found her tribe.

“In Texas, it’s ‘football or die.’ So for me, getting in the choir was awesome,” she says now.

“As a singer, I probably didn’t need to be screaming cheers all night in cold weather anyway. The choir was a lot better path for my life trajectory.”

Talk about an understatement.

At the age of 40, Lambert has become the most-lauded country singer-songwriter to come out of Texas in decades.

She’s taken home 39 trophies from the Academy of Country Music Awards — a record.

Later this month, she’ll receive the Country Icon Award at the People’s Choice Country Awards.

Not bad for a self-described teen fashion dork who used to hang out at Adair’s Saloon in Deep Ellum with her mom, dreaming of the big time.

Lambert is likely to take home another armload of trophies for her 10th studio album, Postcards From Texas , due out Friday.

She co-produced the album with Jon Randall, the Dallas-raised singer-songwriter who recorded 2021’s The Marfa Tapes with Lambert and another former Dallasite, singer Jack Ingram.

The title of Postcards From Texas refers to the album’s recording location — the famed Arlyn Studios in Austin — as well as Lambert’s deep roots in Texas.

She lived in Van Alstyne, north of Dallas, until first grade, when her family moved to Lindale.

I spoke with Lambert by phone from her home in Nashville.

Our conversation has been edited for clarity.

Your dad is a former Dallas police homicide and narcotics officer, and he and your mom later became private investigators. Did their PI careers influence your new song “Alimony”?

One hundred percent. All the references in “Alimony” were definitely bringing back some of those old PI stories I heard as a kid. When I tell people about my parents, about being taken out on stakeouts when I was 12, they’re like, “You know that’s not normal, right?” But it was normal to us. And it’s definitely helped my songwriting. I started writing at 17, and I hadn’t really lived a lot of life at that point, obviously. So I used a lot of the stories about the cases my parents would talk about at the dinner table. And a lot of those cases were worked in Dallas. I kind of took snippets of that and used it for my creative muse.

“No Man’s Land” is about a woman who doesn’t care about society’s rules and a man who struggles with her strong personality. What can you tell me about that song?

It’s really one of my favorite songs on the record. The whole vibe of that song is love her, but leave her wild. Don���t try to tame her. I need to be me, and come with me on this adventure. It’s an invitation. You seem like a free spirit yourself.

Definitely, I am. Growing up literally in the country in East Texas, running around barefoot outside all day, where your mom said, “Come back when it’s dark,” you know what I mean? It just kind of taught me to go find myself, wherever that is. And I’m definitely an outdoors girl, big time, but also strong-willed at the same time. So when those two meet, it’s a big personality. And I think that’s what makes [the song] beautiful. It’s somebody just willing to be authentically themself.

You co-wrote another new song, “Dammit Randy,” with your husband, Brendan McLoughlin. What was that process like?

Brendan is a retired NYPD officer, so songwriting is not his thing. It’s mine. But for fun, during the COVID lockdown, we would write some songs, and I realized he’s pretty good. I mean, he was a cop. He’s seen a lot of life, too.

Jon Randall and I were just sitting at the house, having some tequila, talking about the album’s direction, and Brendan kept kind of popping in, so we all three started writing it. Jon Randall and I were laughing, like “This is crazy! … we’ve made songwriting our whole life, and Brendan just kind of walks in and does it.”

He’s an outside observer who has an inside look. Brendan has been in my life for six years. He’s been there for a lot of the journey now, and he has a lot of insight. I’m really proud of him.

You started playing bars in Longview at age 16. After that , you also played around Dallas-Fort Worth a lot and recorded your self-financed debut album in Dallas when you were 18. What do you remember about those days?

I don’t know if you’ve ever seen Coal Miner’s Daughter . But that’s exactly how it was. Me and my mom in her Expedition, with bologna sandwiches, riding around with my guitar, going to radio stations or gigs.

We didn’t have a lot of venues [in Lindale], so I played Rudy’s Barbecue in Tyler, just sitting in the corner with my guitar, every Tuesday, for a long time.

I played Love & War in Texas [in Plano] a ton .

They were really good to me when I was just getting started.

I didn’t know what I was doing, but they let me get up there anyway, you know?

And I loved Adair’s.

There’s nothing better than a dive bar for country music.

