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Previously, I posted about the perils of applying standards-driven instruction to reading classrooms. The point was that reading standards typically don't articulate the content that students need to learn to become good readers; they merely list the skills and habits exhibited by already good readers. Therefore, using standards to plan lessons results in ineffective reading instruction—those skills and habits can't really be taught, practiced, and mastered in the abstract.
The truth is that while the problems are most acute in reading, standards for any subject are most effective when used not to drive lesson planning on any given day, but rather the selection of a clear, teacher-friendly, coherently developed curriculum. That's because even the best standards don't help teachers figure out how to ensure that all students master the requisite content and skills. They describe the destination, but they don't provide a roadmap. Curriculum is the missing link.
One might then ask why we are even talking about standards. Rather than debating the Common Core State Standards why not debate a "Common Curriculum"? In fact, that is how it works in many countries. Even Finland—the country that most reform critics want us to emulate—began their now-famous transition to international education superpower by, first and foremost, writing and adopting a national curriculum.
In other nations, state-developed curricula go further than American standards. Here, states list content and skills, but stop short of defining pedagogy or prescribing curriculum. Abroad, governments prescribe a particular course...
Just in time for Christmas, my Fordham colleague Mike Petrilli has left a present under the tree for inquisitive children and busy parents who don't think the sky will fall if the kids get a little screen time now and again (it won't).
Over the course of a year's blog posts, and with the help of several able Fordham interns, Mike curated some of the best streaming web videos on Netflix, Amazon, and elsewhere. He then aligned them with the Core Knowledge Sequence, a robust list of subjects from pre-K to eighth grade that undergirds the curriculum at some of the nation's most successful schools. These have now been repackaged into a neat little website he's calling "Netflix Academy." Homeschoolers for whom Core Knowledge is a subject of near-religious devotion will also be grateful for this resource.
You'll find videos on science, literature, and U.S. and world history. Click on "Science," for example, and you'll see a drop-down menu organized by knowledge domains (aquatic life, mammals, insects, outer space, etc.). Within each domain are direct links to streaming videos from Netflix, National Geographic, PBS, YouTube, and others sources. You'll also find movie versions of classic children's book and lots more. It's entertainment with high caloric content.
"As E.D. Hirsch Jr. has argued for a quarter-century, the early elementary years are the ideal time to introduce children to the wonders of history (natural and otherwise), geography, literature, art, music, and more," Mike writes.
I heartily agree....
Before the age of standards and tests, teachers generally taught the textbook. They began on page one and got as far as they could before the end of June, sometimes racing through the last four chapters in less time than they devoted to the first.
Standards, testing, and accountability changed that. Now there are clearly defined goals that all students must meet, and teachers are asked to ensure not just "coverage," but that all students master a predetermined set of content and skills.
That means today's curriculum and instruction are driven not by where you began but by where you want to end up. In a data-driven, results-oriented classroom, good teachers begin with the standards and "backmap" from June to September to ensure that the most critical or difficult topics get the instructional time they deserve.
This approach makes sense for most subjects, where the standards describe the actual content that students need to master within and across grades. Math, for instance, is a hierarchical subject with a logical progression of skills and content. Yearlong curriculum plans can be devised and focused on ensuring adequate time to master all of the key standards. And teachers who themselves are math experts may well be able to piece together a coherent program that meets their students' needs using the standards as their guide.
Reading, however, is different.
Beyond the foundational reading skills, standards in this realm don't articulate the content that students need to learn to become good readers. Instead, the standards...
[Editor's note: This is part two of a multi-part series on the use of prior knowledge in literacy. It originally appeared in a slightly different form at Tim Shanahan's blog, Shanahan on Reading. The first post can be found here.]
In my first post, I focused on the controversy over prior knowledge. Common Core has discouraged enhancing reading comprehension through the introduction of information external to a text.
That challenges the most popular ways of introducing texts in schools—telling students information about the text topic or exploring student knowledge relevant to the topic. CCSS proponents bridle at such practices. They want students to become independent readers, which means they'd be able to read texts effectively without extra information.
They also blanch at the idea of students constructing text meanings without sufficiently accounting for the author's input; texts should mean something closer to what the author intended than what a reader might choose to make it mean.
The problem with de-emphasizing existing knowledge is that reading comprehension depends on reader knowledge. We use what we know to draw inferences, clarify ambiguity, and store information in memory. Banning explicit attention to student knowledge can't "level the playing field" between rich and poor because you simply can't stop students from using what they know when they read.
I promised to provide some instructional guidance for dealing with prior knowledge during reading comprehension lessons (and shared/guided/directed readings). Here are ten guidelines for dealing with prior knowledge.
[Editor's note: This is part one of a multi-part series on the use of prior knowledge in literacy. It originally appeared in a slightly different form at Tim Shanahan's blog, Shanahan on Reading.]
An idea heavily promoted in Common Core (CCSS) discussions is the notion that we shouldn't talk about students' "prior knowledge," and that avoiding such discussions somehow "levels the playing field" when it comes to learning to read. Researchers in the cognitive sciences rediscovered the importance of people's knowledge in learning and comprehension back in the 1970s (revisiting ideas previously explored by Bartlett, Kant, Plato, etc.).
Research findings were very clear: Readers comprehend more when a text overlaps with their knowledge of the world, and they comprehend less when there is less such information in their minds.
Research also has shown benefits from increasing students' prior knowledge (it is "prior" in the sense that readers knew it before the author told them). And even reminding students that they have relevant knowledge prior to reading can bear fruit.
Why is prior knowledge so useful to readers? There are many reasons, but certainly a basic one is that the availability of such information reduces how painstaking reading may have to be. If you already know much of what the author is going to say, you can kind of go on autopilot and just watch for the new stuff. Your less informed classmates are going to have to attend to the text more carefully, trying to build up...
Media Contact:Michelle firstname.lastname@example.com, D.C. (November 19, 2014) — The Thomas B. Fordham Institute has launched a new study to evaluate the quality and content alignment of PARCC, Smarter Balanced, and ACT Aspire to the Common Core State Standards (CCSS). Fordham's study will be published in summer 2015.As part of the effort, Fordham will also evaluate the 2014 Massachusetts Comprehensive Assessment System (MCAS), a high-quality state assessment, for Common Core alignment under an agreement with the Massachusetts Department of Elementary and Secondary Education."The promise of the Common Core State Standards, implemented faithfully, is improved education and life outcomes for millions of American children," noted Amber Northern, vice president of research. "We need tests that fairly reflect and honor the hard work that we are asking teachers and students to do under the Common Core."Nancy Doorey (an educational consultant with assessment-policy expertise) and Morgan Polikoff (an assistant professor at...
Common Core has the potential to shift and drastically improve math instruction in American schools, but its detractors have marshalled a raucous opposition to its proposed changes. We've already examined the questionable arguments against Common Core literacy standards; now we're turning our sights to math.
September's Intelligence Squared U.S. debate pitted Fordham President Michael J. Petrilli and the Center for American Progress's Carmel Martin against the American Enterprise Institute's Rick Hess and New York principal Carol Burris. Hess and Burris are two of Common Core's most eloquent and energetic critics, but the position they mounted against the initiative's math standards is not a strong one. It can essentially be boiled down to three points:
1.) The standards confuse children.
This is perhaps the most common critique of Common Core math. As the new standards have been implemented (seldom perfectly) in participating states, districts, and schools, children have sometimes been assigned math problems that would make a structural engineer scratch her head. Parents accustomed to the "classic style" of teaching math—long worksheets of standard algorithms with one or two word problems at the bottom—worry about the unfamiliar presentation of their kids' homework, and many opponents have delighted in picking apart often inscrutable questions. At the debate, Burris recited a confusing-sounding Common Core standard (1.OA.C.6) for teaching young students:
Here's a first grade example. "Use strategies such as counting...
There's apprehension in some ed-reform circles that things have gone sideways.
There's the resistance to Common Core coming from the right and the left. There's frustration with ESEA waivers. There's the mess in Newark. There are twelve students demanding Harvard divorce Teach for America.
But each of these is, of course, an anecdote, and "data" is not the plural of "anecdote." So are these chapters in a larger backlash-to-reform narrative, or are they just well-publicized exceptions to the reform-is-winning rule?
I've spent some time going through four recent surveys of the views of the public, educators, parents, and insiders. They offer encouragement to the reform community, though with one important exception. In short, many of today's most prominent reforms are quite popular, but it looks like folks are perturbed by a meddlesome Uncle Sam. (If you have time, I recommend your taking a gander at the data from Education Next, Phi Delta Kappan, Whiteboard Advisors, and Education Post.)
Consistent with public opinion data going back decades, today's Americans think their local schools are doing fine, but they think schools in the rest of the nation are seriously troubled. Whether you ask the public or parents, only 1–4 percent believe the nation's schools deserve an A.
Though people rate their local schools much higher, there's broad agreement that low-income kids, even in our esteemed local schools, aren't getting what they need....
I confess I'm somewhat bewildered by the passionate arguments over the Common Core State Standards. Getting in high dudgeon about K–12 learning standards, which say almost nothing about what kids do in school all day, makes no more sense to me than getting apoplectic about food-handling procedures, which I seldom think about when pushing my cart through the grocery store. In New York City, where I live, architects seem grimly determined of late to litter the skyline with strange new monstrosities, each a greater eyesore than the last. It had not occurred to me to blame Gotham's building codes.
I expect an argument when I assign my students Aristotle, Hobbes, Locke, Mill, and Hayek. But standards? They are dry, unlovely things.
But no matter. I come neither to praise nor bury the Common Core State Standards, now widely regarded as a "damaged brand" and a political piñata. But I do wish to point out that the standards enshrine several sound education ideas that have long been near and dear to conservatives. If Common Core disappears tomorrow, the considerable energy that has gone into fighting the standards ought to be redirected toward ensuring their survival. If not, conservatives may win a pyrrhic victory over standards, losing the bigger, longer war to improve America's schools.
Here are a few big ideas in Common Core worth preserving and promoting:
If you haven't set foot in an elementary school in a few decades, you might be surprised and dismayed to see what...
Call it the Iron Law of Pedagogy: Every good teaching idea becomes a bad idea the moment it hardens into orthodoxy.
The latest example might be "close reading," which has become yet another hot-button issue among Common Core critics. But complaints about it bother me less than its potential overuse, or the creeping notion that close reading is what all reading instruction should look like under Common Core. That would be bad for the standards, and even worse for reading achievement in the U.S.
Close reading is "an intensive analysis of a piece of text, in order to come to terms with what it says, how it says it, and what it means," writes literacy expert Tim Shanahan of the University of Illinois at Chicago. Common Core expects students to "read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text."
Sounds simple, benign, even obvious. Would anyone not want students to be able to do this? Close reading for evidence and to support inferences is a far more rigorous and academically useful standard to meet than, for example, expecting student to produce a "personal response" to literature—the kind of content-free literacy practice Common Core is intended to supplant. The mischief comes in translating "reading closely" into sound classroom practice. Some of the guidance teachers have...


