View allAll Photos Tagged answer
What would become arguably the most successful fighter aircraft since World War II started modestly, and like many late 20th-Century fighter designs, as a result of lessons learned in the Vietnam War. Among those lessons was that large, heavy fighters were not always the answer: the F-4 Phantom II, while a superlative aircraft, had often found itself outclassed by smaller, more nimble North Vietnamese MiG-17s and MiG-21s. The call for the US Air Force to develop its own lightweight fighter was spearheaded by fighter pilot and air combat theorist John Boyd. At first, Boyd’s proposals were dismissed by the USAF, who feared losing funding for the F-15 Eagle then in development. Boyd and others were able to convince the USAF of the usefulness of a light, cheap fighter as a complement to the heavy, expensive F-15, and finally the USAF agreed to issue a requirement for a Lightweight Fighter (LWF)—though with no guarantee that it would actually buy it.
Both General Dynamics and Northrop responded with designs, which would become the YF-16 and YF-17 Cobra. The first YF-16 was rolled out in December 1973, and first flew in January of the next year—accidentally, as the prototype veered off the runway and the test pilot felt it safer to takeoff rather than try to steer it back. The YF-16 won the flyoff against the YF-17, and the USAF selected it to go into service as the F-16 Fighting Falcon. Simultaneously, the YF-16 won a flyoff for the Multinational Fighter; the MNF was planned to be the successor to a number of aircraft in NATO service, and the competition between the YF-16, YF-17, France’s Mirage F.1M, and the SEPECAT Jaguar was fierce. Once selected, production of the F-16 would be vastly expanded, with it not only being produced in the United States, but also in the Netherlands and Belgium as well (to be followed later by Turkey and South Korea). In a short time, the F-16 had come a long way.
Production F-16s differed from the prototype by being slightly larger and heavier, though the initial production batch retained the “small tail” tailplanes of the prototype. Though heftier than the prototype, the F-16 retained the basis of Boyd’s ideal lightweight fighter: it was extremely maneuverable, to the point that a number of early F-16s crashed as the aircraft could take more than the pilot. Its maneuverability is due both to a favorable thrust-weight ratio and its deliberately unstable design: the F-16 was one of the first fighters to employ a wholly-fly-by-wire control system, with the hydraulic controls of older fighters being replaced by microprocessors controlled by a central computer. The microprocessors are able to make the dozens of decisions per second required by the design. For this reason, the F-16 is also known as the “Electric Jet.” General Dynamics had attempted to mitigate these effects on the pilot by reclining the ejection seat backwards and moving the control stick to the side. The pilot also has superb visibility due to the F-16’s bubble canopy.
The Fighting Falcon’s baptism of fire would not take long. Israel, which had been among the first to purchase the F-16, scored the type’s first air-to-air kill over Lebanon in 1981, as well as its first significant strike mission, the raid on Iraq’s Osirak reactor. In the following year, Israeli F-16s scored possibly as many as 30 victories over Syrian MiGs during the 1982 Lebanon War. Pakistani F-16s were to see limited action during the Soviet-Afghan War, shooting down 10 Afghani and Soviet aircraft that strayed into Pakistan’s airspace. For the United States, the F-16 would see its first action in the First Gulf War, though here the USAF used the Falcon’s large payload in strike missions; USAF F-16s saw no aerial action during this conflict.
By the early 1990s, the USAF relegated its F-16A models to the Air National Guard and Air Force Reserve, reequipping its units with later mark F-16Cs. Many of the ANG’s F-16As were upgraded to ADF standard. The last USAF F-16A left service around 2000; aircraft not placed in storage at AMARC in Arizona have been sold to other nations, while some are scheduled for conversion to QF-16 drones.
F-16As are among the most prolific fighters in the world, in service worldwide, flown by ten nations, three of which are in NATO. These aircraft (save those flown by Venezuela) have been significantly upgraded to F-16 MLU (Mid-Life Upgrade) standard, making them equivalent to F-16Cs. Besides Israeli and Pakistani kills in the type, a Dutch F-16AM shot down a Serbian MiG-29 during the Kosovo War in 1999. Other NATO F-16AMs have seen service over Bosnia, Kosovo, and Afghanistan. These older models of F-16s will remain in service until probably 2020 at least, to be replaced by the F-35A Lightning II.