I remember seeing so many Jack Ingram shows at Adair’s.

He was such a hero of mine back then. Still is.

As you know, Ingram launched his career in Dallas as an SMU student in the early ’90s. What was it about him or his music that you connected with?

I followed him around all these places and watched his shows, and he had this electricity, this stage presence that was so commanding and so rock ’n’ roll.

But he also had these well-crafted songs.

So he had it all, and that’s kind of what I wanted to chase.

He was just such an early influence for me, and he took me under his wing.

He was just so sweet and encouraging.

So it’s really, really cool to me that we get to make music together and put out something like The Marfa Tapes and be such close friends. It’s really full circle for both of us.

You, Ingram and Randall co-wrote “Tin Man” after your divorce from Blake Shelton. Twice I’ve seen you sing that in concert, and both times I noticed fans with tears running down their cheeks.

Yeah. I mean, “Tin Man” is a tearjerker. It’s a special song. You get a few like that in your life, and I’m so thankful to be a writer on that. It kind of came out of the air, but it also came out of a real-life experience, you know? There’s nothing like living the heartbreak you write about, and sometimes that’s necessary.

But that’s what country music is. I have that one, and “The House That Built Me,” in my shows. Those are the ones that really get people emotional. And that’s how I know I did my job right.

Two of your fellow Texans have put out country crossover albums this year: Beyoncé and Post Malone. Any thoughts on either of those albums?

Whatever’s happening with country music … like, I don’t care how people get there. I’m just glad they’re here. It brings different audiences. I’ve been around for a while, so having new fans of country music is always welcomed. It’s always a blessing in my book.

You turned 40 late last year.

Some people have no problem with milestone birthdays like that. Others have a midlife crisis or try to ignore it. What’s it been like for you?

I think I’ve done all those stages of grief [laughs]. No, it was fine. You know what? I feel so lucky that I’ve got to live out my dream and almost all the goals I had set before I was even 40. That is such a crazy place to be. But I’ve learned so much more about balance in my life. It used to be, “Just grind it out,” and work toward a goal forever.

And now I just feel like I’m lucky because I get to breathe. I still work really hard, and I have a lot of projects and brands and charities and all that stuff. But it’s now opened up. Now I have this whole next phase of my life to actually do a work/life balance where, the previous 40 years, I did not do well with that.

What do you think you could have done better? I just worked nonstop. As my manager says, I didn’t “sit in my life.” Like, I was just kind of running. Now I feel like I’m doing a lot better at really being present and making time for travel, for fun, not just constant work. I ride horses. I didn’t start riding till I was 30, but now it’s one of my greatest joys. And recently, I started mounted shooting [competition], which is awesome. And I show my horses once a year. It’s a time that I’m just a hundred percent me. I’m not Miranda Lambert those days. I’m just a horse girl, you know? And it’s very calming and relaxing. But I am still goal-oriented. It’s still something I can work toward getting better at.

[whitepolaris]

Camp Adair

During World War II, Camp Adair was the second largest "city" in Oregon. Within three years of the end of the war, the camp dwindled away as most of the land and buildings were sold off. The remnants became a National Guard facility, but unlike old memories, some old soldiers have not faded away.

In the 1880s, the area between Corvallis and Eugene was settled by a mix of small family farms and isolated lumber camps. Town sites were few and scattered, with Corvallis being the largest. During the Great Depression the area was hit very hard-banks foreclosed on mortgaged family farms, and many timber mills shut down. Although many people moved away, some stayed and made a go on their farms and other properties. When the Depression ended, many of the surviving farms flourished, and some expanded in the wide empty lands around them. In 1941, the War Department announced that they wanted to build a training camp in western Oregon.

A few months before the Japanese attack on Pearl Harbor, the local newspaper announced that the Corvallis area would be the army training site. Five days after the Pearl Harbor, Congress approved the funds, and construction began on Camp Adair-good for Corvallis, perhaps, but not so good for many of its rural inhabitants. In a wartime panic, the government claims agents condemned many farms to make way for Camp Adair. Property owners complained about graft and low settlement prices. Some people refused to leave farms that had been in their families for decades, and the government forcibly evicted them. A few committed suicide, while others just seemed to fade away and die. Whole communities disappeared into what became a forty-four-thousand-acre military camp.