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Denver, CO -- (ReleaseWire) -- 03/26/2014 -- Whether it is a commercial move or a residential one, moving usually involves lots of hassles. In case all the necessary arrangements are not done properly, it might even ruin the move completely! This is why it is advisable to hire the service of professional movers for the purpose. Those looking for affordable, quick and easy relocation Denver packages can opt for Go King Mover, which is a leading name in offering quality Denver moving and storage services for offices. With more than 20 years' of experience, professional movers of this company are considered to be one of the leading Denver, Colorado movers, who conduct all types of commercial moves, irrespective of their size or complexity. While there are a number of moving companies in the Denver metro region, Go King Mover has become quite popular among the business owners due to its flawless and affordable services, which are always offered on time. Another specialty of this moving company is that it offers COI (Certificate of Insurance) to protect its customers' property.
Office movers should ideally provide a COI (Certificate of Insurance) to protect the property of the owners. Such insurance would specify the mover's responsibility for loss and damage. People who don't have additional insurance for their valuables may often find that their mover company pays a pittance when a valuable article is damaged or lost. This can be prevented by purchasing insurance through the mover, where the mover issues the buyer a Certificate of Insurance as proof of purchase, which must be fully completed with all the policy's terms.
Go King Mover provides COI to all their customers, and that too, within a short span of 24 hours, thus ensuring complete safety and peace of mind to their customers. They also offer top-notch storage services. While conducting an office move, each business needs to store all its belongings at a particular place, and Go King Movers offers climate controlled indoor, secured vaulted storage for any time period. Moreover, the entire storage system is monitored by effective video security technologies to ensure security of the valuables stored. No wonder why a majority of Denver business owners chooses this company while looking for competent Denver Colorado movers.
About Go King Moving and Storage
Go King Moving and Storage is Denver Moving company which provides Moving, Storage, Packing and Fright Services.

subset: commoncrawl


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05/28/2014Birch, an award-winning restaurant in Providence, commissioned Ceramics students to create tableware to complement its menu and décor.
Tags: Ceramics, local/regional, collaborations, partnerships + collaborations, public engagement, students
05/02/2014Former scholarship recipient Joe Gebbia 05 ID/GD creates a significant endowed scholarship to support the next generation of art and design innovators.
Tags: alumni, technology, entrepreneurship, Graphic Design, Industrial Design, students
05/13/2014This week 46 seniors in Film/Animation/Video are premiering their final live action and animated films at nightly public screenings.
Tags: technology, digital, entertainment, Film-Animation-Video, faculty, innovation, multimedia, public engagement, students
04/25/2014As part of RISD's Shared Voices series, Robin Chase visited campus to speak about the importance of creating new economic models in a rapidly changing world.
Tags: entrepreneurship, innovation, local/global, public engagement, research, social responsibility, students, sustainability
04/22/2014This summer nine RISD students will pursue internships designed to bring art and design thinking to the realm of public policy and large social issues.
Tags: graduate, global, innovation, internships, nonprofits, partnerships + collaborations, public engagement, research, social responsibility, STEAM, students, Sculpture, sustainability
04/03/2014Mariam Quraishi 15 IL makes brilliant illustrations inspired by Western folktales and includes centuries-old iconography from the Indian subcontinent.
Tags: Illustration, research, students, diversity
03/26/2014During RISD's 2014 Design Portfolio Review, students networked with representatives from top tier companies including Google, Harmonix, The Daily Beast and West Elm.
Tags: corporate, alumni, entrepreneurship, global, internships, students
03/19/2014Since arriving at RISD Mariah Robinson 17 FS has been happily making everything from eye-catching puppets to splendidly strange animations.
Tags: local/regional, Film-Animation-Video, students
03/03/2014RISD students recently traveled to Earth University, a Costa Rican research institute focused on sustainable agriculture, to build a functional and energy efficient prototype of a one-room schoolhouse.
Tags: faculty, global, local/global, nonprofits, partnerships + collaborations, public engagement, Landscape Architecture, research, social responsibility, students, sustainability, wintersession
02/24/2014A former NCAA basketball player, RaMell Ross MFA 14 PH is now capturing the quiet moments that offer a rare glimpse into the Alabama Black Belt.
Tags: graduate, nonprofits, public engagement, social responsibility, Photography, students, diversity
Graduates let loose at the close of RISD's colorful outdoor Commencement.


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Substance Abuse Prevention Program Professional Development
The University of Oregon Substance Abuse Prevention Program (SAPP) Professional Development is a training program that provides CEUs in the areas of alcohol and other drug prevention, intervention, treatment, and recovery, as well as related topics. SAPP trainings are Addiction Counselor Certification Board of Oregon (ACCBO) and National Association of Alcoholism and Drug Abuse Counselors (NAADAC) approved.
Register Here
Space for these workshops are limited, preregistration is required. Please click on workshop titles below for additional information.
Thank you for your interest in SAPP Professional Development! Our next season of workshops will start after the new year, upcoming workshops will be posted here as they are scheduled.
Three Convenient Ways to Register
Online: Registration for all workshops is available above.
Phone: Call our toll-free number 800-824-2714 or 541-346-4231 from 8:00 a.m. to 5:00 p.m. PST, Monday through Friday. A registration specialist will assist you.
Mail: Print the PDF registration form, fill it out, and send with payment to:
UO Academic Extension
1277 University of Oregon
Eugene, OR 97403-1277
After the registration process is completed, you will receive an e-mail confirmation and receipt.


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After opening Southeastern Conference play with a home win over Arkansas earlier in the week, the Texas A&M men's basketball team hits the road this weekend for Knoxville, Tenn., to face Tennessee on Saturday at 5 p.m. (CT) inside Thompson-Boling Arena.
Click here for the original story.
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On Mon, Feb 13, 2012 at 7:58 AM, Leigh Dyer wrote:
> I'd love to see seq24 get some updates, too -- it still runs okay for me on
someone on #jack recently reported that they had fixed seq24 and were
pushing patches "upstream".
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September 28, 2014 To All of Our Treasured Guests, This is one of the hardest and saddest letters I will ever write. As of October 12, 2014, The Rock for Hair and Nails will be permanently closed. It has been a hard year-and-a-half for the salon, mainly due to big changes in our industry. Many of you may have already received a letter and/or phone call from your stylists regarding their future location to provide services to you. I will include all the information I have thus far regarding the stylists' future locations and contact information. This and any additional information will also be available on The Rock's website: www.u-rock.us. I, Kristi Hyde, will be renting a chair beginning on October 23 at Salon DNA, which is located in Pinebrook Plaza (on Hwy 41 where the Outback is). The address is: 12995 S. Cleveland Ave., Suite 140, Fort Myers, FL 33907. Since I will be renting a chair, my contact phone number will be my cell number (239) 462-2620. Please be assured that my guests will be receiving a phone call regarding your future appointments. I may have to change some appointment times or days due to not having an assistant. Also, I will be camping from October 15 through the 20. As the reception is not good in the woods, you can call Salon DNA at (239) 245-8140 and leave a message for me. I will return your calls at my earliest convenience when I return. Jordan Napoleon, Molly Dupuie and Nicole Milmont will be sharing a salon studio space at SalonPLEX at 9841 Bernwood Place Drive, Unit 301, Fort Myers, FL 33966. Jordan Napoleon can be reached at (239) 823-5938, Molly Dupuie at (239) 443-6402, and Nicole Milmont at (239) 826-8465. Denver Dorsey and Stephanie Ortero will be working at Shine Hair Studio at 13451 McGregor Blvd. #14, Fort Myers, FL 33919. The contact information for Shine Hair Studio is (239) 362-0253. I will miss my team--and all of you who will be following them--tremendously. I will miss The Rock. I, and WE, have appreciated YOU and YOUR SUPPORT throughout these past years. THANK YOU FROM THE BOTTOM OF MY AND OUR HEARTS! WITH SINCERE GRATITUDE, Kristi Hyde |
Copyright 2006-2014


