PURPOSE. To characterize the trabeculated connective tissue microarchitecture of the lamina cribrosa (LC) in terms of total connective tissue volume (CTV), connective tissue volume fraction (CTVF), predominant beam orientation, and material anisotropy in monkeys with early experimental glaucoma (EG). METHODS. The optic nerve heads from three monkeys with unilateral EG and four bilaterally normal monkeys were three dimensionally reconstructed from tissues perfusion fixed at an intraocular pressure of 10 mm Hg. A three-dimensional segmentation algorithm was used to extract a binary, voxel-based representation of the porous LC connective tissue microstructure that was regionalized into 45 subvolumes, and the following quantities were calculated: total CTV within the LC, mean and regional CTVF, regional predominant beam orientation, and mean and regional material anisotropy. RESULTS. Regional variation within the laminar microstructure was considerable within the normal eyes of all monkeys. The laminar connective tissue was generally most dense in the central and superior regions for the paired normal eyes, and laminar beams were radially oriented at the periphery for all eyes considered. CTV increased substantially in EG eyes compared with contralateral normal eyes (82%, 44%, 45% increases; P < 0.05), but average CTVF changed little (-7%, 1%, and -2% in the EG eyes). There were more laminar beams through the thickness of the LC in the EG eyes than in the normal controls (46%, 18%, 17% increases). CONCLUSIONS. The substantial increase in laminar CTV with little change in CTVF suggests that significant alterations in connective and nonconnective tissue components in the laminar region occur in the early stages of glaucomatous damage. Copyright © Association for Research in Vision and Ophthalmology.


After the releasing of the Voice Xtreme V90 now Voice comes with something big, the first Octa-Core Turbo processor Smartphone equipped with great features Voice Xtreme X5. The Voice Xtreme X5 is equipped with all the great powerful stuff that everyone wants, 2Gb ram, 5 MP Front facing camera, 13 MP rear Camera and many other great stuff. If we talk about the local Smartphones in Pakistan market Voice Xtreme X5 is now the king in terms of specifications. The Voice Xtreme X5 is now available in the market with a price tag of 39,000 PKR. The hardware seems your best friend if you are on budget and want a true beast.
In terms of hardware specification the Voice Xtreme X5 is equipped with an 1.7 GHz Octa-Core Turbo Processor blazing fast processor, good enough to run anything you throw at it, also good for multitasking, Pair with a 2Gb Ram. The phone looks really good in term of specification of running all the demanding applications and Games. The 5.0 Inches FULL HD IPS Crystal Screen is ideal of gaming and reading magazines and four great videos watching experience.
Additionally the 16Gb storage and SD Card support upto 32Gb is also in the list of Pros. If we talk about other features of this Smartphone it is equipped with Dual-Sim the most demanding facilities, 3G, Edge, Wife, GPs Support, Bluetooth V4.0, . The battery is seemed little low of 2000mAh, and stand up time will be up-to 400 hours. The battery seems little low if we see the specification of this phone.


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Social Media, Technology
October 13, 2017, 9:11 PM February 23, 2021 1844
A number of Twitter users are joining in a 24 hour boycott of the platform today, organized around the hashtag #WomenBoycottTwitter, to draw attention to online harassment on social media, including how women's voices are silenced by bullying and abuse.
The boycott follows the temporary suspension of actress Rose McGowan's Twitter account earlier this week after she had been tweeting about sexual violence against women, and specifically about the allegations coming out against Hollywood producer Harvey Weinstein.
Twitter yesterday claimed McGowan's suspension was the result of her disclosing a phone number in one of her tweets.
However critics have pointed out that Twitter appears to apply its own policies selectively — including its policy of not disclosing information pertaining to individual accounts.
And many Twitter users continue to criticize the company for repeatedly failing to ban abusive users and for allowing its platform to be used to carry out targeted harassment.
The 24 hour boycott was apparently spontaneously organized by a San Francisco based software engineer called Kelly Ellis, after McGowan's account was suspended.
It's not clear how many Twitter users are joining in the boycott today. It's not only women getting involved, though; some men have also said they are boycotting Twitter for 24 hours in solidarity with the cause.
Although some women have specified they are not joining in because they prefer not to self-silence — saying they believe it's important to make women's voices heard by continuing to speak out.
Some women of color have also said they are not joining in — apparently to protest how certain feminist issues (affecting white woman) can demand support from all women, whereas other feminist issues (affecting women of color) are more likely to get overlooked.
There's another hashtag for this protest: #WocAffirmation.
Asked for comment about the boycott, a Twitter spokesperson pointed to the thread from the @TwitterSafety account yesterday, where the company set out its explanation for suspending McGowan's account.
The spokesperson also reiterated a portion of the statement from that thread, saying: "Twitter is proud to empower and support the voices on our platform, especially those that speak truth to power. We stand with the brave women and men who use Twitter to share their stories, and will work hard every day to improve our processes to protect those voices."
It's certainly true that Twitter's platform is used to amplify feminist voices — such as via the @EverydaySexism project's account which regularly retweets women's stories of sexism and harassment.
Equally, the company continues to provide a platform to misogynists, racists, neo-nazis and white supremacists — thereby enabling the spread and amplification of hate speech. (Whereas in Germany it does offer a nazi filter to comply with local hate speech laws. So the company is choosing to allow nazis to tweet elsewhere on account of prioritizing 'free speech' — to the detriment of individuals and groups who are singled out for hate speech.)
The company's most recent transparency report suggests abusive behavior on its platform is the biggest political concern relating to Twitter — with the vast majority (98 per cent) of complaints it receives from governments pertaining to "abusive behavior".
The report reveals Twitter received nearly 16,500 reports from government officials over this type of content between January and June this year.
It was not previously breaking out government reports into different categories so it's not possible to compare how this has evolved over recent years — but it's certainly one to watch going forward.
Twitter does not disclose how many reports of abusive behavior it receives from all its users.
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There's something special about food that comes off a truck, and some of the best food trucks around will be found in one place all summer in Asbury Park!
Located on the north end of the boardwalk at 7th Ave., it's an awesome place to stop for a bite to eat before/during/after a day on the sand.
This year's lineup of trucks offers something for everyone.
Starting Friday, May 19th, you'll find Playa Bowls, Johnny's Pork Roll Truck, Green Wagon Market, Freezy Freeze, and Sand Box all serving up delicious eats.
The trucks are set to open daily at 10 a.m. Last season, the trucks were open until 9 p.m. each day.
It's one of the only food truck courts in the area, so don't miss it!