Thousands of workers arrived in the area to build 1,800 buildings, including warehouses, barracks, chapels, and recreation facilities, and a hospital. By the summer of 1942, most of the major construction at Camp Adair was completed, and the army training cadre arrived. They were followed by the new soldiers of four infantry divisions, each about fifteen thousand soldiers. After six months at Camp Adair, these units left, completing their training in a variety of climates from Alaska to Arizona, before going to war.

During the war, the hospital at Camp Adair grew. Many sailors and marines suffered severe burns in the fierce fighting against the Japanese in the Pacific, and more than three thousand came to Camp Adair to recover or, unfortunately, die. In addition, there are records of at least one military put up fences and guard towers around some of the barracks, turning part of Adair into a prisoner-of-war camp. Most of those prisoners returned to their own countries after the war. Some of them became sick and died in their own infirmary-type hospital.

It was not always possible to return U.S. service members' or prisoners' bodies to their families in a timely manner. Some were buried in the post cemetery, while others were cremated in a large incinerator near the hospital and their ashes were returned through the Red Cross.

Shortly after the end of World War II, the recovering sailors and marines were sent to hospitals nearer their homes. The POW camp was disbanded, and the prisoners were sent home. Some of the military land was sold off, as were most of the buildings. The central core of Camp Adair remained as a U.S. Air Force base and training area. In 1969, the air force closed its facilities and sold much of the land. The town of Adair Village grew out of the last land sale, and was incorporated in 1976. Its town hall is one of the original camp buildings.

Soldiers and Sailors Remain at Camp Adair

Some people think the spirits of soldiers who stayed at Camp Adair haunt an airplane hangar, the old hospital building, and the prisoner's clinic building. One person reported people hearing cries of pain or suffering from the hospital. Other stories told of the nearby crematorium, with visions of transparent mourners holding vigils around the now cold building.

Weird Oregon spoke with Christina, a paranormal investigator who was curious about the tales of ghostly prisoners still in the hospital. She decided to see if they were true. In April 2001, Christina visited the hangar and POW clinic. The clinic building was set apart from most of the other buildings, in what was then an open field. It was in a decrepit state. Many of the windows were broken and boarded up. Even though there was equipment stored inside, it had a long time since anyone had opened the rusty locks that secured the doors. As Christina walked up to the building, she heard the sound of heavy footsteps and clanking inside the supposedly deserted building.

Christina put a small tape recorder on the window ledge, inside the building, and walked around the open field for about sixty minutes, keeping the building in sight for the entire time. At the end of an hour or so, she retrieved her tape recorder and took it home, where she listened to it. At first, there was nothing remarkable into the recording, it sounded like someone stood very close to the microphone, breathing hard. About thirty-five minutes into the tape there was a sound like old-fashioned metal bedsprings squeaking for a few seconds.

This sound repeated several times, and one time the squeaking continued for about twenty seconds.

Christina had a good look inside the building. When it was a soldiers' barracks and clinic, there would have been metal-spring beds inside. When Christina was there, there were no beds, just some wooden storage shelves and equipment.

The remaining core of Camp Adair still exists as a straining area for the Oregon State National Guard. Some of the buildings have been torn down and others are slowly decaying. Since 9/11, hasn't been easy to get into Camp Adair.

For more information, the Benton County Historical Society in Philomath (www.bentoncountymuseum.org) and the Albany Regional Museum (www.armuseum.com) have large exhibits on life at Camp Adair.

Foiled by the Camp Adair Fog

My name is John and I am conducting research on Camp Adair and the POW camp there. I was able to find out where the hospital used to be. In addition I gained access to the smoke stack where bodies were burned. Pretty creepy being inside. I have taken pictures, but a pretty strange thing happen to the cameras. I was carrying a Kodak digital camera and a Panasonic broadcast DVR, and I was able to get inside shots of one of the infirmaries. While taking pictures, as I snuck the camera inside, the lens got all foggy instantly! Same with the video camera. I know enough of video basics that if the temp outside is low and the inside temp is high, fog will occur in matter of seconds on the focusing lens. But this-I have never seen anything like this. -John G.