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From Wikipedia, the free encyclopedia - View original article
A quiz show is a type of game show. Quiz show may also refer to:
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article. |


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By now, you are probably all too aware of the toll heart disease, hypertension, and diabetes are taking on minority communities. But what can you do to curb the trend in the patients you treat—and in yourself?
Minority Americans pay a staggering price for disparities in diabetes care. There are as many reasons for these disparities as there are effects stemming from unequal treatment. Here, one researcher discusses the issue, including pertinent economic data, policy issues, the ethical issues at stake—and the relevance to the nursing profession.
American Indian nurse scientist John Lowe wanted to know why his Cherokee father had managed to avoid the health problems so often found in Indian communities. Today the answer to that question continues to inspire Lowe's pioneering research on culturally competent solutions to Native American health disparities.
National Association of Indian Nurses of America Offers Support
5 Easy Storm Preparation Tips
5 Steps to a Management Role
5 Winter Time Sleep Tips
5 Workplace Violence Prevention Tips


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PBS NewsHour | Middle Eastern Christians Are Increasingly Emigrating | PBS
Duration: 08:25
PBS NewsHour #10446
Broadcast Date: Sep. 17, 2012
One century ago, 20 percent of the Middle East was Christian. Today, they are only 5 percent of the total population. As stricter, more conservative interpretations of Islam have become more widespread in the Middle East, Christians have chosen to leave their homelands fearing harassment or violence. Ray Suarez reports.
PBS NewsHour | News Wrap: Chinese... (#10446)
News Wrap: Chinese Protests over Japan's Islands Acquisition 02:19
PBS NewsHour | Surge of 'Green on... (#10446)
Surge of 'Green on Blue' Attacks Has Great Cost for U.S. 07:24
PBS NewsHour | Doctors Are... (#10446)
Medicare Patients Aren't Getting Sicker or Older, But Doctors Are Charging More 06:44
PBS NewsHour | Poll Numbers... (#10446)
Poll Numbers Sliding, Mitt Romney Plans to Offer Policy Specifics 12:12
PBS NewsHour | Skeptic No Longer... (#10446)
Climate Change Skeptic No Longer Doubts Human Role in Global Warming 10:26
PBS NewsHour | Weekly Poem by... (#10446)
U.S. Poet Laureate Natasha Trethewey reads "Elegy," a poem from her new book "Thrall." 02:20
PBS NewsHour | Democrats Hope to... (#10446)
Democrats Hope to Reignite Enthusiasm from 2008 Presidential Election 03:10
PBS NewsHour | Democrats on... (#10446)
Democrats Play Offense in the South in Hopes of Turning Some Red States Blue 07:39
PBS NewsHour | As Convention... (#10446)
As Convention Ramps Up, Democrats Pay Special Attention to Unions on Labor Day 06:35
PBS NewsHour | Shields and... (#10446)
Shields and Brooks on the DNC, Platform Agenda and Firing Up the Democratic Base 08:31
PBS NewsHour | Talking Democratic... (#10446)
Talking Official Democratic Party Agenda with Stephanie Cutter 07:14
PBS NewsHour | To Win Over N.C.... (#10446)
To Win Over North Carolina Voters, Organizing Democrats on the Ground 03:43
PBS NewsHour | Flooding,... (#10446)
News Wrap: Flooding, Evacuations, Electrical Outages Remain One Week After Isaac 04:22
PBS NewsHour | Labor Leaders talk... (#10446)
Union Leaders Discuss State of U.S. Labor as Attacks Rise, Membership Goes Down 09:59
Shields and Brooks Talk Shifting...
Syndicated columnist Mark Shields and New York Times columnist David Brooks join Judy Woodruff to discuss their... 11:48
Shields, Brooks on glitchy...
Syndicated columnist Mark Shields and New York Times columnist David Brooks join Judy Woodruff to discuss the... 12:22
PBS NewsHour | Calls for Syrian...
Andrew Tabler of the Program for Arab Politics at the Washington Institute on Syria. 03:27
PBS NewsHour | The Pope...
Kim Lawton, Religion & Ethics Newsweekly, on the Pope's overtures to the Jewish community. 03:13
Shields and Brooks on the...
Syndicated columnist Mark Shields and New York Times columnist David Brooks join Judy Woodruff to discuss the... 12:11
- Watch more video from this program
Post Date: September 17, 2012


text: I stayed at Alte Post attending a meeting for 3 days, it is a very good hotel, comfortable rooms & meeting rooms. The restaurant is a very good, with nice options and great quality. I liked a lot my time there. It is also a great hotel to stay with your family, if you need.


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All went along fine until I came in this morning to find that when I checked my email for that it errored out.
Much to my surprise, and by checking my logs I see that sometime this morning that my names are now a part of this: Portfolio Admin Tucows Inc. -------------------- I've spent over an hour on hold - I've submitted support tickets - to say I am angry doesn't even begin to cover it - the other two are fine - still registered to me - The website was working as of Friday - I have my proofs of renewal - Does anyone have any suggestions - I have been with IYD for years and have my own registration account - it was bought by tucows and I've had no other problems - but I am most definitely going to be looking for someone new to move my 100+ domains for myself and my clients too.
I appreciate any input...I'm just in shock...it's bad enough the way things go with domains these days without being stolen by your own registrar.
[edited by: engine at 6:10 pm (utc) on April 21, 2008] [edit reason] No specific names, thanks. [/edit]
I believe what you are seeing is the normal process of when a domain expires. Tucows (previously IYD) will hold that domain for a certain period and allow "you" to re-register. Unfortunately you are now in the expiration phase and I believe there is a nominal fee to re-register once it expires.
I've been with IYD since the beginning. Since the purchase by Tucows, I've not seen any change whatsoever other than the damn CC security features that prevent me from doing back to back registrations when I succumb to my domain buying impulses... ;)
There is one domain in there that I let expire in February and have no plans to renew it - and it is still there under "redemption" status for the 100.00. This one shows up no where. I have the receipt and the approval from my renewal payment.
It does NOT show up as redemption status. Nor did it show up under redemption status at the time I renewed it - they were all 4 still within the renewal period.
I'm not too certain "they" would "take" anything. How about we wait until you hear back from their support department in regards to the issue. I mean, Registrars just don't "up and take" your domain from you unless there is something else going on that we are not fully aware of. ;)
IYD support usually responds within 24 hours. Nothing yet?
[edited by: pageoneresults at 7:18 pm (utc) on April 21, 2008]
Hopefully your problems will be resolved in short order!
What did they say to you when you called them? (assuming you did get through)
I've found active domains of mine that were moved to a registrar's "private holding" account.
When I called them they said the domains had been moved to their partner SnapNames account "in error".
Had I not "stumbled upon" this "error" in a timely manner, I have little doubt I would have wound up fighting a gut-wrenching "losing my domain name" fight.
It is resource consuming to maintain vigilance over registrar errors.
That's a scary thought. Again, I've been with IYD since they started which I believe was in the late 90s. In that entire time, it has been a "worry free" experience with over 1,000 domains registered.
I was concerned with the Tucows buyout. But, after a couple of months and no major changes to how I manage my domains, I feel confident that I'm in good hands. Or I did...
I sure hope that hasn't changed?
Will let you know the outcome which will hopefully end tomorrow without further issue.
I believe Tucows resisted doing this until recently but like so many others they finally jumped on that bandwagon. Can you imagine how upset the registrars secretly are because they did not start grabbing their client expired names until fairly recently!
Over the years they could have got so many valuable names free if they were doing this at the time, especially in view of the fact there were far more valuable expirations vs now, both in quantity and quality. i.e. AC.ORG dropped a few years ago and was cancelled by the registry as are all 2 letter org expires. I am sure that registrar is now keeping the names but was not doing it then.
I believe ICANN should have a rule saying the registrars can not do it because it is an obvious conflict of interest.
Still no refund either from a domain that I paid a transfer on that registrar.com talked my clients into "keeping" with them after the fact...so there was never an actual transfer. This has never been an issue before during all my years with IYD - while I haven't had to do it often, it has always been an easy fix in the past - this I've been waiting on since February.
It's odd why you were on hold so long because I always had excellent experiences with OpenSRS support and fast phone calls.
I tried again today - but am trying to finish building 2 websites - and just don't have the time to sit on hold.
As of 4:53 p.m. CST - still no response to my ticket. No response from Tucows directly. I would really love advice on how to proceed. This domain is very important - and I have a show coming up this weekend for the products I sell and this is an important part of it because it directs people to my sales site & my recipes etc -- there has GOT to be something or somewhere I can get to - for someone to listen instead of just putting me on ignore.
They could be OpenSRS resellers which could account for OpenSRS not helping you themselves as I believe the customers are required to deal with the resellers for support issues from what I recall when I was an OpenSRS reseller myself.
IYD was bought by Tucows. When I go to IYD's website to contact customer support - it takes me to an interface that has the logos for each of the 3 listed registrars "DomainDirect, IYD, & NetIdentity" [iyd.com...] redirects to: https://help.domaindirect.com/
It SHOULD and did say: Registration provider: My Company dot com because I'm an affiliate partner when I do the whois through my telnet - the process is: [Querying whois.internic.net] [Redirected to whois.itsyourdomain.com] [Querying whois.itsyourdomain.com] [whois.itsyourdomain.com] ---------------------------- but the other now says: Registration provider: ItsYourDomain.com and registrant as: Registrant Portfolio Admin Tucows Inc. firstname.lastname@example.com 96 Mowat Ave Toronto, ON M6K3M1 CA --------------------------------
Much to my surprise, and by checking my logs I see that sometime this morning that my names are now a part of this ...
You later wrote:
It's unclear to me if this is a recent problem, or something that has been ongoing for two months.
I am incredibly sorry about this unfortunate situation.. I am going to move the domains back to you as you most definitely did pay the renewal fee on them. I am still not sure why the parking service saw them as being expired. I will of course dig further into this situation. I believe that this may be due to a whois output error and will attempt to get this situation fixed as soon as possible. In order to facilitate a quicker move could you please let me know what the Name servers should be on the domain and as well what the contact info should be. Is there a standard registrant NIC and contact NIC that you use?
It's unfortunate that you had to endure the gut-wrenching experience. Time never moves fast enough when one is on the waiting end of something like this.
It would be nice if they let you know what they found out after they "dig further". A "whois output error" sounds like a euphemism to me.
Thanks for allowing the venting & frustration - and be diligent - this is one of those "I never thought it would happen to me" stories :)
How close to the domain expiration were you when renewing the domain that fell into their hands?
Two separate problems - the portion of the paragraph right before "this has never been an issue" dealt with the attempt to get a refund on a domain name I paid for that was never transferred from the other registrar (because the registrar "talked" them into staying) -- Now that this is resolved I'll keep working on that one - I'm less concerned as I feel like that has just fallen through the cracks in the transition.
I will say that tucows support wrote and referred me to use the system that is bundled together with domaindirect - (and still no answers since Monday on those actual tickets I opened) - I wrote them back with the two ticket numbers and let them know that they were NOT being answered and let them know of the hold time issues - hopefully that will change things ASAP there!