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ART, INNOVATION, STYLE {WISE}, TELEVISION, Video, Vintage
A "Trip To Bountiful" or "The Night Roger Sterling Would Take Acid With Angela's Mom From 'My So-Called Life'"
Talk about "Far Away Places", one of the latest episodes of AMC's premier show "Mad Men" actually featured two of the show's main characters hanging out with Angela's Mom from "My So-Called Life" and embarking on an LSD vacation (to help the marriage, of course)!
We've seen them drink, dope, and dose before on the show, always bringing the true moods of the times has become paramount to the show . The year is 1966, and while many of us would associate acid trips and LSD with Woodstock and the hippie movement, the development of Lysergic Acid Diethylamide and the exploration of its properties were anything but psychedelic at this point.
LSD, or Lysergic Acid Diethylamide, was first synthesized in 1938 by Dr. Albert Hoffman in Switzerland. It wouldn't be until five years later, Hoffman would unwittingly take the drug himself experiencing the first-ever "trip" . . . EVER!!!
Bicycling home, Hoffman would recall breaking down and believing he had been poisoned by the LSD – also, that his neighbor was in fact a witch! So you can imagine his distress…
The CIA would infamously use LSD as a form of mind control in a series of experiments involved in the controversial Project MKULTRA. This covert project was uncovered by a reporter in 1977 using the Freedom of Information Act (FOIA) unveiling that covert units performed series of tests on American and Canadian citizens throughout the 1950s into the 1970s (maybe beyond…spooky, right?!) that included administering LSD for series of days (up to three months) and experiments in electro-shock therapy.
In fact, LSD was also being actively administered to individuals on pharmaceutical levels throughout the 1950s by various doctors around the world. The treatment of many clinical problems such as addiction, anxiety, depression, and a plethera of other psychological "disorders" were being treated with the on set side effects of the drug – the "trip".
Once administered by a physician, whom himself has taken trips himself up to 40 times (for safety), an individual was let alone to their own vices, often times experiencing life altering epiphanies and self discoveries along the way.
Cary Grant was one such individual who swore by the miracle drug. This wasn't something kept hidden from the public as many celebrities do presently with various addictions, but was part of a scheduled exercise between himself as a patient of psychiatry. Problems aren't problems like they are for a man like Cary Grant who praised the techniques and results used to achieve such epic self realization.
As Grant explained in 1959 of the New York Herald Tribune:
"I have been born again. I have just been through a psychiatric experience that has completely changed me … I had to face things about myself, which I never admitted, which I didn't know were there. Now I know that I hurt every woman I loved. I was an utter fake, a self-opinionated boor, a know-all who knew very little. Once you realize that you have all things inside you, love and hate alike, and you learn to accept them, then you can use your love to exhaust your hate … You can relax … Then you can do more than you ever dreamed you could do … That moment when your conscious meets your subconscious is a helluva wrench. You feel the whole top of your head lifting off."
It would seem Grant had little aversion at all to talking about it, and quickly appearing in interviews and stories for The London Daily Mirror, The LA Times, and other national publications including a hilarious bit in Ladies Home Journal and Good Housekeeping headlining "How LSD Changed Cary Grant's Private Life" to America's housewives and bolting LSD and psychological transformation into public consciousness.
Grant wouldn't be the only movie star to take the "trip"- other famous "patients" included James Coburn, Clare Booth Luce, Charles Brackett, and even the million dollar mermaid herself- Esther Williams who said that:
"This LSD trip … explained so much about my life's script … [It was] such a breakthrough for me.""
Bet you never would have thought!
Hundreds of books were also written about the subject- all in hopes that LSD had the key. The magic cure to the impossible! The answer to all the meaning of one's life necessary. Unfortunately, no sooner did the trend for LSD therapy catch on as it was quickly halted by the outlawing of LSD October 6, 1966 after nearly 40,000 patients treated by the psychedelic and literally thousands of scientific studies on the now illicit substance.
Good thing Roger and Jane caught on seemingly months before it's demise from clinical and psychiatric care. Though still illegal, there are handfuls of individuals who would argue for LSD and its benefits. After all, every man must at some point come face to face with himself, and if life is a journey, having the ability to harness in on elements of your being is powerful. So if LSD can truly facilitate an out of body experience, and the journeyman is of sound mind, no doubt the results could be fantastic.
Recently Dyan Cannon has described her life with Cary Grant, and his obsession with LSD. Her account also includes many eyebrow-raising details of the matinee idol, we otherwise would never have guessed.Just as we always say at The Eye of Faith- "Everything is not always as it seems", and so is the case with the seemingly cavalier Grant.
Not surprisingly, the doctors prescribing their methods to Cary Grant were eventually apprehended for their own misuse of the psychedelic drug they had been prescribing. However, this did not stop the fascination with the psyche, and the undeniable portal LSD was giving people into their mind.
It's powerful stuff potent enough to make someone legitimately go crazy. But, you gotta love how Roger handles his experience. You could almost imagine Roger having a Cary Grant penis rocket ship blast-offing from Earth kind of trip, but the Sterling actually pulls it off from beginning to end, and seems genuinely refreshed from his voyage of discovery.
John Slattery adds great panache and humor to the role, as he always does, and as surprising as it seems, is one of the most probable characters to be put in this situation. Poor Jane, always misunderstood and painfully misguided, if only LSD was really the answer to everything. At least they give her a great sense of style.
Totally feeling the Cleopatra inspiration on Jane's hair, a very popular movie that was released in 1963, but received a shit load of publicity and press due to Liz's mood swings and passionate affair with co-star Richard Burton. There probably wasn't a shred of paper that didn't have a story on the now infamous production. Good to see it rubbing off, as it seems most things in magazines do- LSD included.
And if you haven't seen the episode yet, you got to! Definitely award-worthy on all accounts! Just what everyone loves from the talented team at "Mad Men". AMC has the clip of Roger and Jane taking acid, so click here if you dare.
Really had a lot of fun writing about this one! Never thought the day would come I could watch Roger Sterling take acid with Angela's mom. I'd say, things are pretty sweet!
Would love to hear your take! It's really cool how context shapes perception. The kid definitely seems happy, so what's the deal?!
Would you take LSD with Angela Chase's mom? Was Cary Grant totally off his rocker? What do you think? Let us know!
{[THE EYE]}
196660samcAngela ChaseARTbathingBEAUTYBess ArmstrongBlogcary grantcleopatraCooldoctorsDr. ChandlerdrugsDyan CanonepiphanyEpisode 6esther williamsfar away placesfun factsGlamourgoddessHistoryHollywoodinterestingjane sterlingjohn slatteryknowledgeLifelife alteringLifestyleLSDLysergic Acidmad menmagazinesmarketingMy So Called LifepillspropogandapsychedelicpsychiatrypsychologyRebelrecapRoger Sterlingseason 5StrangeStyleswimTELEVISIONtestsThe Eye of FaithTripVideosVintageWeirdWhat Would Roger Sterling Do?
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4 thoughts on "A "Trip To Bountiful" or "The Night Roger Sterling Would Take Acid With Angela's Mom From 'My So-Called Life'""
Amazing capture of the era in stories. Life was eye-opening in those days for sure. And took you to dimensions you cannot imagine. Had to have positive music around, with positive people.
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Who do you call when you are knee deep in personal and/or professional crisis? My recommendation would be for you to reach out and connect with this week's brilliant guest, Vivian Gaspar – two time award winner for her 2 Syndicated TV Shows (with millions of viewers) Stop My Crisis with Vivian Gaspar and Beyond My Crisis with Ron & Vivian! Author, Keynote Speaker, Entrepreneur, Executive Producer and Host – this woman does it all! A NOT to be missed show guest on #LivingFearlessly with Lisa McDonald via C-Suite Radio / C-Suite Network! Vivian Gaspar is an author, keynote speaker, entrepreneur, and most notably the Executive Producer and Host of 2 TV shows, Stop My Crisis with Vivian Gaspar and Beyond My Crisis with Ron & Vivian. Ms. Gaspar is dedicated to helping her clients and the general public survive critical financial and other possible difficulties which anyone can face and achieve success through both her television shows, which collectively can be seen by over 26 million viewers, as well as her 3 books. Ms. Gaspar's passion is to share her deep knowledge of navigating crises through not only her 2 television shows but also through frequent network television and radio appearances in which she speaks on a variety of topics, from navigating the foreclosure process to identity theft. Her soon to be released book, "82 Job For You – Create a Job NOT a Big Business" is part of her latest effort to empower people with a vast array of specific ideas on jobs to create if someone finds it too challenging to obtain employment or needs additional income. Ms. Gaspar's previously released book series, "Stop My Crisis – Facing Life's Challenges Head On" and "Stop My Crisis – Be The 1 in 5", offers readers the diverse information which they need to handle life's inevitable challenges or move past their current crisis into prosperity and successfully follow their dreams.