Here the whole team of Thunderbirds come over the crowd at the Air Force Academy's graduation ceremony in 1981. The team had just converted to the F-16 not long before, and this was one of their first shows in the type. They opened the show by rocketing over just as the graduates pitched their hats in the air (and scaring the hell out of the crowd, which included me). Still a great show, and the first time I got to see the team in the F-16--I had only seen them in the T-38 Talon to this point.
Yahoo Answers with a question asking about mustard and ketchup packets expiring.
Uploaded with the Flock Browser
Maybe a beret is the answer....? It's not quite straight but it looks
a lot more oraganic and less googly-eyed and silly. It's tough working
on such a small space, most arches are too big and clunky and I
already have to deal with the 2x2 attachment at either end of the
dome. I think I'll go with this for now and order some sparkly new
quarter rounds now that I know they fit rather well. I knew I
should've just put some in my original order. For some reason I only
have one, seriously WTF.
Love is the answer
to so many questions
it has the power
to make a heart soar
or break it in an instant
it comes in many forms
and levels of intensity
we wish for it
we work at it
we worry about it
at times we curse it
we love with all we are
even when it may be difficult
to love ourselves
we love a friend
nurture a child
adore a spouse
worship our God
not all love is true
often not returned
but as they say
it is better to have loved
for we are far
better a person
to be one who
has loved
and more importantly
allowed to BE loved.
This morning I received a questionnaire to complete, it was about leaflets received between Sept. 21st and Oct. 2nd, I'll be paid for it and I can't wait to receive something else!
Oct. 3rd, 2007
(33/365)
No idea why it became this
Forgot how i took this film while i was there
Surprised! and It is Lomo spirit..isn't it?
I remembered it's 4 or 5 pm, 2 trees.. far and close each. i was walking around in the alley to kill time
U.S. Secretary of Agriculture Sonny Perdue answers a question from a local FFA officer, during his town hall meeting with six FFA chapters from across the country from C.S. Monroe Technical High School via YouTube Live, in Leesburg, VA, on May 1, 2017.
Please see: www.usda.gov/media/live and www.usda.gov
FFA is an intracurricular student organization for those interested in agriculture and leadership. For more information, please see www.ffa.org. The Rural Youth Development (RYD) program, funded by the USDA/NIFA, helps students develop leadership skills.
The USDA National Institute of Food and Agriculture (NIFA) provides leadership and funding for programs that advance agriculture-related sciences. USDA invests in and supports initiatives that ensure the long-term viability of agriculture. NIFA applies an integrated approach to ensure that groundbreaking discoveries in agriculture-related sciences and technologies reach the people who can put them into practice. USDA Photo by Lance Cheung.
ROD: SOPMOD
REEL: SALTIGA BJ 200SHL
LINE: PE4+40lb
LURE: BORDER SD
LURE: A.C.mag shad
LIP STAR182(シーバスモデルプロト)
A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV
Question: Raphael Perez Tell us about your work process as a naive painter?
Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.
Question: How do you give depth in your naive paintings?
Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.
A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.
Question: Raphael Perez What characterizes your naive painting?
Answer: Most naive paintings have the same characteristics
(Definition as it appears in Wikipedia)
• Tells a simple story to absorb from everyday life, usually with humans.
• The representation of the painter's idealization to reality - the mapping of reality.
• Failure to maintain perspective - especially details even in distant details.
• Extensive use of repeating patterns - many details.
• Warm and bright colors.
• Sometimes the emphasis is on outlines.
• Most of the characters are flat, lack volume
• No interest in texture, expression, correct proportions
• No interest in anatomy.
• There is not much use of light and shadow, the colors create a three-dimensional effect.
I find these definitions to be valid for all my naive paintings
Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?
Answer: I was born in Jerusalem, the capital city which I love very much and also paint,
I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one
Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.
Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem
Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today
In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs
Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings
Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:
In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,
In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more
I also created three paintings of the city of Haifa and one painting of Safed
In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city
Question: Have you created series of other cities from around the world?
Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings
Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments
I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city
What was the question again?
Crossbones Graveyard, London.
See where this picture was taken. [?]
Originally posted to the Guess Where London group on 14-08-07.
The Answer to Life, the Universe, and Everything
The Ultimate AnswerThe Answer to Life, the Universe, and Everything is a concept taken from Douglas Adams' science fiction series The Hitchhiker's Guide to the Galaxy. In the story, the answer to the Ultimate Question of Life, the Universe, and Everything is sought from the supercomputer Deep Thought. The answer given by Deep Thought leads the protagonists on a quest to discover the question which provides this answer.
Spoiler warning: Plot or ending details follow.
Story lines
According to the Hitchhiker's Guide, researchers taking the form of mice, which are actually 3-dimensional profiles of a pan-dimensional, hyper-intelligent race of beings, construct Deep Thought, the second greatest computer of all time and space, to calculate the answer to the Ultimate Question. After seven and a half million years of pondering the question, Deep Thought provides the answer: "forty-two".
"Forty-two!" yelled Loonquawl. "Is that all you've got to show for seven and a half million years' work?"
"I checked it very thoroughly," said the computer, "and that quite definitely is the answer. I think the problem, to be quite honest with you, is that you've never actually known what the question is."
Deep Thought informs the researchers that it will design a second and greater computer, incorporating living beings as part of its computational matrix, to tell them what the question is. That computer was called Earth and was so big that it was often mistaken for a planet. The question was lost five minutes before it was due to be produced, due to the Vogons' demolition of the Earth, supposedly to build a hyperspace bypass. (Later in the series, it is revealed that the Vogons had been hired to destroy the Earth by a consortium of philosophers and psychiatrists who feared for the loss of their jobs when the meaning of life became common knowledge.) Lacking a real question, the mice proposed to use "How many roads must a man walk down?" (the first line of Bob Dylan's famous civil rights song Blowin' In The Wind) as the question for talk shows, after considering and rejecting the question, "What's yellow and dangerous?"—actually a riddle whose answer, not given by Adams, is "Shark-infested custard". However, this may also refer to the Vogon Constructor Fleet that demolished Earth, in that they were yellow and most certainly dangerous.
In one of the books, Marvin mentions that he can read the Question in Arthur's brainwaves. This does nothing to cheer him up.
At the end of the first radio series, the television series, and the book The Restaurant at the End of the Universe (the second book of the five-book 'trilogy'), Arthur Dent (as the last human to have left the Earth before its destruction, and therefore the portion of the computer matrix most likely to hold the question) attempts to discover the Question by extracting it from his unconscious mind, through pulling Scrabble letters at random out of a sack. The result is the sentence "WHAT DO YOU GET IF YOU MULTIPLY SIX BY NINE".
"Six by nine. Forty-two."
"That's it. That's all there is."
Since 6 × 9 = 54, this being the question would imply that the universe is bizarre and irrational; on the other hand, there is no proof that this was the actual question. After all, Arthur Dent composed only a minuscule fragment of the vast and complex computer matrix that was the Earth, and besides, it was stated that the computer's run had not finished when it was destroyed. In addition, Arthur and Ford realized that the original ape-like inhabitants of Earth were displaced by the Golgafrinchams, which could account for the irrational nature of the question in Arthur's mind (as he himself is a descendant of the Golgafrinchans). On discovering the question in the original radio series, Arthur Dent remarks: "I always said there was something fundamentally wrong with the universe."
Another thought as to the false equation in the Hitchhiker's Guide was that the program (Earth) would have run correctly if not for the crash landing of the Golgafrinchams. This race introduced error into the program and thus turned what would have been the equation 7 times 6 = 42 into 9 times 6 = 42.
It is also possible, given Adams' often bleak view of technology, that the 6 × 9 = 42 answer is meant to indicate that the Earth project was a flawed design to begin with, one that was always going to produce the wrong answer even if the program had been run successfully.
It was later pointed out that 6 × 9 = 42 if the calculations are performed in base 13, not base 10. Douglas Adams was not aware of this at the time, and has since been quoted as saying that "nobody writes jokes in base 13." and also "I may be a pretty sad person, but I don't make jokes in base 13."