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Austin Lucas Invites Friends On 'Minimum Overdrive' Tour
New West recording artist Austin Lucas has just announced a string of new tour dates across the United States and a few stops in Canada, but this won't be your garden variety Austin Lucas tour. Joining him on stage in acoustic collaborations will be mandolin extraordinaire Jayke Orvis, Jon Snodgrass (aka the "guy with the glasses' from Drag The River), Canadian singer/songwriter Northcote, and Caleb Caudle for select dates.
"It's just a play on worlds because most of us are kind of rocker dudes but we play obviously different degrees of roots music," Austin Lucas says of the tour's "Minimum Overdrive" name. "So I just thought it's a funny name with all acoustic guitars because there's no amps or drums, but I feel like we can still bring the rock atmosphere."
Austin says Minimum Overdrive patrons can expect maximum collaboration.
"It's definitely going to be the kind of tour where everybody is collaborating with each other, and playing on each other's songs. Especially Jayke and I are going to be doing a lot of stuff as a duo, playing each other's songs. Basically the tour started because Jayke and I had been talking about doing a tour together for about the last six months. And we decided if we were going to do dates together, we wanted to do as much stuff where we were playing together, doing sort of a Bill Monroe and Doc Watson type of duo. I mean obviously we are not as good as those guys, but those Smithsonian Folkways albums have always been dear to my heart and Jayke's heart as well, and we just wanted to do a two-man duo thing. So we're going to split it up to where we both do duo stuff together, play each other's songs, and then we'll both be collaborating with Jon Snodgrass, with Northcote, and with Caleb Caudle when Caleb's on the tour."
Austin Lucas has already toured extensively with Jon Snodgrass from Jon's years in Drag The River. "Bringing John on was a really good idea because I knew that John and I have a lot of songs in our pocket that we can play together. I wanted to bring people on that I really respected, and knew I would have a good time collaborating with."
"To be honest with you, I didn't really think about if other people would have a good time with anybody else on the tour," Austin says. "Very selfishly, I just wanted to bring people out that I really like and respect and want to play with. We are going to do all sorts of different things. We're just going to play it by ear. I think all of use are 'fly by the seat of our pants' performers anyway, so I think what we're really focusing on is just making sure all of us get an ample amount of time on stage, and we're just doing what's comfortable."
Minimum Overdrive Tour Dates:
Wed/Oct-01 Detroit, MI Small's
Tues/Oct-2 Toronto, ON The Cave at Lees Place
Wed/Oct-3 Montreal, QC Divan Orange
Sat/Oct-04 Philly PA Milkboy
Sun/Oct-05 Asbury Park, NJ Asbury Lanes
Mon/Oct-06 Boston MA Great Scott
Tue/Oct-07 Brooklyn NY St. Vitus
Wed/Oct-08 Richmond, VA Strange Matter
Thu/Oct-09 Durham, NC Motorco
Fri/Oct-10 Atlanta, GA Eddie's Attic
Sun/Oct-12 Orlando Will's Pub
Tue/Oct-14 Dallas, TX Gas Monkey
Wed/Oct-15 Austin, TX Mohawk
Fri/Oct-17 Albuquerque, NM Low Spirits
Sat/Oct-18 Phoenix, AZ Last Exit
Sun/Oct-19 Santa Ana, CA Constellation Room
Tue/Oct-21 San Fransisco, CA Thee Parkside
Thu/Oct-23 Portland, OR Dante's
Fri/Oct-24 Seattle, WA El Corazon Lounge
Sat/Oct-25 Missoula, MT The Palace
Sun/Oct-26 Boise, ID The Shredder
Tue/Oct-28 Denver, CO Hi-Dive
Wed/Oct-29 Wichita, KS Lizard Lounge
Thu/Oct-30 St. Louis, MO Demo
Fri/Oct-31 Minneapolis, MN Nether Bar
Sat/Nov-01 Chicago, IL Township
Sun/Nov-02 Milwaukee, WI Linnemans
Album Review – Old Crow Medicine Show's "Remedy"
Old Crow Medicine Show's new album Remedy is the first album the string band has released since officially minting a #1 song in the form of Darius Rucker's take on "Wagon Wheel", and the first as the freshest members of the prestigious Grand Ole Opry. 2013 was a big year for the buskers, and the band has gone from riding praise from Doc Watson and the kind mentoring from David Rawlings, to entering some of the highest, and most regarded circles in the alternative country world. As a band that has achieved top industry recognition without compromising who they are, they have enough mustard to rub elbows with artists like Lucinda Williams and Rodney Crowell now, yet the vitality to feel like even better years could still be ahead.
As much as some independent music fans might want to shake their fists at Hootie, or cup their hands over their ears when "Wagon Wheel" comes on, or correct you when you attribute the song to Old Crow without mention that Bob Dylan had a hand in the track too, the simple fact is Old Crow Medicine Show's "Wagon Wheel" has now become an American music standard in an era when music standards no longer exist. And along with this accolade, they've become one of the first traditional-oriented outfits to join the Opry in recent memory. No matter the unpleasantness in the mainstream overall, Old Crow Medicine Show has been responsible for a few promising chutes of life springing from the creatively-barren landscape, while still maintaining their underdog charm and independent spirit.
Are there string bands out there that are better than Old Crow Medicine Show? Sure, whether from a technical standpoint with a band like Nickel Creek, or an energetic standpoint with an artist like Jayke Orvis. And the more string bands you listen to (and there's one on every corner these days), the more this becomes evident. But Old Crow Medicine Show is the band that showed up in Nashville and were able to maintain their true and original form of expression, and have it stick. The trendy string band craze of 2012 topped by Mumford & Sons came and went, and Old Crow Medicine Show is still here.
The one price Old Crow pays for the loyalty to themselves is that the range of expression as a busking band is limited. Maybe they can take a few stabs at some deeper material that shows off their songwriting side, but veer too far away from the history of the band and it could result in sneers. Since this is the case, most every Old Crow album lays out in a similar manner. You have your wild-eyed elbow swinging hoedown songs, your few moments of sedated songwriting material, and Medicine Show always seems to work in a song or two about the troops and other social issues, antiquated just right to fit their old-school style. This has made any new Old Crow project somewhat predictable from an approach standpoint. At least, this is what the critic inside me says. But the music fan inside me after a few rounds through this album can't help but to feel the infectious joy embedded in these tracks, the humorous turns of language, and the fiddle burns that instinctively get you off your feet. It's a tried and true formula for Old Crow Medicine Show because it works, and sends the spirit reeling.
The big press release story surrounding Remedy has been that Old Crow and Bob Dylan have collaborated once again. "Sweet Amarillo" constitutes the album's first single and video, and as much as it seems like a gimmick to go back to the same well "Wagon Wheel" was drawn from, "Sweet Amarillo" is quite fetching, and may end up being the album's most memorable track. Another tune called "Mean Enough World" works very much in the style of an old Dylan song, and combined with the speed and offbeat approach of Old Crow, it results in a track that shows off all the band's best attributes.
Another cool track is "Doc's Day", referring back to the band's earliest incarnation when Doc Watson discovered them and helped set the string band on the successful path they're enjoying today.
Overall if this album has a theme or a muse, then the Volunteer State would be it. The Tennessee flag on the front cover was no happenstance. Many string bands like Old Crow who show up in Music City end up with Nashville in their rear view, a middle finger out the window, and their Tennessee flags burning. But as discussed above, the biz has been quite favorable to Old Crow, especially for the last little while. Almost as if to pay homage, they canonize many of the features of Tennessee and Nashville in the songs "O Cumberland River" and "Tennessee Bound". Other songs not necessarily about Tennessee on the surface—like the somber "Dearly Departed Friend" about a fallen soldier that references Tennessee beating Georgia in a college football game—still hold Tennessee as an underlying setting.
Though I'm not sure how much the world is helped by some of their silly songs like "8 Dogs, 8 Banjos", you can't help but get swept up in the enjoyment of "Brushy Mountain Conjugal Visit" or "Shit Creek." The album concludes in a "Seven Bridges Road" moment for the seven piece when they perform the sorrow-filled "The Warden" in stacked harmony. It may not be any "Wagon Wheel" in moneymaking muscle, but "The Warden" performance rivals any other of Old Crow's recorded tracks.
Somewhat predictable, but very enjoyable, Old Crow Medicine Show's Remedy continues their reign as America's preeminent string band, while ushering in a new era of success and recognition that will see the band go down in history as an important influence.
1 3/4 of 2 guns up.
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Purchase Remedy from Old Crow Medicine Show
Preview & Purchase Tracks on Amazon
The Secret Sisters Shine Through In "Put Your Needle Down"
Produced by T Bone Burnett, the new Secret Sisters album called Put Your Needle Down—the sister duo's first record in nearly four years—was produced by T Bone Burnett. T Bone Burnett produced this sophomore effort, and lending his efforts in a production role was T Bone Burnett. T Bone Burnett, T Bone Burnett, T Bone Burnett.
Did I mention that T Bone Burnett produced this album? Okay good. Because apparently that's a more important point than who this album is by and what it's titled, and T Bone's name must precede this information in any copy or conversation.
It's not that T Bone Burnett isn't an accomplished and successful producer. I mean hell, you can't stick your nose anywhere in the Americana realm without finding apostles of T Bone telling you how brilliant he is. The problem though is the hype around his work has become so pervasive, I'm afraid he's begun to believe it himself, and uses it as justification to employ an extremely heavy hand in his producer capacity, relegating the artists he works with as secondary, if not arbitrary to furthering the weight behind his own name. Or at least, that's the way it sounds.
No doubt T Bone Burnett is a towering man of music. There's no denying his record. But that doesn't give him the right, or make it right to overhaul, supplant, or bury the God-given sound, style, and talent the artists he works for are born with. People can come to T-Bone's defense and say that this is the fate these artists chose when they signed up to work with him, but it still doesn't erase the fact that the role of a producer is supposed to be one of a subordinate. Yes, the producer should guide and mentor, but the best producers in the business do not reshape artists into their own appointed image, they coax the best attributes already alive in artists out into the open to be captured in the recorded context. Inexplicably, with The Secret Sisters and Put Your Needle Down, T Bone Burnett does both.
This album shouldn't be characterized as The Secret Sisters with T Bone Burnett. It should be couched as The Secret Sisters versus T Bone Burnett. Such an over-produced wall of serrated sounds punishes the ear throughout this album, it's like trying to view the Eiffel Tower through a plague of locusts: You know there's something very pretty and breathtaking there, but you have to fight with flailing arms to see, and you're rarely allowed to relax and bask in its beauty.
T Bone Burnett's production doesn't seem to have any sense or respect for the time and place The Secret Sisters' music naturally evokes; their music seems only the canvas for T Bone to do his worst. After the very first song, I was already tired of the ever-present tambourine on this album, which permeates this record deeper than a sheepdog's flea dip. The tambourine rattles inside your skull like a ricocheting bullet; steadfast and unrelenting. I couldn't get the iconic image of Will Ferrell banging on a cowbell from that famous Saturday Night Live skit out of my head, but replaced by a round, jingle-filled adult-sized death rattle. Mucky, incongruent moans of excessively chorus-inflected guitar tones burden this work like the apparitions that keep you in slow motion as you're being pursued in a nightmare by an apex predator.
Am I being a teeny bit harsh here maybe? Is some deep-seated, unnecessary hatred for all things T Bone shining through and compromising my integrity? Perhaps, but I'll tell you, despite the monstrosity T Bone constructed though his work on this album, I love Put Your Needle Down. I think this album is great—one captivating song after another. Why? Because no different than how the primitive artists of country had to fight through poor production situations when they were making the very first country albums, or in the 60′s when Music Row producers couldn't resist adding strings and choruses to every damn song, or in the 80′s when everyone decided the best thing to do was get into the keyboard business and over-modulate the hell out of the drum signals, good songs, and good artists will always shine through. And that's what The Secret Sisters are, and that's what The Secret Sisters did on Put Your Needle Down.
And if we're going to smear T Bone with such colorful language, we also have to give him credit. Whether it was by accident, on purpose, or despite his best efforts, on Put Your Needle Down, the sheer, untouched genius of The Secret Sisters was unearthed in all of its dazzling beauty, and captured so splendidly despite the production woes, that you could fall under it's spell even if you had to listen through an A-bomb blast.
Sisters Laura and Lydia Rogers were born and raised in one of the holy lands of American music: Muscle Shoals, Alabama. Fertilized with music from George Jones, Merle Haggard, and Doc Watson, and singing in a church that had no instruments, their Southern harmonies were born with such a purity that can only be found in sister siblings. When The Secret Sisters harmonize, it is the sound a pining heart makes, or the sound emitted when a crack cleaves the soul. Or it's the salve that mends the heart and soul, depending on the theme of the story their soaring voices carry.
Their first, self-titled album from 2010 was a selection of classic country-style songs and was produced by Dave Cobb–famous for working recently with both Jason Isbell and Sturgill Simpson on their critically-acclaimed albums—with T Bone Burnett breathing down Cobb's neck as an "executive producer." The Secret Sisters debut captured them in their most native environment, and in a sincere, country offering. No, my defacing of T Bone's effort has nothing to do with him taking this album in a non-country direction; it's that he didn't respect the natural sound of The Secret Sisters. He could have added some rock or progressive sounds here and there, but the production effort of Put Your Needle Down was a complete whitewashing. And get this: I'm so dug in on this stance, I don't even care if The Secret Sisters disagree.
But damn if I don't love virtually everything The Secret Sisters themselves do on this album. Put Your Needle Down differs, and is enhanced from their first album by featuring mostly original songs. The pain and desperation captured in their performances on tracks like "Iuka" and "The Pocket Knife" evoke the plight inherent in the female condition when it's torn and tested by the villainous priorities of men. The heights reached in the chorus of the 50′s-ish do woppy "Black And Blue" with the sisters harmonies dancing and twirling in such synchronicity, like smoke-trailed acrobats rising eloquently and unresponsive to gravity until it is impossible to discern them apart in formation, is nothing short of awe-inspiring.
One respite from T Bone the Terrible's reign is on the subdued and simple "Lonely Island", which if recorded 50 years ago, would be a standard of the country music song book today. It is simply a masterpiece.
And as jarring and inappropriate as the production of this album is, you even get to a point where you're okay with it, if for no other reasons than refusing to let it ruin what was going on here beneath the layers and layers of over-production, and the fogginess that besets this album—sometimes a symptom of when a project's mixes have been reworked too many times, especially when they are recorded on 2-inch tape to capture the "warmth" that Audiophiles love to preach about. And yes, I understand what T Bone was trying to do here: he was trying to take something classic and pure, and make it hip and progressive to appeal to a wider audience. On paper, there's nothing wrong with that. But from a production standpoint, it didn't work. T Bone was not the right one to try this feat with this particular project.
And why did it take nearly 1 1/2 years for this album to get to our ears? It was recorded in December of 2012, and January of 2013. I think there's a story there in itself, if only to answer why two young women with the wind behind their backs from their first album had to wait so long for a second release.
But I'll be damned, I really, really enjoy this album overall. Simply put, The Secret Sisters are the best female duo out there right now, and Put Your Needle Down comes highly recommended….with the obvious production caveat.
1 3/4 of 2 guns up.
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Preview & Purchase Tracks from Put Your Needle Down
Old Crow Medicine Show Invited to be Grand Ole Opry Members
For the first time in the last half decade, the Grand Ole Opry is poised to induct a traditionally-leaning country music act into its distinct and coveted roster of permanent members. Opry member Marty Stuart surprised Old Crow Medicine Show at their show at the Ohio Theater in Cleveland tonight (8-16) with an invitation to join the storied institution during Old Crow's scheduled performance. Their induction will take place September 17th.
Formed in 1998, Old Crow Medicine Show's history is strongly tied to the Grand Ole Opry and some of its most important members. The band was discovered by Doc Watson's daughter when busking on the same street Doc Watson used to play in Boone, NC. That led to them participating in the annual MerleFest music festival in the spring of 2000. At MerleFest, a woman from the Opry named Sally Wilson saw the band perform and invited them to participate in outdoor events in the Opry plaza throughout the summer. The band then found favor with Marty Stuart, who took them under his wing as a mentor. Old Crow Medicine Show made their Grand Ole Opry debut in January of 2001 at a Ryman Auditorium show.