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Tag Archives: Ira Louvin
Classic Album Review: Hank Locklin – 'The Country Hall Of Fame'
2 Comments Posted by Paul W. Dennis on June 11, 2018
Released in 1966 by RCA Records (my copy is a German pressing on RCA/Telefunken), Hank's tribute takes a different approach from Wanda Jackson's album from two years earlier, being centered around the 1967 hit single "The Country Hall of Fame".
Largely forgotten today, Hank had a substantial career as a songwriter, performer, and occasional hitmaker, although he never was headquartered in Nashville, so he didn't get as much promotional push from his label, and he never really maintained his own band. He was a huge favorite in England and Ireland making many trips there.
His biggest copyright as a songwriter, "Send Me The Pillow That You Dream On", was a top five county hit for Hank in 1957 (it had been a regional hit for him in the late 1940s on another label ) and earned him a boatload of money by being frequently covered by other artists such as Dean Martin and Johnny Tillotson both had top five easy listening/top twenty pop hits with the song. Tillotson's recording also became a top ten or top twenty pop hit in a number of European countries.
As a singer, Locklin was a wobbly Irish tenor whose voice wasn't a perfect match for every song, but when the right song reached him, he could deliver some really big hits. "Let Me Be The One" spent three weeks at #1 in 1953, and "Please Help Me I'm Falling" spent fourteen weeks at #1 in 1960. Hank had ten top ten hits through spring 1962, but after that Arnold, even the top twenty became nearly impossible for him, until the title song to this album.
When the earlier Wanda Jackson album was released the Country Music Hall of Fame was comprised of the following performers: Hank Williams, Jimmie Rodgers, Roy Acuff, Tex Ritter and Ernest Tubb. By the time Hank's album arrived there had been multiple inductions (in 1966 and 1967), but of the eight new inductees, four were non-performers. The newly inducted performers were "Uncle" Dave Macon, Jim Reeves, Eddy Arnold and Red Foley.
In selecting songs for this album, Hank and his producers Chet Atkins and Felton Jarvis selected songs by persons either in the Country Hall of Fame or assumed to be inducted in the upcoming years.
The album opens up with "High Noon", a hit for Frankie Laine, but forever associated with Tex Ritter, who sang the song in the famous movie starring Gary Cooper. Hank's voice is pitched much higher than that of Ritter, but the song, taken at a slightly faster tempo than Ritter's version, works. The song has a straightforward country backing with a vocal chorus.
Do not forsake me oh my darling on this our wedding day
Do not forsake me oh my darling, wait wait along
I do not know what fate awaits me, I only know I must be brave
And I must face the man who hates me
Or lie a coward, a craven coward
Or lie a coward in my grave
Next up is "Four Walls", a million seller for the then-recently departed Jim Reeves in 1957.
Track three is the title song, Hank's last Billboard top thirty country hit, reaching #8. In concept, the song, written by Karl Davis is somewhat similar to an Eddie Dean composition, "I Dreamed of Hillbilly Heaven", which Tex Ritter took to #5 in 1961, although "Hillbilly Heaven" is a dream sequence song about a mythical place, whereas Karl Davis was inspired by his visit to the actual Country Hall of Fame museum. This song features a full string arrangement by Bill Walker. Although the only song on this album to feature the full string arrangement, such arrangements would become increasingly common in the next few years:
I was roaming round in Nashville in the state of Tennessee
For I love that country music, it's as soulful as can be
I have gathered there the records for I cherished every name
So I found myself a standing in the Country Hall of Fame
My heart beat somewhat faster as I walked in through the door
For I heard the sound of voices I had often heard before
A happy kind of sadness brought a teardrop to my eye
Now I'll tell you what I saw there and I'm sure that you'll see why
Jimmie Rodgers' railroad lantern and his faithful old guitar
I could hear that old blue yodel coming from somewhere afar
Roy Acuff in bronze likeness with the great Fred Rose his friend
And I heard that Wabash Cannonball somewhere around the bend
The guitar of Eddy Arnold memories of Cattle Call
Chet Atkins will be with him when the work's all done this fall
From the autoharp of Maybelle, Wildwood Flower seems to ring
Riley Puckett and Gid Tanner how they all could pick and sing
I could hear George Hay announcin' as I stood there in the room
I could hear Tex Ritter singing his classic song High Noon
Minnie Pearl so glad to be there and Hank Snow keeps Movin' On
May the Lord bless those still living and the ones who's joined his throne
Cowboy Copas, Hankshaw Hawkins, Gentleman Jim and Patsy Cline
Rod Bradsfield, Ira Louvin, these stars will always shine
Ernest Tubb, the great Red Foley and Hank Williams bless his name
Though some are gone they'll live forever in the Country Hall of Fame
"I'll Hold You In My Heart (Until I Can Hold You In My Arms)" was a massive hit for Arnold, spending 21 weeks at #1 in 1947/1948. Hank acquits himself well on this song as he does on the next track, Ernest Tubb's 1941 hit "Walking The Floor Over You".
Side One closes out with Hank's cover of the "Lovesick Blues", written by Tin Pan Alley songsmiths Cliff Friend and Irving Mills back in 1922. Emmet Miller (1928) and Rex Griffin (1939) recorded the song, but Hank Williams had the biggest hit with the song in 1949. Countless others, including Patsy Cline, have recorded the song. To really do the song justice, a singer needs to be a good yodeler, and here Locklin yodels the chorus with ease.
Side Two opens up with a mid-tempo take on Roy Acuff's "Night Train To Memphis" with a modern arrangement (no dobro, banjo or fiddles), but with a bit of the old tent revival show feeling to it.
This is followed by "Sign Sealed and Delivered", a hit for Lloyd "Cowboy" Copas in 1948). I think the assumption was that Copas would be elected to the Country Hall of Fame eventually, although that has yet to happen. Of the three stars who died in the 1963 plane crash (Copas, Patsy Cline, Hawkshaw Hawkins) Copas was the most famous at the time of his death.
"No One Will Ever Know" was written by Fred Rose, inducted as an executive and songwriter. The biggest hit on the song was by Gene Watson, #11 RW in 1980, although many others have recorded the song, including Hank Williams and Jimmie Dickens. Hank Locklin takes the song at a slow tempo with guitar and piano dominating the arrangement. The vocal choruses are present but not misused. It is a great song and I don't know why no one has ever had a monster hit with the song
No one will ever know my heart is breaking
Although a million teardrops start to flow
I'll cry myself to sleep and wake up smiling
I'll miss you but no one will ever know
I'll tell them we grew tired of each other
And realized our dreams could never be
I'll even make believe I never loved you
Then no one will ever know the truth but me
The Jimmie Rodgers classic brag "Blue Yodel #1 a/k/a 'T' for Texas" gives Hank a chance to again show off his skill as a yodeler. On this album, Hank one uses the "blue yodel" technique but he was quite capable of doing the "rolling" (or Swiss) technique such as used by Elton Britt, Kenny Roberts and Margo Smith
The album closes with the classic Louvin Brothers hit "When I Stop Dreaming" which finds Locklin at the top of his vocal range, and a nice cover of the Red Foley gospel favorite "Peace In The Valley".
As was customary for albums of this vintage no musician credits are given, although PragueFrank's website suggests that the following were present :
Pete Wade, Wayne Moss, Jerry Reed Hubbard and Ray Edenton – guitars
Roy M. "Junior" Huskey, Jr. – bass / Jerry Kerrigan – drums
Hargus "Pig" Robbins and Floyd Cramer – piano / The Jordanaires – background vocals
I know that Hank Locklin's voice is not to everyone's taste but I think most listeners would enjoy this album because of the variety and quality of the songs. Interestingly enough, there is no overlap in songs between this album and Wanda Jackson's earlier tribute album. I would give this album a B+
Album Reviews, Country Heritage, Retro Reviews	Bill Walker, Chet Atkins, Cliff Friend, Cowboy Copas, Dean Martin, Eddie Dean, Eddy Arnold, Emmet Miller, Ernest Tubb, Felton Jarvis, Floyd Cramer, Frankie Laine, Fred Rose, Gary Cooper, George Hay, Gid Tanner, Hank Locklin, Hank Williams, Hankshaw Hawkins, Hargus "Pig" Robbins, Ira Louvin, Irving Mills, Jerry Kerrigan, Jerry Reed Hubbard, Jim Reeves, Jimmie Dickens, Jimmie Rodgers, Johnny Tillotson, Karl Davis, Maybelle Carter, Minnie Pearl, Patsy Cline, Pete Wade, Ray Edenton, Red Foley, Rex Griffin, Riley Puckett, Rod Bradsfield, Roy Acuff, Roy Huskey Jr, Tex Ritter, The Jordanaires, The Louvin Brothers, Uncle Dave Macon, Wanda Jackson, Wayne Moss
Album Review: Shelby Lynne and Allison Moorer – 'Not Dark Yet'
1 Comment Posted by Jonathan Pappalardo on August 17, 2017
In the summer of 2016, under the direction of Richard Thompson's son Teddy, Shelby Lynne and Allison Moorer entered a studio in Los Angeles and made good on a promise to one day record a collaborative album. The result, Not Dark Yet, is a ten-track collection of eccentric covers and one original tune.
The songs span genres, from classic country to rock and even grunge. The album, though, has a unifying sound, with Thompson using flourishes of piano and guitar to bring the tracks together. These aren't by-the-numbers faithful interpretations, but rather the sisters' take on these songs.
They open Not Dark Yet with "My List," solely penned by Brandon Flowers and featured on The Killers second album Sam's Town in 2006. Their version begins sparse, led by Moorer's naked vulnerability, before unexpectedly kicking into gear halfway.
The title track was written and released by Bob Dylan in 1998, from Time Out Of Mind. Moorer is a revelation once again, with the perfect smoky alto to convey the despair lying at the center of Dylan's lyric.
As one might expect, the album explores the feelings surrounding the horrific death of the sisters' mother, at the hands of their father, who then turned the gun on himself. They were teenagers at the time, a period in one's life where you arguably need your parents the most. They acknowledge their heartbreak with a trifecta of songs, culminating with the album's sole original tune, which they composed themselves.
They begin with Nick Cave's "Into My Arms," the lead single from his 1997 album The Boatman's Call. The song, which proves the benefit of turning to rock for expert lyricism, is about a man's devotion to his woman and the push to bring them together. Lynne and Moorer continue with Kurt Cobain's "Lithium," from Nirvana's 1992 masterpiece Nevermind. The dark ballad, which they make approachable, details the story of a man turning to God amidst thoughts of suicide.
The most personal, "Is It Too Much" was started by Lynne and finished by Moorer. The track details the bond they share as sisters, knowing each other's pain, and wondering – is it too much to carry in your heart? It's also one of the album's slowest ballads, heavy on bass. I'm not typically drawn to these types of songs but they manage to bring it alive.
The remaining five tracks have ties to country music and thus fall more within my expertise. "Every Time You Leave" was written by Charlie and Ira Louvin and released in 1963. The backstory is a tragic one – Ira wrote this for his wife, saying that although they would eventually get back together, their separation was inventible. The wife he was married to at the time, his third, would also shoot him five times after a violent argument. It's no wonder the pair feel a connection to the song, which they brilliantly deliver as a bass and piano-led ballad.
"I'm Looking for Blue Eyes," written and recorded by Jessi Colter, was a track from Wanted! The Outlaws in 1976. Lynne and Moorer's version is stunning, even if the pedal steel is just an accent and not a major player throughout.
Two of the album's songs first appeared in 1969. "Lungs," written by Townes Van Zandt, was featured on his eponymous album. The pair interpret the song nicely, which has a gently rolling melody. The album's most famous song, at least to country fans, is Merle Haggard's classic "Silver Wings," which first appeared on Okie From Muskogee. Their version is slightly experimental but also lovely.
The final song is arguably the most contemporary. "The Color of a Cloudy Day" was written by Jason Isbell and is a duet between him and his wife Amanda Shires. The song first appeared at the close of the British documentary The Fear of 13 and was given a proper release as part of Amazon's "Amazon Acoustics" playlist in 2016. Moorer and Lynne give the song a bit more pep, which isn't hard given the acoustic leanings of Isbell and Shires' duet.
I wasn't sure what I was expecting, but Not Dark Yet is considered one of the most anticipated roots releases of the year. It's a beautiful album, and while it won't be within everyone's wheelhouse, it's difficult not to appreciate just how brilliant Lynne and Moorer are as a pair. They are two of our finest voices and have an exceptional ear for song selection. I don't usually have trouble grading albums, but Not Dark Yet is hard record for which to assign a grade. It might not be completely my cup of tea, but I can't ignore how expertly it was crafted.
Everything Else	Allison Moorer, Amanda Shires, Bob Dylan, Brandon Flowers, Charlie Louvin, Ira Louvin, Jason Isbell, Kurt Cobain, Merle Haggard, Nice Cave, Nirvana, Richard Thompson, Shelby Lynne, Teddy Thompson, The Killers, Townes Van Zandt
Album review: Tammy Wynette – 'Til I Can Make It On My Own'
1 Comment Posted by Paul W. Dennis on November 23, 2016
Til I Can Make It On My Own was Tammy Wynette's fifteenth studio album since 1967, and represents a brief renaissance in album success, reaching #3 after her two previous albums failed to crack the top twenty of Billboard's Country Albums chart. Her next album You and Me would reach #4, making it the last Tammy Wynette album to crack the top ten.
The album opens with the title track, which would prove to be her penultimate #1 country single, co-written by Tammy with George Richey and Billy Sherrill. Tammy often indicated that this was her favorite song of the many songs she recorded. The song depicts the vulnerability that Tammy excelled in conveying.
I'll need time,
To get you off my mind.
And I may sometimes bother you;
Try to be in touch with you.
Even ask too much of you from time to time.
Now and then,
Lord you know I'll need a friend.
'Til I get used to losing you,
Let me keep on using you.
'Til I can make it on my own.
"Just In Case" is a slow ballad given the full country cocktail treatment. The song makes a nice album track but had no potential as a single. The song is about a breakup in which the protagonist offers herself as a fallback position:
It's over I know you're going away
If you can't stay I don't want you to
I won't miss you, no I don't care where you go
But let me know just in case I do
I'm glad you've got a friend here in town
And I hope he'll be good to you
Don't you worry
Now I won't worry about you
Just in case I do
It's good you're gonna be happy
You're right it's the right thing to do
And you couldn't really be happy
If you thought I still care for you.
Charley Pride had a #1 single on "She's Just An Old Love Turned Memory" in early 1977. The song was written by John Schweers, a songwriter who provided several hits to Charley. Originally cut by Nick Nixon, Tammy heard Nixon's track and covered it. Reportedly she was considering releasing the song as a single. Her version is good, but it seems to work better from the male perspective.
I phoned him today, an accidental mistake
And his name slipped out to some friend
Forgotten old feelin's brand new today'
'Cause I'm right back where I've always been
He's just an old love turned memory
And now I seldom see him around
But he still turns my world upside down
"The World's Most Broken Heart" is another slow ballad, again given the full country cocktail treatment. The first verse reminds one of the opening to "The Grand Tour" (a George Jones hit) but the song isn't nearly as well crafted or interesting.