Alternately, some have suggested that the question may be, "Pick a number, any number." Although this is not exactly a question, Marvin the Paranoid Android asks Zem the mattress in Life, the Universe, and Everything to pick any number.
"I gave a speech once," he said suddenly and apparently unconnectedly. "You may not instantly see why I bring the subject up, but that is because my mind works so phenomenally fast, and I am at a rough estimate thirty billion times more intelligent than you. Let me give you an example. Think of a number, any number."
"Er, five," said the mattress.
"Wrong," said Marvin. "You see?"
Since he often complains that his brain is "the size of a planet," it is somewhat feasible that he could have discovered what Earth was supposed to find out. Also, Eddie the shipboard computer in one part of the books mentions, "Pick a number, guys!" when Arthur wonders aloud what the Question is, but is ignored by the human inhabitants of the Heart of Gold.
At the end of Life, the Universe and Everything, the third book in the series, Arthur encounters a man named Prak, who through a significant overdose of a remarkably effective truth serum has gained the knowledge of all truth. Prak confirms that 42 is indeed the answer to the ultimate question of life, the universe and everything, but reveals that it is impossible for both the ultimate answer and the ultimate question to be known about the same universe. He states that if such a thing should come to pass, the universe would disappear and be replaced by something even more bizarrely inexplicable. He then speculates that this may have already happened.
Later, in So Long, and Thanks For All the Fish, the fourth book in the series, Arthur wonders if the ultimate answer might be the sudden startling revelation which Fenchurch had shortly before the demolition of the Earth. This theory turns out to be false; Fenchurch instead discovered God's Final Message to His Creation, the location of which was revealed to Arthur by Prak at the end of the previous book.
It should be noted that 'The Restaurant at the End of the Universe opens with the lines: "There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened." The book then repeats part of the "prologue" of the first book: "...a girl sitting on her own in a small café in Rickmansworth suddenly realised what it was that had been going wrong all this time, and she finally knew how the world could be made a good and happy place. This time it was right, it would work, and no one would have to get nailed to anything." At that point the story takes off. It is not unreasonable to assume that the universe before then had been 'normal' and that Arthur's life and everything that happened after that point was a direct result of the answer and question both being known (which would, of course, make the answer and question useless as the universe itself had changed).
Douglas Adams' view
On November 2, 1993 Douglas Adams gave an answer (http://groups-beta.google.com/group/alt.fan.douglas-adams/msg/d1064f7b27808692?dmode=source&hl=en) on alt.fan.douglas-adams:
The answer to this is very simple. It was a joke. It had to be a number, an ordinary, smallish number, and I chose that one. Binary representations, base thirteen, Tibetan monks are all complete nonsense. I sat at my desk, stared into the garden and thought '42 will do'. I typed it out. End of story.
Miscellany
The true reason 42 was used in The Hitchhiker's Guide to the Galaxy (as revealed in "The Salmon of Doubt") is that Douglas Adams thought it was the funniest two-digit number.
According to the production notes of the DVD for The Hitchhiker's Guide to the Galaxy 1981 TV series, the scenes with Deep Thought were shot during week 42 of the BBC's calendar.
Google has a calculator function in its search engine, which knows the supposed answer to life the universe and everything (http://www.google.com/search?q=answer+to+life+the+universe+and+everything+=).
MSN Search also calculates this query correctly in a similar fashion (http://beta.search.msn.com/results.aspx?q=the%20answer%20to%20life%20the%20universe%20and%20everything).
Computer programmers' joke
There is a joke amongst computer programmers that Deep Thought may have had some order of operations issues. The following code in the C programming language defines the macros SIX as "1 + 5" and NINE as "8 + 1", and then performs the computation "SIX * NINE". It returns the answer "42", because "SIX * NINE" is expanded by the computer to "1 + 5 * 8 + 1", and the multiplication takes precedence over the additions. (This occurs because the macro expansion is textual, not logical.)
#include
#define SIX 1 + 5
#define NINE 8 + 1
int main(void)
{
printf( "What do you get if you multiply %d by %d: %d\n", SIX, NINE, SIX * NINE );
return 0;
}
Falsely assuming that the answer is indeed correct, that means that the meaning of life, the universe and everything would be 42.