In 2004 the band released their breakout album O.C.M.S produced by David Rawlings, and became one of the premiere string band acts in independent country music. With big songs like "Tell It To Me," and the now gold-certified "Wagon Wheel," Old Crow Medicine Show was one of the first string band acts to find fans outside of traditional country circles. "Wagon Wheel" has gone on to become a #1 hit for Darius Rucker, and Old Crow Medicine Show is often named as a precursor and major influence to bands like Mumford & Sons and The Lumineers that have brought massive commercial success to the string band concept.
The Opry's Old Crow invitation ends a string of invitations and inductions of present-day country pop stars that have angered some traditionalist fans. Rascal Flatts, Keith Urban, and Darius Rucker were the Opry's last three inductees. The last traditional country star to be inducted was Charlie Daniels in 2008. With this move, the Opry appears to be recognizing Old Crow's influence, their recent success, and their ability to bridge differences in taste with their enthusiastic and creatively deft show.
Lonesome Wyatt's Gothic Country "Ghost Ballads"
In Red Dirt music, there is a place called "The Farm." It was a 5-bedroom house outside of Stillwater, Oklahoma owned by Bob Childers where the Red Dirt movement started in earnest. No matter what happens in Red Dirt henceforth, whether it continues to grow or it fades away, the few Red Dirt members who called "The Farm" home in those formative years will always have their place in history cemented as forefathers of the music.
If underground country had a version of "The Farm," Lonesome Wyatt would be one of its inhabitants. Lonesome Wyatt is a pioneer of Gothic country with his band Those Poor Bastards, and one of the originators of underground country whose song "Pills I Took" was covered by Hank Williams III on his landmark album Straight to Hell, he is one of the few artists who will never be forgotten regardless of the long-term fortune of the underground country sub-genre.
Gothic country is not for everyone. Similar to how punk and reggae may not have many similarities on the surface, but whose structures are steeped in similar modes when you explore the music deep at its core, Gothic country may come across initially as counter-intuitive, or even corrosive to someone who calls themselves a country fan. But within Gothic country, you find the stark distinctions of good and evil indicative of The Louvin Brothers and gospel, you find the the murder balladry of Doc Watson and Johnny Cash, you find the Gothic identity and presence of death of The Carter Family, and the empowerment of the poor of Woody Guthrie.
Lonesome Wyatt and his "Holy Spooks" side project may even be less accessible that other Gothic country because the sound is fairly stripped back and the approach quite fey. This is music to be listened to, not heard; music that you sit back and appreciate its textures as opposed to banging your head or tapping your foot to. But for those brave souls not scared off by the spooky dressing, they will discover some striking artistic expression interwoven with timeless storytelling in an album that reveals itself to be more entertaining and even prone to losing yourself in than you would initially expect.
If Lonesome Wyatt was an actor, he'd prefer the method approach to the craft. And if his music were a movie, it would be a graphic novel. Where Lonesome's Those Poor Bastards material usually carries more anger, and angular, abrupt themes, Ghost Ballads is like a lost collection of Edgar Allan Poe poems written as if they were for children, but that were truly meant for adults. Then he sets it all to music. This is where Lonesome Wyatt's singular artistic contribution to the world is evidenced, which is his ability to cull the perfect sounds from the universe to conjure a desired mood. A master craftsman of audio textures who is not afraid to pull from both the analog and electronic worlds, his ear is wickedly adept at picking up the most delicious subtleties in sounds that universally trigger dark responses in the human palette.
And just when he has you in the darkest of all moods, the creepy bastard springs into the saccharine, 50′s-ish do-woppy "Dream of You" making the whole experience feel even that much more sinister.
Reportedly recorded surreptitiously at the haunted Maribel Caves Hotel in Maribel, WI, Ghost Ballads may not be the best starting point to get into Lonesome Wyatt's uniquely dark and creative approach to music, but is a good selection if you're looking for music to create camaraderie with a dark mood, or are looking to evoke one.
Lonesome Wyatt is a timeless artist, and I'm sure Ghost Ballads along with his entire discography will be haunting Gothic fans long after he's in the grave.
1 1/2 of 2 guns up.
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Purchase Ghost Ballads from Lonesome Wyatt
Preview & Purchase Tracks on Amazon
The Music That Paved The Way For Mumford & Sons
The case can be made that Mumford & Sons is the biggest thing in all of music right now, with Babel winning the Grammy for Album of the Year and their worldwide sales rivaling all other artists. This is a weird reality for many roots fans who fell into favor with acoustic music many years ago.
Roots music has always been a quiet, shy sphere of the music world, not really craving popularity or hype. Meanwhile Mumford's wild success has some talking about a roots backlash, and has opened up the possibility of an impending crash in the popularity arch that could leave elements of the roots world feeling like a fad, like 60′s folk or late 90′s swing.It all makes you wonder if Mumford's music wouldn't be better received in some circles if it just wasn't so damn popular.
Many of the bold changes in the direction of popular music begin with artists that are too fey, too polarizing to become popular themselves. So it takes others who understand how to soften music with sensibilities to make it accessible to the masses, and hopefully, if time is on their side, transect the popularity timeline, resulting in superstardom.
With Mumford & Sons, there were many other bands, artists, and events that set the table for their wild success, buttering up crowds, building an appreciation for acoustic roots music throughout varying demographics and origination points. Here are a few of them.
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O Brother Where Art Thou created its own roots music tempest and bluegrass revival when it was released in 2000, and since it originated in the cinematic world instead of the music world, its impact on popular culture was far reaching, finding its way down avenues that otherwise would not be exposed to roots music. From that big bloom, the seeds were planted that would later sprout and blossom into the Mumford & Sons' ubiquitous, widespread appeal, making acoustic roots into full-blown popular music.
Old Crow Medicine Show was one of the main ingredients in both influencing the sound of Mumford & Sons, and setting the table for their mass appeal. Marcus Mumford says of Old Crow, "I first heard Old Crow's music when I was, like, 16, 17, and that really got me into, like, folk music, bluegrass. I mean, I'd listened to a lot of Dylan, but I hadn't really ventured into the country world so much. So Old Crow were the band that made me fall in love with country music." Ketch Secor of Old Crow concurs, saying, "Those boys took the message and ran with it."
Meanwhile Old Crow Medicine Show, and specifically their gold-certified song "Wagon Wheel" created the fervor for roots music that Mumford & Sons are currently feeding off of.
Old Crow Medicine Show might be the band named as Mumford's primary influence, but when looking at the band from the standpoint of lineup, instrumentation, energy, and the emotional context of their lyricism, The Avett Brothers' fingerprints can be found all over Mumford & Sons.
The easiest similarity to distinguish is how the two bands line up on stage. Scott Avett was one of the first acoustic roots frontmen to play a bass drum with his foot while standing at center stage, while his brother Seth played a hi-hat cymbal the same way. The brothers also had the propensity to move around stage behind different instruments, specifically the drums, just like Marcus Mumford does. The high, punk-esque energy The Avett Brothers bring to their show alongside a softening of the edges of roots music is something else Mumford emulates, as are their songs that seem to drip with emotionalism. This emotional approach to roots music is what separated The Avett Brothers from their bluegrass forebears when The Avetts started out in 2000; a full 7 years before Mumford & Sons' first release.
Whereas Mumford & Sons' rise has been meteoric, The Avett Brothers enacted a very slow build, van touring incessantly on a small club circuit until their infectious approach to roots music saw them graduate to small theaters, large theaters, and then signing with Rick Rubin in 2008, nearly a decade after they started out. The Avett Brothers approach, and the sweat equity they built from tireless touring over many years is at the very fabric of Mumford & Sons' sound and success. Mumford is not an Avett Brothers rubber stamp, but it's hard not to give The Avetts props for blazing a wide, clear path for them.
Bob Dylan is given great credit as a Mumford & Sons' influence, and this is primarily evidenced in the poetic, and sometimes veiled nature of Mumford's lyrical writing. In that same respect, Shakespeare and Plato are Mumford influences. Both characters and others from classical literature are originators of language that has appeared in Mumford & Sons songs. Marcus Mumford once said, "You can rip off Shakespeare all you like; no lawyer's going to call you up on that one." They also draw from American novelist John Steinbeck in their songs "Dust Bowl Dance" and "Timshel."
The Devil Makes Three is never given enough credit for impacting the roots music revolution. It's probably a stretch to say they had any direct influence on Mumford & Sons, but when The Devil Makes Three started in 2002, they were one of the very first bands, and virtually the only band on the West Coast that brought a high-energy, punk-inspired approach to acoustic roots music. Rarely spoken about east of the Mississippi or away from their native Vermont, The Devil Makes Three draws massive crowds in California and have inspired many spawns across the country. They are responsible for countless new acoustic roots fans, and helped allow the cross-continent permeation of Mumford mania.
Along with the obvious bluegrass greats like Bill Monroe, Jimmy Martin, Flatt & Scruggs, Doc Watson, and Ralph Stanley, newer artists like Wayne "The Train" Hancock, The Civil Wars, Trampled by Turtles, The Hacksensaw Boys, Split Lip Rayfiled, Larry & His Flask, The .357 String Band, The Foghorn Stringband, The Wiyos, The Goddamn Gallows, Reverend Peyton, and many more laid a foundation for alternative roots music appreciation in America that Mumford & Sons now enjoys.
2012 Americana Music Award Winners & Recap
Wednesday night (9-12-2012) country music's mother church The Ryman Auditorium was alive with the sounds of The 2012 Americana Music Awards that saw an always talented, eclectic (and sometimes confusing) flock of musicians, songwriters, and performers amass to give credit to the best and brightest of the year. Part of the greater Americana Music Conference happening in Nashville this week, the awards featured excellent performances from legends such as studio great Booker T. Jones and songwriter Richard Thompson, as well as Emerging Artist nominees The Alabama Shakes and Deep Dark Woods.
Some highlights of the night were Booker T sitting in with The Alabama Shakes, Cary Ann Hearst of Shovels & Rope doing the "Another Like You" duet with Hayes Carll, and my favorite part of the night, when Song of the Year winner Jason Isbell thanked his manager Traci Thomas of Thirty Tigers, and then took a shot at The Country Music Anti-Christ saying he wanted an empty chair onstage "…so I could yell at an invisible Scott Borchetta." Generations were bridged when Patterson Hood of the Drive By Truckers, the son of a famous studio musician David Hood of the Muscle Shoals Rhythm Section gave an excellent speech inducting Booker T Jones as an Americana Lifetime Achievement Award recipient for instrumentation.
Lifetime Achievement Award for Performance inductee Bonnie Raitt closed out the festivities with two songs, including her signature "Thing Called Love" before the stage filled with Americana dignitaries including Bonnie and John Hiatt to do a stirring rendition of The Band's "The Weight" in tribute to the late Levon Helm, who was remembered along with Doc Watson and Earl Scruggs.
Jim Lauderdale hosted the event, and Buddy Miller, Don Was and others worked all night as the Americana house band.
How to define the term "Americana" was the running joke all night (and is somewhat of a tradition of the awards), but whether you were listening in through NPR's live stream or lucky enough to subscribe to the right service get it on the TV, it was hard to argue with the talent and accolades the Americana Music Association used to define the 2012 awards.
2012 Americana Music Award Winners
Instrumentalist of The Year
Dave Rawlings, Gillian Welch's guitar accompanist.
Album of the Year
"This Ones For Him" A Tribute to Guy Clark
Song of the Year
Jason Isbell's "Alabama Pines" off the album Here We Rest
Emerging Artist of the Year
The Alabama Shakes
Artist of the Year
Gillian Welch
Duo/Group of the Year
The Civil Wars
Lifetime Achievement Award for Performance
Bonnie Raitt
Lifetime Achievement Award for Songwriting
Richard Thompson
Lifetime Achievement Award for Instrumentalist
Booker T. Jones
Lifetime Achievement Award for Executive
Dennis Lord
UPDATE – RIP: Family Called to Doc Watson's Side
Legendary guitar player Doc Watson has died according to his representatives at Folklore Productions.
The 89-year-old folk and bluegrass guitar legend's heath issues started on Monday (5-21) Bluegrass Today reported, after a fall at his home. No bones were broken, but the incident exposed other health problems. He was airlifted to the hospital on Wednesday, and late Thursday Watson had surgery to resolve an impacted colon where his entire colon ended up being removed. The procedure was declared successful and Watson was said to be "resting and responsive" afterwards, with Doc's representative Mitch Greenhill saying, "He has regained some strength. The family appreciates everyone's prayers and good wishes." But after a follow-up procedure on Saturday, Watson's condition never improved from "critical" and he remained in Wake Forest Baptist's Intensive Care Unit. Doc Watson's family was called to his bedside at Wake Forest Baptist Medical Center in Winston-Salem, NC on Sunday (5-27).
Monday morning (5-28) it was reported that Watson's vital signs had improved slightly overnight after a "very rough Sunday," though he continued to remain in critical condition in the hospital's ICU.
Doc Watson has won 7 Grammy Awards over his career, and also received the Grammy Lifetime Achievement Award in 2004. The blind guitar player is best known for his influential flatpicking and fingerpicking techniques with the guitar, and his oral history of folk, bluegrass, and mountain music. He was born Arthel Lane Watson in 1923 in Deep Gap, North Carolina, going blind before his first birthday. He got the name "Doc" when a radio announced suggest the name Arthel was too unusual and someone yelled "Doc" out from the crowd.
Thoughts and prayers go out to Doc Watson and his family.
Your Opinion – Old Crow Medicine Show
When I first heard Old Crow's self-titled album, I ate it right up. With instant classics like "Tell It To Me" and "Wagon Wheel," OCMS became a popular band for such a rootsy, raw sound, and a major influence in alt-country/roots music. But as I listened to that album and their subsequent releases, my mood on them began to grow sour. Their songwriting skills cannot be denied, and their arrangement and harmonies are superb. But the instrumentation can be sloppy, which at first is endearing, but slowly becomes revealing.
Then there is them "effecting" their voices, trying to sound like Southern bumpkin fallover drunks, when in reality their stone sober in an air conditioned studio. Take their song CC Rider as an example. I'll eat a bug if this is how these guys sound in real life. The part where Ketch or Willie (not sure which one) says "Play a little while let me get my harmonica," in such a ridiculously overacted voice makes me want to take the CD and smash it against the wall and never speak of it again. This is what Leroy Virgil was talking about, that lack of genuineness.
They also love to get political on your ass. And not in a cool, ambiguous "the government's gone nuts" kind of way, but in a way that makes them come across as pushy, pointy nosed intellectual liberals living in very tight reality tunnels, clashing with their bumpkin uneducated style of music. For example in their song "Humdinger" off of Tennessee Pusher the line is, "If you're not a right winger, then we'll all have a humdinger."
My guess is there's many more "Humdingers" involving "Wine, whiskey, women, AND GUNS" going on in red states than blue, and in my life experience, whether you have a "D" or an "R" in front of your name makes no difference how much you partake in the previously-quoted vices.
Recently their music has become more mainstream. I love the producer Don Was, but why do you need a big name producer to make what is supposed to be simple old time string music?
Without question, Old Crow Medicine Show has been a great ambassador for dirty roots music. I also know that Doc Watson, Emmylou Harris and other high profile people have put their name behind them. But to me they've always felt like they are on the outside looking in at what's really going on in the roots movement, that they're missing that "soul." Sure they're good, but there's so much better. That's why a few years back OCMS had to open for the .357 String Band instead of vice versa in Europe, because for whatever reason, the Europeans have a better nose for authenticity than the American public.
I'm not saying I hate the music. On the contrary. But the OCMS approach has given me a love/hate relationship with this band.
What do YOU think?
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Jennifer Love Hewitt
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Like any spinster worth her weight in crazy, Jennifer Love Hewitt celebrated her 30th birthday Saturday by dressing up like Audrey Hepburn and going to Tiffany's. So, wait, senility kicks in at 30? Christ, I might as well drown myself in the bathtub. Or go to McDonald's dressed as Humphrey Bogart. E...