Step right this way, here's our main attraction
Direct your eyes to the centre of the room
She walks, she talks, she cries real tears,
Now the show's about to start
Now presenting, the world's most broken heart
See her cry when she remembers that her love's gone bad
Watch her body ache as she recalls all the sleepless nights she's had
She's the greatest wonder of the world's and her soul's been torn apart
"If I Could Only Win Your Love" is next up. The song is a Louvin Brothers classic written by Ira and Charlie Louvin. Emmylou Harris took the song to #4 in 1975 for her first top forty chart hit. I don't believe that the Louvin Brothers ever issued the song as a single, but their recording remains the definitive version. Their version originally appeared on their 1958 album Country Love Ballads. Tammy's version is very good although the lead electric and steel guitar arrangements seem more honky-tonk than I'm accustomed to hearing for this particular song.
If I could only win your love
I'd make the most of everything
I'd proudly wear your wedding ring
My heart would never stray one dream away
I'd give my all to make it live
You'll never know how much I give
Next up is "The Heart", another slow ballad. It is a nice song, but at this point the album is getting overrun with slow ballads.
"You Can Be Replaced" doesn't vary the tempo or the generally downbeat feel of the album, being another breakup song. The narrator says the departing boyfriend can be replaced but not in the manner you'd think:
Somebody new is loving you
And your gonna go with her I know
But there'll be no tears running down my face
Go on with her you can be replaced
Take back your ring and everything
Let's both forget we even met
There is no love time can't erase
The minute you're go, you can be replaced
You can be replaced by lonely days
By sleepless nights and all the rest
I'll miss you so but none the less
You can be replaced by loneliness
"Love Is Something Good For Everybody" starts out as a slow ballad but after the introduction, it picks up the tempo to mid-tempo. It's not a classic song, but represents a welcome relief from an album full of rather sad songs.
Not to worry, the next track takes the listener back to the depths of despair with another breakup song with another slow song, given the full Sherrill treatment on "Where Some Good Love Has Been":
There's your ring, my ring on the table
Now they won't ever hurt our hands again
Cause when the lights go out tonight, we won't be together
So let's take a good look where some good love has been
Your love and my love is almost over
And it won't be long till memories begin
Only in our minds we'll find the times we found each other
The original vinyl version of the album closes with "Easy Come Easy Go", a rather bland ballad that sounds like something the Carpenters might have recorded.
Love just walked on down the road
I guess it had to be
Wish he wouldn't walk so slow
Too much time to see
All that love leaving me
It's easy come and easy go
That's all he knows
So much sunshine in his smile
For a while he made my love the song
Lord he'd sing to me
Oh, he'd cling to me
And I loved him so
Easy come and easy go
Many listeners consider this to be one of Tammy's best albums, but I disagree, since the album is basically comprised on a string of slow sad ballads with little relief. I think that if Wynette and Sherrill had interspersed another one or two up-tempo songs (not necessarily happy songs) I would like the album much more. The songs are mostly good and the performances good to very good but the album adds up to less than the sum of its parts.
Album Reviews, Retro Reviews, Spotlight Artist	Billy Sherrill, Charley Pride, Charlie Louvin, Emmylou Harris, George Jones, George Richey, Ira Louvin, John Schweers, Louvin Brothers, Nick Nixon, Tammy Wynette, The Carpenters
Album Review – The Byrds – 'Sweetheart of the Rodeo'
Leave a comment Posted by Jonathan Pappalardo on April 3, 2014
For more background on Sweetheart of The Rodeo, including insights into the recording sessions, click here.
Just as Chris Hillman was enrolling at UCLA, he got a call from his old manager Jim Dickson to join a new band as their Bass Guitar player. The Byrds as they came to be known consisted of Roger McGuinn, David Crosby, Gene Clark, Michael Clarke, and Hillman. He'd never picked up a bass guitar before, but his bluegrass background led him to quickly master it while developing his own style with the instrument.
Although he remained quiet on the bands first two releases, he quickly rose to the forefront, and he blossomed as a singer and vocalist after Clark left the band. By 1968, the band was down to just Hillman and McGuinn after Crosby bid his farewell. To replace him they hired Gram Parsons, who along with Hillman changed the sound of the band to reflect a country rock style, which was unheard of in the music industry at the time. This revolution was captured on The Byrds' Sweetheart of The Rodeo, which was released on August 30, 1968.
The album found Hillman playing a supporting role yet again, as Parsons and McGuinn shared the brunt of the vocal duties. Parsons, who was little known at the time, was brought to the forefront of mainstream rock because of this album.
Sweetheart of the Rodeo was originally supposed to be a reflection of American popular music incorporating elements of Jazz and R&B but Parsons steered the project into a pure country album instead. This move was highly controversial, as Nashville had little interest in embracing a band they thought of as longhaired hippies attempting to sabotage country music. In the mists of all the hoopla, Parsons left the band, and wasn't even a member when the August release date came around.
A cover of Bob Dylan's "You Ain't Going Nowhere" was released in April as the project's lead single. The band heard the tune on a collection of Dylan's Woodstock demos and thought it appropriate for them to cover. The mid-tempo ballad features an assist from Lloyd Green on Pedal Steel and came more than three years before Dylan would commercially release the track himself. It peaked at #74 on the Billboard Hot 100 Chart.
Hillman and McGuinn arranged the second and finale single "I Am A Pilgrim," which failed to chart. The folk song is a bit more country sounding than the Dylan cover thanks to McGuinn's banjo and some lovely fiddle playing by John Hartford.
Even more famous than the two singles is Parsons' "Hickory Wind," a fiddle and steel ballad he co-wrote with Bob Buchanan on a train ride from Florida to Los Angeles. The song is marred in controversy, from claims it wasn't Parsons but a blind folksinger named Sylvia Sammons who wrote it, to being the tune that got them banned from The Grand Ole Opry. As the story goes, Parsons sang it instead of their planned Merle Haggard cover of "Life In Prison" and thus ticked off the country music establishment and sent shockwaves through the audience. Nonetheless "Hickory Wind" is an excellent song that still endures today.
Parsons also wrote "One Hundred Years from Now," a tune in which McGuinn and Hillman shared lead vocals and Green once again contributed pedal steel. It's another excellent song and I love the production on it, too, thanks in a large part to Green's beautiful flourishes of steel.
The remainder of Sweetheart of the Rodeo consisted of cover songs. The band revived soul singer William Bell's debut single "You Don't Miss Your Water," which had only been released five years earlier. The band's version is similar to Bell's although they take out the horns in favor of steel guitar performed by JayDee Maness.
Songs by The Louvin Brothers and Cindy Walker also appear. Charlie and Ira's "The Christian Life" doesn't differ much in The Byrds' hands, but they manage to turn it into a honky-tonk stunner (with a wonderful lead vocal by McGuinn) and one of the album's more twang-centric songs. Walker's "Blue Canadian Rockies" is in similar vain and one of my favorite of this albums' numbers thanks to the twangy guitar and Hillman's wonderful lead vocal.
The aforementioned Haggard (and Jelly Sanders) song "Life In Prison" appears here, too. It's stunning through and through from Manass' steel guitar to Parsons' lead vocal. He finds a way to channel Haggard while still making the song his own.
I also adore their version of Woody Guthrie's "Pretty Boy Floyd," a folk song about the titular bank robber. The band dresses it up with Hartford's otherwordly banjo riffs and Hillman's gorgeous mandolin picking. McGuinn also has a natural knack for storytelling that serves him well as he shoulders the lead vocal duties.
Luke Daniels' "You're Still On My Mind" is another Parsons fronted number featuring Maness on steel guitar. The results are glorious as the sunny steel is ear candy for the listener. The album closes with a final Dylan cover, "Nothing Was Delivered." McGuinn takes the lead and with Green on pedal steel, the results are wonderful.
Full disclosure – before writing this review I'd never listened to an album by The Byrds, Chris Hillman, or Gram Parsons (although I do own Grievous Angel on vinyl). And as a formal introduction it doesn't get much better than Sweetheart of the Rodeo. The album is a classic in every sense of the word and a pure delight to listen to forty-six years later. I had an idea what to expect when I went in to listen, but I had no idea what a fabulous steel guitar record this would turn out to be. Lloyd Green and JayDee Maness are masters of their craft and just a pure joy to listen to. If you don't own your own copy of this album I suggest you run out and buy one as Sweetheart of The Rodeo is a must own for any fan of country or roots music.
Album Reviews, Retro Reviews, Spotlight Artist	Bob Dylan, Charlie Louvin, Chris Hillman, Cindy Walker, David Crosby, Gene Clark, Gram Parsons, Ira Louvin, JayDee Maness, John Hartford, Lloyd Green, Luke Daniels, Merle Haggard, Michael Clarke, Roger McGuinn, Sylvia Sammons, The Byrds, The Louvin Brothers, William Bell, Woody Guthrie
Country Heritage: George Hamilton IV
7 Comments Posted by Paul W. Dennis on April 23, 2013
I've been travelin' down the highways with my guitar for so long
Shakin' hands and meetin' lots of folks
Living my life my way with a handshake and a song
Caring little if I was rich or broke
Cause there's country music in my soul
People music for the young and the old
I'll keep on singing my song keep on keeping on
From "County Music In My Soul" written by Bobby Bond
Many musicians who have met Freddie Hart have commented to me that he is the one of the nicest people that they have ever encountered. I've never had the pleasure of meeting Freddie Hart, but if he is nicer person than George Hamilton IV, he must qualify for sainthood. I've met George IV on a number of occasions over the last 39 years, and a finer gentleman can't be found.
George Hamilton IV has always had country music in his soul, although his recording career, like that of a number of country stars, started off in pop. Unlike other country boys such as Conway Twitty, Johnny Cash, Narvel Felts and Billy Craddock, who started off as rockabilly stars, George's early endeavors were straightforward pop rather than rockabilly or rock and roll.
Hamilton was born on July 19, 1937 in Winston-Salem, North Carolina. He was raised on the country music loved by his grandfather, George Hamilton II, and he learned to play the guitar at the age of 12. While in high school he formed a country band, and while still a freshman at the University of North Carolina, he met John D. Loudermilk, first cousin of Ira and Charlie Louvin (formerly Loudermilk), at the time a struggling songwriter. Landing a contract with the Colonial label, Hamilton recorded "A Rose and a Baby Ruth," Loudermilk's first attempt at teen pop. The single did very well regionally during 1956 and was picked up by ABC-Paramount later that same year. Since the song hit #6 on the pop charts and sold over a million copies in the process, ABC-Paramount signed Hamilton to a regular contract. During this time he transferred to American University in Washington DC to continue his studies.
Since Hamilton was never really comfortable recording pop music, subsequent efforts failed to achieve the heights of "A Rose and a Baby Ruth," although the next four singles made the pop top 40, with "Why Don't They Understand" reaching #10 in early 1958. After an appearance on The Jimmy Dean Show 1957-58, Hamilton was given his own short-lived show by ABC-TV in 1959.
Even while signed to ABC-Paramount, Hamilton was recording country songs such as "Why I'm Walking," "Even Tho'" and at least seven songs associated with Hank Williams. His first entry on the country charts ("Before This Day Ends") rose to #4 in late 1960.
In 1961 George switched labels, moving to RCA Victor, where Chet Atkins promised that he could record as a country artist. After top ten entries in 1961 ("Three Steps to the Phone," "Millions of Miles") and 1962 ("If You Don't Know I Ain't Gonna Tell You"), Hamilton finally hit the top of the country charts in 1963 with "Abilene," a song penned by his old friend John D. Loudermilk. The single topped the country charts for four weeks in June and crossed over to #15 on the pop charts. During 1964, Hamilton charted three singles and returned to the top ten with "Fort Worth, Dallas or Houston."
Deeply influenced by the folk music artists of the "Hootenanny Era," George became a major conduit for introducing such future folk deities as Gordon Lightfoot, Ian Tyson, and Joni Mitchell to American audiences. Indeed, Hamilton probably recorded more Gordon Lightfoot songs during the mid 1960s to early 1970s than any other artist including such classics as "Steel Rail Blues" and "Early Morning Rain," both hits in 1966. George's version of "Urge for Going" (written by Joni Mitchell) hit #7 in 1967; "Break My Mind," another John D. Loudermilk song, hit #6 later in the year. During this period Hamilton recorded songs by the likes of Leonard Cohen, James Taylor, Buffy St. Marie and countless other singer-songwriters. Not ignoring his country favorites, in 1965 he recorded an album in tribute to Ernest Tubb, enjoying a hit with "Walking The Floor Over You."
George continued to record for RCA until 1974, but major chart success largely eluded him except for the #3 hit "She's a Little Bit Country" in 1970. This is not to say that he quit making great records, as some of my personal favorite Hamilton tracks such as "Ten Degrees (and Getting Colder)", "West Texas Highway" and "Country Music In My Soul" came after 1970.
While his stature as a singles star waned, George took on a greater prominence as the "International Ambassador of Country Music" thanks to his several world tours, 10 visits to Great Britain, numerous visits to Europe, and his BBC television programs (seven seasons). He became the first country artist to perform behind the Iron Curtain, and also toured Africa, Asia, New Zealand, Australia, and even the Middle East.
In recent years Hamilton has focused on gospel music, although he still plays dates in which he performs secular music. I saw George five years ago at the Florida Sunshine Opry in Eustis, Florida; he still put an an excellent show, and hung around as long as anyone wished to speak with him. Two years later I saw him at the Rolling Hills Moravian Church in Longwood, Florida where he performed an excellent show that was about 2/3 religious material – just GH4 and his guitar. Hamilton once mentioned to me that he'd like to live long enough to meet George Hamilton VII. It seems that GH1 (his great grandfather) was alive long enough for George to remember him, and son George Hege Hamilton V has a son George Hege Hamilton VI who should soon be of age to start a family.
Imagine that – getting to know seven generations of George Hege Hamiltons. I hope he makes it.
Country Heritage	Billy Craddock, Bob Dylan, Bobby Bond, Bruce Cockburn, Buffy St Marie, Charlie Louvin, Chet Atkins, Conway Twitty, Ernest Tubb, Freddie Hart, George Hamilton IV, George Hege Hamilton V, Gordon Lightfoot, Hank Snow, Hank Williams, Ian Tyson, Ira Louvin, James Taylor, John D. Loudermilk, Johnny Cash, Joni Mitchell, Leonard Cohen, Narvel Felts, Ray Griff
Ten best reissues of 2012
7 Comments Posted by Paul W. Dennis on December 31, 2012