[ulkaralakbarova]

Thirty years after serving together in the Vietnam War, Larry, Sal and Richard, reunite for a different type of mission: to bury Doc’s son, a young Marine killed in Iraq. Forgoing the burial, the trio take the casket on a bittersweet trip up the coast to New Hampshire – along the way, reminiscing and coming to terms with the shared memories of a war that continues to shape their lives. Credits: TheMovieDb. Film Cast: Larry ‘Doc’ Shepherd: Steve Carell Sal Nealon: Bryan Cranston Reverend Richard Mueller: Laurence Fishburne Charlie Washington: J. Quinton Johnson Ruth Mueller: Deanna Reed-Foster Lieutenant Colonel Wilits: Yul Vazquez John Redman: Graham Wolfe O’Toole: Jeff Monahan DAFB Guard: Dontez James Mother (Irene): Tammy Tsai Angry Father: Richard Barlow Grieving Mother: Cathy O’Dell Rental Truck Employee: Jane Mowder Anorak: Richard Robichaux Raincoat: Jerry Lee Tucker Hyped-up Employee: Marc Moore Phone Shop Clerk: Kate Easton Mrs. Hightower: Cicely Tyson Front Desk Motel Employee: Sarah Silk Leland: Ted Watts Jr. Jamie: Lee Harrington Larry Jr. (voice): Samuel Davis Church Member (uncredited): Brian “Wolfman Black” Bowman Bar Patron (uncredited): Kelli Culbertson Train Passenger (uncredited): Chris Dettone Bar Patron (uncredited): Chris Drexel Bar Patron Guy in Booth (uncredited): Eric Frank Airmen / Morales (uncredited): Jason Gerrard Marine (uncredited): Adam Hicks J Tinsley Amtrak Baggage Handler (uncredited): John W. Iwanonkiw Cellphone Store Patron (uncredited): Daniel James Train Passenger Toting Gifts (uncredited): William Kania Train Passenger (uncredited): Trudi Kennedy Bar Patron (uncredited): Daniel Lamont Bar Patron (uncredited): James Lloyd Bar Patron (uncredited): Tiffany Sander McKenzie Angry Train Passenger (uncredited): Kelly L. Moran Train Passenger (uncredited): Christopher Nardizzi Bus Passenger (uncredited): Phil Nardozzi Mourner (uncredited): Rebecca Phipps Train Passenger (uncredited): Dwayne Pintoff Church Member (uncredited): Sofia Plass Driver (uncredited): Eric Rasmussen Senior Airman Morris (uncredited): Mario Ruiz Amtrak Passenger (uncredited): Brian E. Stead Train Passenger (uncredited): Gary Lee Vincent Train Passenger (uncredited): Jeremy Waltman Funeral Attendee (uncredited): Zoe Xandra Film Crew: Producer: Richard Linklater Editor: Sandra Adair Producer: John Sloss Producer: Ginger Sledge Makeup Artist: Sharyn Cordice Executive Producer: Harry Gittes Music: Graham Reynolds Director of Photography: Shane F. Kelly Production Design: Bruce Curtis Costume Design: Kari Perkins Set Decoration: Beauchamp Fontaine Novel: Darryl Ponicsan Executive Producer: Thomas Lee Wright Sound Re-Recording Mixer: Tom Hammond Sound Designer: Justin Hennard Art Direction: Gregory A. Weimerskirch Visual Effects Producer: Brice Liesveld Visual Effects Supervisor: James Pastorius Makeup Department Head: Darylin Nagy Executive Producer: Karen Ruth Getchell Makeup Artist: Patty Bell Makeup Artist: Christopher Patrick Movie Reviews: tmdb15435519: One of the funniest films I have watched in some time. Great writing and acting. Fishburne, Carell, and Cranston make up an unlikely trio that embarks on an epic journey of forgiveness. At once critical and respectful of the US, a reminder that what makes a country is those that choose to live and die for it.