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The Mesa school district is spearheading a proposal to create a 5,000- to 6,000-seat community events center and a 15,000- to 20,000-seat stadium and track on the Mesa Community College campus.
The idea has been in the making for 20 years, but steps to make it a reality have moved fast-forward in the last six months, Steve Hogen, director of athletics for the Mesa Unified School District, told the district's governing board Tuesday evening.
The district's leaders will present the proposal - along with a letter of support - to the Mesa City Council Dec. 14, Hogen said.
The arena could be the first phase of a shared athletic facilities center on the MCC campus, 1833 W. Southern Ave. The proposal also includes an aquatics center as an optional addition.
With these types of facilities, Mesa could play host to state and regional high school sports championships and Western Athletic Conference tournaments.
Hogen pointed to the community's new pool at Kino Junior High School, which is already scheduled to play host to national masters swimming and synchronized swimming events in 2011. Both events could bring in 1,500 to 2,000 out-of-state guests.
"Our track record has shown it can be done," he said. "It can be done in Mesa."
Hogen said the community college and surrounding Fiesta district businesses, including Westcor - which owns Fiesta Mall - and Banner Desert Medical Center, are in favor of the plans.
Superintendent Mike Cowan said it is win-win for Mesa.
"We see this as a valuable resource to our community," he said.
Hogen said it could provide a much-needed boost for the Fiesta district.
"A lot of great resources tell us this is a good idea," Hogen said.
The "big elephant" in all the planning is how to fund such an endeavor, Hogen said, adding each of the facilities could cost $50 million.
There could be several funding scenarios - federal stimulus dollars, private donors, voter-approved bond funds, Federal Emergency Management Agency dollars - because it would also provide a large-scale staging area for community disasters.
Mesa is being asked to create a community facilities district in the area that would fund construction through some sort of tax, said Councilman Dennis Kavanaugh, whose district includes the area. But the schools haven't asked Mesa for any direct financial assistance, he said.
The school district is not putting money into the proposal, Hogen said.
"We have not committed any funding, any land to this. We've created the concept," he said.
Kavanaugh pointed out that the sports facilities could raise a lot of tax revenue with out-of-town visitors who spend money on hotel rooms, food, rental cars and at stores in the area.
"It would be a major shot in the arm because the three facilities they're talking about can create a big concentration of visitors, both during the day and in the evening," Kavanaugh said.
City officials say they are aware of the idea but haven't been part of the discussion or planning, City Manager Chris Brady said. He and Mayor Scott Smith expect to get a presentation from school officials soon to see what it includes and what may be asked of the city. The issue could go on to the full City Council as early as December, Brady said.
"There's a lot of preliminary conversation going on, and the city has not weighed in on this at all," Brady said.
The community college and the school district signed a "memo of understanding" in 2007 to explore creation of the shared facility.
Hogen said an economic study has already been completed and he has a blueprint in mind to put before the city. He said the new community events center could be a mirror of the Tim Toyota Center in Prescott Valley. That facility hosts minor league hockey, figure skating, theater productions, basketball, boxing, concerts and more, according to its Web site.
Tribune writer Garin Groff contributed to this report.