2012 wasn't a great year for reissues, but there were ten that struck me as exceptional enough to make a ten best list. Here is a list of my favorites (note: some of the foreign CDs may carry a 2011 date but did not hit the American market until 2012). My list is a mixed bag of single volume releases, affordable multi-disc sets and two rather expensive boxed sets
Janie Fricke – The Country Side of Bluesgrass
An excellent set of Janie Fricke's 1970s and 1980s hits recast as bluegrass. This album was advertised as the follow-up to her 2004 Bluegrass Sessions album, but it is actually a reissue of that album minus the bonus DVD – same songs, same "bonus track", same musicians and producer. Only the packaging differs, so if you have the earlier CD you don't need this one. If you don't have the earlier version then you do need this one as Janie is one of the few female singers whose vocal chops have gotten better as she aged.
Sitting in the Balcony – The Songs of John D. Loudermilk
Although John D. Loudermilk wrote a large number of hit records for other performers, his hit songs ("Abilene", "Waterloo", "Talk Back Trembling Lips", "Then You Can Tell Me Goodbye" , "Lament of the Cherokee Reservation Indian", "Tobacco Road" , "A Rose And A Baby Ruth", etc) were not at all typical of the material with which he filed his albums. A first cousin of Ira & Charlie Louvin (they were actually the Loudermilk Brothers before the name change), John D. Loudermilk had a decidedly offbeat outlook on life as evidenced by the songs in this two CD set. Loudermilk didn't have a great singing voice and his offbeat songs resulted in no top twenty hits for him as a performer, but his songs are treasures.
Disc One (John D. Loudermilk: The Records) contains 32 recordings John made from 1957-1961. Disc Two (John D. Loudermilk: The Songs of John D. Loudermilk) contains 32 recordings made by other artists from 1956-1961, not necessarily big hits (although several are sprinkled in) but interesting songs by a wide array of artists, both famous and obscure (the famous names include Eddie Cochran, Johnny Cash, The Everly Brothers, Kitty Wells and Connie Francis). If you've never heard John D. Loudermilk, this is the place to start – it won't be your stopping point
Bradley Kincaid – A Man and His Guitar
Released by the British label JSP, this four CD set sells for under $30.00 and gives you 103 songs by one the individuals most responsible for preserving the musical heritage of rural America, through his song collecting and issuance of songbooks. Beyond being a preservationist, Kincaid was an excellent songwriter, singer and radio performer, as well as being Grandpa Jones' mentor. This collection covers the period 1927-1950. An essential set for anyone interested in the history of country music
Johnny Cash – The Soul of Truth: Bootleg Vol. 4
You can never have too much Johnny Cash in your collection, and this 2 CD set includes the released albums A Believer Sings the Truth and Johnny Cash – Gospel Singer, plus unreleased material and outtakes. Various members of Cash's extended family appear plus Jan Howard and Jessi Colter.
Sheb Wooley – White Lightnin' (Shake This Shack Tonight)
Sheb Wooley had several careers – movie star, television actor (Rawhide), singer and comedian. Actually Sheb had two singing careers – a 'straight' country as Sheb Wooley and a comic alter-ego, the besotted Ben Colder.
This set covers the post WW2 recordings, recorded under the name Sheb Wooley. Sheb had a considerable sense of humor even when recording under his own name and there are quite a few humorous and offbeat songs in this thirty song collection released by Bear Family. Recorded on the west coast of the USA, many of these recordings feature steel guitar wizard Speedy West and the lightning fingers of guitarist Jimmie Bryant. Sheb's biggest hit was "Purple People Eater", which is not on this CD but there are many songs to make you smile including such classics as "That's My Pa", "You're The Cat's Meow" and "Rover, Scoot Over", plus a number of boogies and a song titled "Hill Billy Mambo".
El Paso: The Marty Robbins Story (1952-1960)
Marty Robbins was the "renaissance man" of country music. He could sing anything and everything. I always suspected that if rock and roll had not come along and momentarily wiped out the pop standards/classic pop market, Marty might have been competing against Frank Sinatra, Dean Martin, Julius Larosa and Tony Bennett, rather than competing as a county artist.
Whatever the case, Robbins was a truly great singer and this two CD set from the Czech label Jasmine proves it. This sixty (60) song collections gives us pop standards, rock and roll ("Maybelline", "Long Tall Sally", "That's All Right, Mama"), 'Mr. Teardrop' ballads ("I Couldn't Keep From Crying" , "Mr. Teardrop", Teen Hits ("A White Sport Coat [And A Pink Carnation]", "The Story of My Life") , Country Standards ("Singing The Blues", and lots of the great western ballads for which he was most famous"
If you don't have any Marty Robbins this is a good place to start – sixty songs, under twenty bucks. Marty's songs have been around and available in various configurations so this isn't an essential album, merely an excellent one.
John Hartford – Aereo Plane/Morning Bugle: The Complete Warner Collection
John Hartford (December 30, 1937 – June 4, 2001) is best remembered for writing "Gentle On My Mind" but he was much more than a songwriter who happened to write a hit for Glen Campbell. Hartford was an extremely talented musician who could play any instruments, although banjo and fiddle were his main tools, a fine singer with a wry sense of humor and a scholar of the lore and history of the Mississippi River. While he sometimes is group settings, John was comfortable performing as a one-man band playing either banjo or guitar along with harmonica while clogging out the rhythm on an amplified piece of plywood while he played and sang.
Warner Brothers released these albums in 1971 and 1972, following his four-year run on RCA. Aereo-Plain has been described as hippie bluegrass, and its failure to sell well caused Warner Brothers to not bother with promoting the follow-up album Morning Bugle. Too bad as Aereo-Plain is chock full of quirky but interesting songs, with musicianship of the highest order with Norman Blake on guitar, Tut Taylor on dobro, and Vassar Clements on fiddle as part of the ensemble. I've always regard this album as the first "newgrass" album, and while others may disagree, it certainly is among the first. I don't recall any singles being released from this album but I heard "Steam Powered Aereo Plane" and "Teardown The Grand Ole Opry" on the radio a few times.
While Aereo-Plain reached the Billboard album charts at #193, the follow-up Morning Bugle didn't chart at all. Too bad as it is an imaginative album featuring Hartford with Norman Blake on guitar and mandolin, joined by legendary jazz bassist Dave Holland. The album features nine original compositions plus a couple of old folk songs. I particulary liked "Nobody Eats at Linebaugh's Anymore" and "Howard Hughes' Blues", but the entire album is excellent. Following Warner Brothers' failure to promote this album, Hartford asked to be released from his contract. He never again recorded for a major label, instead producing a series of fine albums for the likes of Flying Fish, Rounder and Small Dog A-Barkin'.
This reissue unearths eight previously unreleased tracks, making it a 'must-have' for any true John Hartford fan and a great starting point for those unfamiliar with his music.
Bobby Bare – As Is/Ain't Got Nothin' To Lose
Bobby Bare was never flashy or gimmicky in his approach to music even though he recorded many novelties from the pen of Shel Silverstein. For Bare songs had stories to tell and that's how he approached them. Whether the song was something from Shel, Tom T Hall, Billy Joe Shaver, Bob McDill or whomever, Bobby made sure that the song's story was told. While this approach didn't always get Bare the big hits, it always gained him the respect of the listener.
This reissue couples two of Bare's early 1980s Columbia releases plus a few bonus tracks. The great John Morthland in his classic book The Best of Country Music, had this to say about As Is: "… It is the ideal Bobby Bare formula really: give him a batch of good songs and turn him loose. No concepts here, nothing cutesy, just ten slices-of-life produced to perfection by Rodney Crowell".
My two favorite tracks on As Is were a pair of old warhorses, Ray Price's 1968 "Take Me As I Am (Or Let Me Go) " and the Ian Tyson classic "Summer Wages".
While I Ain't Got Nothing To Lose isn't quite as stong an album, it gives Bare's wry sense of humor several display platforms. The (almost) title track echos thoughts that many of us have felt at some point in our life (the first line is the actual song title:
If you ain't got nothin' you ain't got nothin' to lose
There ain't no pressure when you're singin' these low down blues
Smokin' that git down bummin' them red men chews
Hugh Moffat's "Praise The Lord and Send Me The Money" is a clever jab at televangelistas . I'll give you a middle verse and let you guess the rest:
I woke up late for work the next morning
I could not believe what I'd done
Wrote a hot check to Jesus for ten thousand dollars
And my bank account only held thirty-one
I consider virtually everything Bobby Bare recorded to be worthwhile so I jumped on this one the minute I knew of its existence. I already had As Is on vinyl but somehow the companion album slipped by me.
This brings us up to two rather expensive box sets that will set the purchaser back by several bills.
The obsessive German label Bear Family finally got around to releasing their second box set on Connie Smith. Just For What I Am picks up where the prior set left off and completes the RCA years. While many prefer Miss Smith's earliest recordings, I am most fond of her work from the period 1968-1972, when her material was more adventurous, especially on the album tracks. During this period Smith had shifted from Bill Anderson being her preferred songwriter to focusing on the songs of Dallas Frazier, including one full album of nothing but Dallas Frazier-penned songs. The 'Nashville Sound' blend of strings and steel never sounded as good as it did on these tracks. There is a fair amount of religious music on the set, but for the less religiously inclined there is more than enough good solid country music on the set to be worth the effort in programming your CD player to skip the religious tracks. At her peak Connie Smith was the strongest vocalist the genre has ever generated – even today at age 71, she can blow away most female vocalists. Highlights are songs such as "Where Is My Castle", "Louisiana Man", "Ribbon of Darkness", but when I listen to these discs, I just put 'em on and let 'em spin.
Up to this point, I actually own all of the albums and sets listed above. Not being made of money, I haven't purchased Sony/Legacy's massive 63 CD set The Complete Johnny Cash Columbia Album Collection, although the temptation is there. What is stopping me from making the purchase (other than my wife) is that already own 99% of what the set contains in one format or another.
What the set contains is an unbelievable array of material, it's difficult to think of any singer whose work has been so varied. There are gospel albums, Christmas albums, a children's album, soundtrack albums from a couple of movies, two Highwayman albums, a collaboration with former Sun label mates Jerry Lee Lewis and Carl Perkins, a concert from a Swedish prison and other live albums and duet albums – a total of 59 albums as originally released on the Columbia label (no bonus tracks). There set also includes another four CDs of miscellaneous materials – singles and B-sides not originally on albums, Johnny's guest vocals on other artist's albums plus various oddities. Some of Cash's later Columbia albums were not quite as strong as the earlier albums, but even the weaker albums contained some quite interesting material. This set usually sells for around $265 or $4 per disc.
Year In Review	Ben Colder, Bill Anderson, Billy Joe Shaver, Bob McDill, Bobby Bare, Bradley Kincaid, Carl Perkins, Charlie Louvin, Connie Francis, Connie Smith, Dallas Frazier, Dean Martin, Eddie Cochran, Frank Sinatra, Glen Campbell, Grandpa Jones, Ian Tyson, Ira Louvin, Jan Howard, Janie Fricke, Jerry Lee Lewis, Jessi Colter, Jimmie Bryant, John D. Loudermilk, John Hartford, John Morthland, Johnny Cash, Julius Larosa, Kitty Wells, Marty Robbins, Norman Blake, Ray Price, Rodney Crowell, Sheb Wooley, Shel Silverstein, Speedy West, The Everly Brothers, Tom T Hall, Tony Bennett, Tut Taylor, Vassar Clements
Album Review: Rhonda Vincent – 'Trouble Free'
3 Comments Posted by Occasional Hope on July 13, 2012
Rhonda's second Giant album took broadly the same approach as its predecessor. Producers James Stroud and Richard Landis provide sympathetic backings for Rhonda's sparkling vocals. Sadly, however, country radio had begun its move in a poppier direction following the crossover success of Shania Twain, and Rhonda's music was just a little too traditional for the time.
'What More Do You Want From Me?' (written by Bob Regan and Mark D. Sanders) was the only single, and it failed to gain enough airplay to chart. That was a shame, because it's an excellent up-tempo song with some attitude and banked harmonies as Rhonda bemoans her lot to the personification of Love.
The opening 'Somebody', written by Al Anderson and Robert Ellis Orrall, sounds as though it was recorded with an eye on chart potential. It is well sung but feels a bit generic (despite Alison Krauss's harmony), and is the only disappointing moment. Another song written by Orrall, this time with Curtis Wright and Billy Spencer, the wistful lost-love 'If I Could Stop Loving You', is better.
'It Ain't Nothin' New' is a lovely duet with Randy Travis, written by Larry Cordle, Larry Shell and Betty Keys. Randy's voice is at its best, and the pair's voices meld extremely well, while the song is a sweet look at the hard work developing a relationship and keeping it alive once the shine has worn off a little, and affirming their love. It is one of my favorite tracks, with some beautiful fiddle. The love song 'You Beat All I've Ever Seen' was written by the winning combination of hitmaking songwriter Kostas, veteran Melba Montgomery, and Kathy Louvin (daughter of Ira). It has a pretty melody and a sweet and sincerely delivered lyric.
Melba Montgomery wrote 'An Old Memory (Found Its Way Back Home Again)' with Jerry Salley. This is a delightful up-tempo number with Rhonda wryly facing the revival of feelings she thought she had left behind, with an unexpectedly cheerful feel as she attacks the lyric, comparing her ex's memory to
an old dog that you drop off just outside of town, uninvited, comin' back anyhow.
The vibrant up-tempo title track was written by Carl Jackson and Jerry Salley, and is also highly enjoyable. Rhonda triumphantly denies that her ex's departure has caused her any sleepless nights. The sunny 'The Blues Ain't Workin' On Me' was written by George Teren and Tom Shapiro, and features a cameo from Dolly Parton on harmony.
'When I'm Through Fallin' Apart' written by Michael Huffman, Gene Dobbins and Bob Morrison, is another good song, with Rhonda deferring a promising new prospect for new romance until she has got over the last one.
The John Jarrard/Kenny Beard-penned ballad 'At The Corner Of Walk And Don't Walk' has a lovely traditional feel and tune with some atmospheric steel guitar underpinning the melancholic mood, although the metaphor feels a little forced. The underlying story, with the protagonist calling from a payphone as she has second thoughts about leaving, and uncertain whether her future lies with or without her lover, is still good, and Rhonda's vocal is excellent, making this another favourite of mine.
The album was no more successful than its predecessor, and it marked the end of Rhonda's flirtation with mainstream country music. It is however, a very fine album which has a lot to appeal to country fans.
Everything Else	Al Anderson, Alison Krauss, Betty Keys, Billy Spencer, Bob Morrison, Bob Regan, Carl Jackson, Curtis Wright, Dolly Parton, Gene Dobbins, George Teren, Ira Louvin, James Stroud, Jerry Salley, John Jarrard, Kathy Louvin, Kenny Beard, Kostas, Larry Cordle, Larry Shell, Mark D. Sanders, Melba Montgomery, Michael Huffman, Randy Travis, Rhonda Vincent, Richard Landis, Robert Ellis Orrall, Shania Twain, Tom Shapiro