[agendaculturaldelima]

   #ProyeccionDeVida

🎬 “SOÑADORES” [The Dreamers]

🔎 Género: Drama / Años 60 / Adolescencia / Erótico

⌛️ Duración: 120 minutos

✍️ Guión: Gilbert Adair

📷 Fotografía: Fabio Cianchetti

🎵 Música: Jimi Hendrix, Ben Coleman, Jean Constantin, Michel Polnareff, Charles Trénet, Steve Miller Band, The Doors, Françoise Hardy, Antone Duhamel, Grateful Dead y Édith Piaf

🗯 Argumento: París, 1968. Isabelle (Eva Green) y su hermano Theo (Louis Garrel), solos en la ciudad mientras sus padres están de viaje, invitan a su apartamento a Matthew (Michael Pitt), un joven estudiante americano, al que han conocido en un cine. Una vez en casa, establecen unas reglas para conocerse mutuamente, explorando emociones y erotismo a través de una serie de juegos extremadamente arriesgados.

👥 Reparto: Eva Green (Isabelle), Louis Garrel (Theo), Michael Pitt (Matthew), Ingy Fillion (Novia de Theo), Lola Peploe (Usherette) y Anna Chancellor (Madre).

📢 Dirección: Bernardo Bertolucci

© Productoras: Recorded Picture Company (RPC), Peninsula Films, Fiction Films, HanWay Films, Medusa Produzione, Telepiù & Fox Searchlight

🌎 Países: Reino Unido-Francia-Italia

📅 Año: 2003

📽 Proyección:

📆 Martes 16 de Julio

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[apricotis]

౨ৎ 　๋࣭ ⋆｡ freya kearney!

˖⁺‧₊˚✦ OVERVIEW. Freya Kearney (born February 4th, 2001) is an American singer born in Brooklyn, New York. She first gained recognition for being the former girlfriend of American singer and musician Micah Adair, later signing to Fool's Gold Records and beginning her career as a singer in 2019 with her debut singles "Goddess", "Anatomy of a Girl", and "Foolish". She released an extended play, For Those Who Chose The Sea (2020), the following year.

Kearney transitioned to Northstar Records after her breakup with Adair in 2022 and released her first studio album, Epiphany (2022), and two singles that both made the US Billboard Hot 200 chart, "Atmos" and "Not Eternity". Kearney's second studio album, Birds of Paradise (2023), became her highest-charting album on the US Billboard Hot 100 at number 48.

˖⁺‧₊˚✦ APPEARANCE. Kearney has sienna skin and straight black hair that reaches her mid-back. Her hazel eyes are downturned with long lashes. She stands at 5ft, 7in.

౨ৎ 　๋࣭ ⋆｡ click here for more info!

[stoneshipper]

😅🫂😳🎵 for the ask game! :D

TY FOR THE ASK, KING -`♡´- I’ll answer these for Adair!!

😅 - Did anyone ever mistake you two for a couple? How did you both react?

I imagine we got mistaken for a couple a few times on our way to Buenos Aires! Since Adair insisted I do not leave his sight the entire way there, I imagine he simply looked like a protective boyfriend at the time. Which, he wasn’t my boyfriend… yet. I imagine before I would get embarrassed and set the record straight, though, Adair would lean into it and just tell people we were dating. He’d say it was better as a cover story, buuut… he just liked being seen as my boyfriend.

🫂 - What’s one significant moment of physical contact you had during the pining stage?

Probably when I finally reached out and touched him of my own accord! For reasons, my s/i was/is very uncomfortable touching others unless they’re SUPER close with that person, and Adair never crossed that boundary. So, I imagine the first time that I allow myself to reach out and even casually touch him (grabbing his hand in conversation), it’s significant to both of us.

😳 - What moment flustered them the most?

Honestly, with Adair, it’s hard to say. I want to say it was probably when I was casually offering him my limbs after Nita’s murder attempt, though. He knows it came from a good place, but he’d never really had anyone extend him that amount of trust before. So, I imagine it caught him more than a little off guard!

🎵 - Are there any songs that describe your pining stage?

GOD. I’ve been wanting to create an Adair playlist but get stuck on certain song selections. But if I had to pick one… it’s definitely Please, Please, Please, Let Me Get What I Want.

[dennispartridge]

Kentucky Vital Records, 1884-1928

This microfilm is a copy of the original records located at the Kentucky State Historical Society in Frankfort and microfilmed in 1975. It is an incomplete copy of the set of records for each county but can provide the information for the specific counties and years as denoted in the list below. Access Microfilm Roll Online Adair County Kentucky Vital Records births (1909-1910) deaths (1909-…