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A SLOW start to both halves proved costly as Bradford Bulls Under-19s fell to a 52-16 defeat at the hands of Hull FC last night.
The visiting Black and Whites were comfortably ahead by half-time and picked up from where they had left off after the break.
First blood went to the away side when Matty Liggins powered his way through two would-be defenders, before Ash Bastiman took advantage of a loose ball to increase Hull's advantage.
Jack Logan was the beneficiary of some neat handling from the Humberside outfit, which only added to the hosting Bulls' woes.
And they marched further in front following a Bradley Spriggs touchdown and, during the minutes which followed, Logan grabbed his second of the evening – after an 80-metre footrace.
Nathan Conroy hit back for the Bulls and, with momentum suddenly turning in the home side's favour, James Pickering grabbed another Bradford try.
The Provident Stadium outfit had reduced the deficit but the Airlie Birds were in no mood to lie down, starting the second half as they did the first.
Harry Tyson-Wilson scored twice in a matter of minutes, with Brad Parker crossing in between.
Jake Hrintchuk replied for the Bulls, powering across the whitewash.
But matters were sealed when Ryan Langton bundled over, with Brad Harrison putting the finishing touches to Hull's tally.
BULLS: Ethan Ryan, James Pickering, Ross Oakes, James Thornton, Kieran Walpole, Branden Pickersgill, Adam Brook, Jack Georgiou, Nathan Conroy, Nat Light, Emmerson Whittel, Mason Tonks, Sam Bates. SUBS: Callum Ogden, Liam Kirk, Niadh Currie-Clarke, Jake Hrintchuk.
TRIES: Conroy (32), Pickering (36), Hrintchuk (60)
GOALS: Brook 2/3
HULL FC: Josh Nicklin, Tom Stark, Jack Logan, Ryan Langton, Josh Poskitt, Harry Tyson-Wilson, Reece Dean, Bobby Tyson-Wilson, Alex Shepherdson, Masimbaashe Matongo, Brad Harrison, Ash Bastiman, Matty Liggins. SUBS: Brad Parker, Charlie Johnson, Bradley Spriggs, Josh Wood.
TRIES: Liggins (9), Bastiman (12), Logan (15, 28), Spriggs (20), H. Tyson-Wilson (41, 51), Parker (46), Langton (64), Harrison (76)
GOALS: Dean 6/10
REFEREE: J Roberts