Automation is defined as using various control systems to operate equipment such that there is minimal human intervention. Progressive Automation can be used in home automation since users can upgrade from simple home automation to eventually more complex ones, building one over the other. This article looks at how one can get started with home automation.
The category home automation can span from really simple to extremely complex tasks, all this depending on what the user asks. Jargon, standards, and devices can overwhelm the user, but the easiest way of walking through home automation is focusing on what you want to do and eliminating the clutter.
A user deciding what they want goes a long way in helping determine their method, the time they'll take setting things up and even the budget they'll use. With the ingenuity set at the right levels, a lot of things can be automated in your home.
Things that are repeatedly done at home can be automated one way of another. Most of the things running on electricity and several others that don't can be made smart and even possibly connected to a central system.
To start with, the easiest way to automate your home is to purchase tools specialized to perform certain tasks. Simple timers and sensors can be used to make ordinary devices do specific tasks at specific times or after certain conditions. Simple remote control outlet units that turn anything connected to a power outlet off and on after pressing a single button anywhere in the house can be used. An example is a device called the Belkin Wemo.
Wemo is a self-contained and simple automation unit that a user plugs into their power outlet. This device automatically connects to your Wi-Fi and an iOS device can be used to control it. This device thus is more flexible than the normal sensors and timers since it is operated remotely.
Smart thermostats give the user a single automated function. They control room temperature remotely, learn the user's preferences, intelligently disables your AC while you are out and enables it back before you get home.
For your various peripherals to communicate with a central device, a network protocol needs to be put in place. Some standard protocols for home automation include Z-Wave, Insteon, Zigbee, and X10.
After picking up your standard, three more things are needed. First is the software that runs on a user's desktop, tablet or smartphone. Next, the user needs a transceiver or coordinator that is a device that issues commands to the user's wireless network. Lastly, the user needs sensors, switches, and peripherals that are end devices that carry out the commands.
In case a user wants to build their home automation from scratch, platforms like Raspberry Pi and Arduino offer the user the ability to develop customized solutions for their unique situations.
A Raspberry Pi is a small mini-computer that is programmable. Motors, switches, and sensors can be attached to the Raspberry Pi. Since it is too small, it can be used for building specialized electronic devices.
Complexity comes with added versatility. Getting started with any Raspberry Pi or Arduino project requires the user to have some programming background, be familiar with electronics and have time to spare to design the system.