フィールドスタッフ：菅原氏
ロッド：プレジールアンサーPA99ディスタンスクラッカー
ライン：UNITIKA ショアゲームPE１.2
リーダー：UNITIKAシルバースレッド ショックリーダー30lb
リール：Daiwa セルテート 3000
ルアー：タックルハウスTKLM120
ターゲット：ヒラスズキ
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immagine protetta da copyright © Mairo Cinquetti.
Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
アングラー：菅原恵子氏
ロッド：プレジールアンサーPA99
リール：セルテート3000
ライン：UNITIKA Shore Game PE1.2号
リーダー：UNITIKA Shock Leader 30lb
ルアー：タックルハウスTKLM120
ターゲット：ヒラスズキ
A protester answers questions from the media as maids and rights activists protest over allegations of an Indonesian maid being abused in Hong Kong on January 16, 2014. The alleged maltreatment of Erwiana Sulistyaningsih by her employer over the course of eight months renewed concerns over abuse of foreign domestic helpers in the southern Chinese city. AFP PHOTO / Philippe Lopez
Governor Sarah Palin takes questions from reporters aboard the campaign plane in 2008.
MUST CREDIT: Shealah Craighead/SarahPAC
Not sure what this critter is but I spotted him/her on the patio table so got off a few shots with my macro lens before he/she cluttered off
How many years must a mountain exist?
Before it is washed to the sea?
How many years can some people exist
Before they're allowed to be free?
How many times can a man turn his head?
and pretend that he just doesn't see?
The answer, my friend, is blowing in the wind
The answer is blowing in the wind.
And i can smell it with my golden nose!!!!
ODOT Portland Metro Region Manager Jason Tell answers questions from reporters during a tour of the site of a major rockfall on Interstate 84 west of Hood River. (2/14/2014)
Major Christian Papineau of the Directorate Military Training and Cooperation answers questions from Captain Iryna Zinchuk and Major Anton Myronovych of the Ukrainian Contingent Public Affairs team in front of the Multinational Battalion Headquarters, Lublin Garrison, Poland during Exercise MAPLE ARCH 2014, on Tuesday September 16th, 2014.
Photo by MCpl Martin Long, St-Jean Garrison Imaging section.
SJ2014-0208-149
Le major Christian Papineau de la Direction – Instruction et coopération militaires répond aux questions du capitaine Iryna Zinchuk et du major Anton Myronovych de l’équipe des Affaires publiques du contingent ukrainien du Quartier général du Bataillon multinational, à la Garnison Lublin, en Pologne durant l’exercice MAPLE ARCH 2014, le mardi 16 septembre 2014.
Photo : Cplc Martin Long, Section d’imagerie de la Garnison St-Jean.
SJ2014-0208-149
＜TACKLE＞
ROD: PLAISIR ANSWER PA-B80 SOPMOD / zenaq
REEL: SALTIGA BJ 200SHL / daiwa
LINE: Avani CastingPE SMP#5号 / VARIVAS
SHOCK LEADER: VEP Shock leader50lb / VARIVAS LINKING PARTS: Cross Lock SNAP70lb / YARIE
LURE: SUPER STRETCH 1-/Mann‘s Bait Company
HOOK: 7554#2/ VMC
Washington DC, U Street, Saturday Evening September 6, 2014. A diverse group of around 200 social justice activists affiliated with The Answer Coalition, American Muslim Alliance, National Black United Front, Party For Socialism And Liberation and other groups gathered at the African American Civil War Memorial for a short March To U St. For Mike Brown to the intersection of 14th and U St. This historic crossroads was occupied by the demonstrators for around five minutes. The march then proceeded west on U St. until an intense thunderstorm scattered most of the participants. The gentleman on the left made a better choice than this photographer; he anticipated the possible weather variables and prepared accordingly.My wife asked me if we should pack umbrellas and I decided (unwisely...) that it was not justified by a 40% chance of rain.
It was this soapstone carved Elephant, with a little Elephant inside.
Oh, ref the clue, memory, well they never forget.