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September 2, 2010
Was privledged to work with Lubeznik staff on a successful Empty Bowls program to benefit the food pantries of LaPorte County and the Food Bank of Northern Indiana. By the coordinated use of their art programs with the county schools and after school programs, we created enthusiam not only for the fundraising results to feed the hungry but for the process of feeding them minds of our bowl creators -- Education in Art and education in Hunger relief both were successful. Another event is scheduled with the Lubeznik Center for February 2011 and we are looking forward to another successful partnership!
The Great!
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their ongoing successful programs in public art presentation and art education.
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Professional with expertise in this field & Event Coordinator on joint non-profit fundraising and education project.


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"The highest reward for a person's work is not what they get for it, but what they become because of it" John Ruskin. (1819-1900)
Come and join our group of active volunteers. Some of the benefits include helping others, meeting new people, developing friendships, learning new skills and best of all, feeling needed and valued. Together we can build stronger communities and enriches lives.
There is a significant need for volunteers in today's Library. We will match your skills and interests with corresponding opportunities. You may enjoy assisting us in keeping our book collection in good order, helping someone register to use one of our computers or informing a patron that their books are in and ready for pickup. Or perhaps mentoring is something that would pique your interest. There are opportunities available to train new volunteers, assist with classes in our Computer Lab and/or help individuals with the basic functions of the computers. How about becoming a tutor for the new Literacy Program? It may be that you really enjoy reading to children.
The return on your investment of time is immeasurable. Share your time and talent with us. Together we can make a difference in people's lives.
Download our volunteer application.
The purpose of the Library Board is set forth in Citrus County Resolution Number 86-54 as approved by the Citrus County Special Library District Governing Board on March 11, 1986.
It is the duty of the Library Board to advise the Board of County Commissioners on public libraries' budget, policies, services and other pertinent matters.
The Library Board consists of nine members. The officers of the Library Board consist of a Chair, a Vice-Chair, and a Secretary.
The Library Board meets the fourth Thursday of each month. In the event of conflict with holidays or other events, a majority of the members present may change the date of any scheduled meeting. All meetings begin at 4:00 P.M.
Board Members
Richard Byrnes
Margaret Horsman
Mary Ann Lynn
Phyllis Peters
Sandra Price
Edith Ramlow
Elaine Ranous
Karen Reaves
Steven Sachewicz
For consideration of placement on the Advisory Board, submit a completed application together with a recent resume to
Beverly Hills, FL 34465
The request will be reviewed to determine qualifications and vacancies. In the event there are no vacancies, the information will be kept on record at Library Administration for a period of one year. If there are vacancies and it is determined that the applicant qualifies, the request will be placed on the first available Board of County Commissioners' meeting agenda for nomination to a position. At the following regularly scheduled Commission meetin, a nominee will be appointed to fill each vacant position and a letter will be sent confirming each appointment.
Correspondence can be sent to the Chair addressed to the Central Ridge Library, 425 W. Roosevelt Boulevard, Beverly Hills, Florida 34465. Phone messages can be directed to the Secretary at (352) 746-9077.
Amazing things are going on all the time at your library. Take a look through our image galleries to see some of what we do: from computer classes and citizenship classes, special events and guest speakers, to youth classes and workshops, there's never a dull moment at your local library.
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From our Community Partners Blog
One Courthouse SquareInverness, Florida "Southern Exposure" Norman Bernard opens a jazz Valentine card for you and your sweetheart at the Old Courthouse. He and the Southern Exposure ensemble are... Read more
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Citrus County Parks & Recreation's P.L.A.Y. ProgramThe P.L.A.Y. program (Preparing Little Athletes Youth) is a comprehensive motor skills development program that will prepare you and... Read more
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Parks & Rec. will be presenting the "Willie Nelson & The Outlaws, with not really Willie" Show on March 5, 2015 at the Citrus County... Read more
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Parks & Rec will be presenting a Neil Diamond Tribute Concert on Saturday, February 28, 2015 at Citrus Springs Community Center. Keith Allynn, from Branson,... Read more
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Parks & Rec will be presenting a Comedy Night with Comedian Rene' Bray on Friday, February 6, 2015 at the Central Ridge Community Center. Rene'... Read more
The mission of the Citrus County Library System is to promote the pursuit of knowledge and deliver quality information and educational opportunities to the community.


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By Tracey Capen It's the fear of every TV-show producer — a product commercial that proves more creative and more interesting than the show it's intended to support. Think of the many VW Beetle commercials of the past. (Look 'em up on YouTube if you're too young to have seen them.) Get our unique weekly Newsletter with tips and techniques, how to's and critical updates on Windows 7, Windows 8, Windows XP, Firefox, Internet Explorer, Google, etc. Join our 480,000 subscribers! Subscribe and get our monthly bonuses - free!Your hard drives store photos, books, music and film libraries, letters, financial documents and so on. This ebook is aimed at helping you understand your hard drives, expand their capacities and length of life, and recover what you can from them when they fail. We're offering you a FREE Excerpt! Get this excerpt and other 4 bonuses if you subscribe FREE now! Typically, one would have a hard time imagining a commercial that combines a vacuum cleaner and a classic horror movie such as The Exorcist, but one clever ad-maker pulls it off to great applause. Play the video |
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