From the late 1400's to the early 1600's, a German banking family influenced world events and quietly ruled over an extremely influential role in history. The Fuggers of Augsburg were among Europe's leading merchant-bankers as they were called, combining financial services with long distance trade.
any last name ending in "er" denotes a "function", i.e. a job he was doing at the time.
this family was "given" a name by someone, usually the chief of the palace market grounds, when in fact he either really didn't have any, or it was unpronounceable.
Most probably another eastern european inbred khazar gypsy for whom stealing is *just another job*.
There are currently 3 users and 598 guests online.


You won't have to worry about your angel food cake crumbling when you use this unique knife to cut it! Featuring a sharp, serrated edge and cut outs, this knife glides easily through cake, cheese, tomatoes, and other soft foods for impressive presentation at holiday parties and special events. Includes a soft, comfortable, santoprene handle for easy gripping. Measures 11in/28cm. Dishwasher safe.
It's exactly what i was looking, well built, and it's very durable. Great Cutter!!


Gurgaon: Over two-third consumers say that they prefer human interaction during customer service despite of the fact that businesses are pushing digital customer service channels today, reveals a new global study covering over 24,000 consumers across 12 countries.
The study states that despite the rise in digital customer service channels and options, 79% of consumers prefer the human interface to remain a part of customer service when engaging with brands and service providers.
Complexity of the service requests are shown to heavily influence whether a customer will choose digital or more traditional channels, such as phone or in-store, to fulfil their needs, according to Verint Systems commission global study in support from Opinium Research LCC and IDC.
For adult consumers in India more than 46%of the respondents have been with their service providers for three years and more.
In India the research was conducted on 2000 consumers who have an access to a digital platform.
Businesses are responding to the increasing digital world by offering their customers new ways of engaging with them. The graph below showcases that Indian Consumers prefer to access their accounts online but would still favour human interaction over Digital channels.
In terms of leading customers on a digital journey, speed, insight and desired outcomes are the biggest factors. Over two-thirds (87%) state that customer service online and via mobile devices should be faster, more intuitive and better able to serve their needs.
Consumers engage with brands and service providers for multiple reasons, and their channels of choice, whether digital or traditional, are quite often determined by the complexity of their requests. In fact, this Digital Tipping Point research reveals that when Indian consumers have a simple customer service request or enquiry, speaking to someone on the phone is the most popular option at 18% while email and SMS come in second place (at 17% each).
However, as customer service requests become complex, reliance on human interaction increases. More than 26% of customers prefer human interaction while a 20% prefer talking to a company representative over the phone. The closest digital channel for complex customer service situations is an email but only 11% opt for this channel.
"As consumers become more digitally savvy, organisations are considering and even implementing more cost-effective digital channels as part of their evolving customer engagement strategies. However, the message from consumers is clear. They still want human touch as an option in many customer service scenarios," explained Anil Chawla Managing Director, Verint EIS.
"This dynamic means that businesses considering more cost-effective, digitally-driven channels need to ensure they understand customers' channel preferences and the influence they have on customer behaviour and engagement," added Chawla.
This Verint commissioned research was conducted between 23 June to 20 July 2016 in association with Opinium Research LLP, a UK-based research company. Interviews were conducted amongst 24,001 consumers in the following countries: Australia (2,000), Brazil (2,000), India (2,000), France (2,000), Germany (2,000), Japan (2,000), Mexico (2,000), Netherlands (2,000), New Zealand (2,000), South Africa (2,000), UK (2,001) and US (2,000). The research was conducted online, in the local language for each country, and respondents were incentivised to participate.


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Embellishment > Long Live Antiques!
While antiques are meant to be admired, they should also be used, says Judith Miller, author of more than a hundred books on the subject (see her recently published Miller's Antiques Price Guide 2009 and Miller's Collectibles Price Guide 2009) and a collector since her student days at Edinburgh University in the 1960s.
Miller, whose eye is keen and knowledge of the field encyclopedic, uses everything in her collection at home—with care, of course. "These pieces stand the test of time," Miller says, "and they are also incredibly beautiful and useful." She doesn't understand how her daughter has "gone for Ikea," which she believes is headed for "the skids, whereas my eighteenth-century pieces will be here for another two hundred years."
For any purchase—new or old—Miller advises people to "think about how something is made." Using the example of a ball-and-claw foot, she says "you can get a very ordinary one, or you can get one with an open talon, or one with sinews on it and even one with little hairs on it. Every time you have to think, 'That is more difficult to do,' that is [the work of] a more skilled craftsman, and you'll see the quality of the work."
Looking at pieces shown on these pages—which are in the collections of Ed Weissman Antiques and Northeast Auctions' owner Ron Bourgeault (both in Portsmouth)—Miller concluded during her visit last fall that "these are really spectacular and really lovely."
In addition, pieces such as these are getting more difficult to find at auction. "A lot of people desire the American pieces," she explains, adding that while their craftsmanship is on par with those made in England, American pieces are more rare and more valuable because far fewer were produced.
Judith Miller looks at Ron Bourgeault's sideboard made in Portsmouth in 1800 or 1810 from mahogany with bird's-eye-maple inlay. The blue-and-white dishes on top are from Canton (now Guangzhou in China). Above the sideboard is a girandole, which is convex and amplifies light from candles.
Ed Weissman found this Hepplewhite chair and its mate in Savannah, Georgia, owned by a family whose ancestors settled in Manhattan from Holland in 1640. "The pineapple carving is quite rare and is, without question, the reason for half the chair's value," Weissman says.
Judith Miller, who is working on a book about chairs, proclaims this one "fabulous. I've noticed how many times in Savannah pineapples are carved on gateposts, doors and everything, as it's a symbol of welcome. But I've never seen it on a chair back."
Judith Miller and James Horan of Northeast Auctions take a look at Ron Bourgeault's bombé, or kettle-based secretary, which was made in Boston around 1770. "It was owned by a family in Cambridge that moved to New Bedford, Massachusetts. It is purported that when the piece was in Cambridge, George Washington used it when he was headquartered there during the Revolution," Bourgeault says. He acquired the Benjamin Franklin piece for the pediment and says, "What would have been there was very similar to this."


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City Symposium: Reducing Inequalities
This Thursday's City Symposium explores the topic of reducing inequalities. The evening features four Londoners, sharing their insights, experiences, and perspectives on addressing inequality as a community:
Michael Ciccone is the new CEO and Chief Librarian of the London Public Library.
Danielle Hill leads Nokee Kwe's +Positive Voice program.
Carolina Cohoon is a Deafblind Literacy Specialist at CNIB Deafblind Community Services.
Saverio Stranges is Professor and Chair of the Department of Epidemiology and Biostatistics within the Schulich School of Medicine & Dentistry, at Western University.
(The City Symposium is a city-wide collaboration between Urban League of London, London Community Foundation, Polishuk Camman & Steele, London Public Library, Aeolian Hall, Grand Theatre, Museum London, Centre for Research on Health Equity and Social Inclusion, Western's Faculty of Information & Media Studies, London Arts Council, Pillar Nonprofit Network, Western University Student's Council, Fanshawe Student Union, City of London)
Pre-Symposium concert featuring Sarina Haggarty begins at 6:40 PM.
Thursday, November 7, 2019, 6:40 PM
Central Library (251 Dundas Street)
Wolf Performance Hall
November Calendar Alerts
November brings several amazing learning and collaboration opportunities. Make sure these dates are in your calendar!
Finding the Social in Physician Narratives: The Example of Institutional Ethnography
Learn more about Institutional Ethnography (IE) research methodology
Wednesday, November 6, 2019, 12:00 noon – 1:00 p.m.
Room 2130, Elborn College, Western University
Hear from four people in our community addressing inequalities
Thursday, November 7, 2019, 6:40 PM – 9:00 PM
Wolf Performance Hall, Central Library
PUSH Movie Night
Learn more about the global implications of the housing crisis
Monday, November 18, 6:30 PM
CRHESI Lightning Talks & Community Reception
Wide-ranging updates on the activities of CRHESI-affliated researchers and community partners
Thursday, November 21, 3:00 PM – 4:30 PM
Innovation Works London
Call for Abstracts: Legacy 2020 Research Conference
In celebration of 100 years of Nursing at Western University and the International Year of the Nurse and Midwife, the Arthur Labatt Family School of Nursing invites submission of abstracts for its coming Legacy 2020 Research Conference (May 7-8, 2020, Doubletree Hilton, London, Ontario).
This 2-day conference will bring together researchers, graduate students, practitioners, and decision-makers for dialogue and exchange with a focus on the transformative potential of research in improving health and well-being across varied contexts and the conditions that shape health – past, present and future. Delegates from all disciplines who have an interest in these issues are most welcome.
– Digital Health, Technology, and Health Care
– Violence, Gender, and Health
– Strengthening Mental Health and Wellness
– Women's Health
– Global and Indigenous Health
– Health Equity, Inequity and Structural Violence
– Promoting Transformative Change in Services, Systems and Policies [all sectors]
Abstracts for completed or in-progress research, program evaluation, policy analyses, theory development, or other scholarly work, inclusive of clinical and applied research, will be accepted until Dec 16, 2019.
Full conference details and online abstract submission can be accessed at:
https://www.uwo.ca/fhs/nursing/100/conference/
Learn more about Institutional Ethnography (IE) with Dr. Fiona Webster (Associate Professor in the Labatt Family School of Nursing at Western University). Institutional Ethnography is an approach to research that begins in the standpoint of people and then moves outward to explore the often invisible social relations that structure their lives. As a methodology, IE is especially interested in the ways that text coordinates people's work and activities. Texts link people's everyday experiences to broader institutional goals.
In this seminar, Fiona will reflect on a recent study that explored the social coordination of care for patients with chronic pain. One of Fiona's overarching overarching research questions is: "How do physicians describe the work they do in caring for patients?" This study also serves as a valuable example of how IE can be used to explore the ways that the discourses, logic and concerns of institutions enter into the everyday language of care providers.
12:00 noon – 1:00 p.m.
In collaboration with community partners, CRHESI invites you to a screening of PUSH, a documentary about the state and future of the housing market — and who is impacted.
About the documentary:
PUSH is a new documentary from award-winning director Fredrik Gertten, investigating why we can't afford to live in our own cities anymore. Housing is a fundamental human right, a precondition to a safe and healthy life. But in cities all around the world, having a place to live is becoming more and more difficult. Who are the players and what are the factors that make housing one of today's most pressing world issues?
Watch the film trailer
View the event poster


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Q: How to have modularized details-Template for older version of KendoUI Grid Ok so some background. We are in Angular/Kendo environment. However, we are using an older version of KendoUI from Q2-2014. What does it mean?

*

*It means that if we want to use the details template with Kendo-Grid then we can not use the new Angular Directive k-detail-template. If we use it then it does not render properly as a Kendo template as it can be seen on this Dojo http://dojo.telerik.com/oMEvI/6. As you can see, if we choose a newer library then details template is supported but the older one is no supported. However, we do not have luxury to update our Kendo library right now so we need to figure out an alternative with the old school library that we have.

*Now, our work around is to use it the way it was used in classic JQuery as seen in Dojo here: http://dojo.telerik.com/otiqU
It works and so far so good. However, it is not modularized in nature and it requires me to include the HTML template inside the Controller which is not the most elegant way to do it(at least in my opinion). My question is How can I have the template below:
 detailTemplate: "This is where all the details go",

Instead of being assigned inline, come from a separate HTML view so that it does not litter my controller with unwanted html?

A: Two things come to mind.
 detailTemplate: kendo.template($("#myTemplate").html()),

Or
clientTemplateID="tmpGridViewItem",

Or
 var templateContent = that._templates.divA;
 var template = kendo.template(templateContent);
 ...

 _templates: {
                divA: "

",
                divB: "

"
            }

redpajama_set_name: RedPajamaStackExchange


text:
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Busting a move to your favourite Broadway tunes.
We'll get your heart pumping, your body jumping and your feet thumping in these Musical Theatre themed dance class. Learn routines to musical hits from shows like Chicago, Hairspray and Mamma Mia. And live your Showgirl (or Showboy!) dream.
Sign up for one hour or both – whatever's going to give you the biggest hump day boost. The class is aimed at people who are looking for more of a challenge and come with dancing experience. We'll learn different routines in both classes, so if you are Musical Theatre Mad – book on to both!
Classes are open to anyone and everyone – we're inclusive, fun and constantly giggling.
To find the studio please enter The Island through the Bridewell Street entrance. Then follow the stairway up the flight of stairs to the 1st floor, turn left and follow the corridor to the dance space corridor door. Access to the Dance Space is at the end of the corridor.


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WASHINGTON (Reuters) - Parts of Oklahoma and Kansas are likely to experience damaging earthquakes as a result of oil and gas industry activity in 2017, the U.S. Geological Survey said on Wednesday in its second annual forecast of natural and human-caused seismic risk.
The forecast comes amid a years-long string of temblors in Oklahoma that has coincided with a drilling boom in the state, and which scientists have attributed to wastewater disposal wells used by the oil and gas industry.
"The good news is that the overall seismic hazard for this year is lower than in the 2016 forecast, but despite this decrease, there is still a significant likelihood for damaging ground shaking in the (Central and Eastern United States) in the year ahead," said Mark Petersen, chief of the USGS National Seismic Hazard Mapping Project.
The seismic risk maps are used by emergency management officials as well as the country's major engineering and design associations to guide how strong to construct new buildings.
The USGS last year identified risks from human-caused earthquakes for the first time and has said that overall earthquake activity is hundreds of times higher than rates seen in around 2008, when the oil and gas drilling boom began.
The USGS said the 2017 forecast decreased compared to last year in part because wastewater injection used for oil and gas production likely decreased due to lower energy prices.
Oklahoma last year experienced a 5.8-magnitude earthquake, the largest ever recorded in the state, as well as the highest number of large earthquakes compared to any prior year.
Approximately 3.5 million people live and work in areas surveyed in the seismic risk map. The majority of this population is in Oklahoma and southern Kansas.
"Millions still face a significant chance of experiencing damaging earthquakes, and this could increase or decrease with industry practices, which are difficult to anticipate," Petersen said.
The disposal of saltwater - a natural byproduct of oil and gas drilling - into wells has been tied to earthquakes. Oklahoma regulators have already ordered many disposal wells to curb operations.