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8911 | dbpedia | 2 | 50 | https://www.rollingstone.com/music/music-country/george-straits-longtime-drummer-mike-kennedy-dead-at-59-718454/ | en | George Strait’s Longtime Drummer Mike Kennedy Dead at 59 | [
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] | 2018-09-02T03:07:01+00:00 | George Strait's longtime drummer Mike Kennedy was killed Friday in a three-car crash on a highway outside of Lebanon, Tennessee. | en | Rolling Stone | https://www.rollingstone.com/music/music-country/george-straits-longtime-drummer-mike-kennedy-dead-at-59-718454/ | UPDATE: George Strait has released a statement regarding the death of his longtime drummer Mike Kennedy, who was killed in a car accident on Friday. “Hard to put into words how much Mike’s passing has affected us all. Our hearts are broken. It’s going to be very strange not being able to look over and see him there in his spot on stage and very emotional as well I’m sure for all of us and also his fans,” said Strait. “The band will never be the same. A part of us is gone forever. We all loved Mike and will miss him terribly. He was just as solid a friend to us all as he was a drummer, and that was damn solid. Our hearts and prayers are with his family. The Lord has him now. Rest In Peace my friend.”
George Strait‘s longtime drummer Mike Kennedy was killed Friday in a three-car crash on a highway outside of Lebanon, Tennessee. He was 59. Strait’s rep confirmed Kennedy’s death to Rolling Stone.
According to the Tennessee Highway Patrol, the SUV driven by Kennedy hit a tractor-trailer as the two vehicles merged into another lane; the tractor-trailer then careened into another vehicle. Kennedy was not wearing a seatbelt at the time of the accident, the Tennessean reports, but it’s unlikely a seatbelt would have saved his life. No one else was injured in the crash.
Kennedy served as Strait’s drummer for nearly 30 years, first appearing on the King of Country’s 1992 album Holding My Own before taking up residency as Strait’s touring drummer as a member of the entertainer’s famed Ace in the Hole backing band. Kennedy was also credited with working with Jamey Johnson, Ricky Skaggs and Freddie King.
Strait’s tour manager Paul Rogers tweeted following the news of Kennedy’s death, “The heart beat of our band is gone. Not sure how we will get back on stage without him. But we must. Much love and respect my dear friend Mike Kennedy.”
George Strait, who retired from regular touring in 2014, is scheduled to perform in Las Vegas on December 7th. | |||||
8911 | dbpedia | 1 | 13 | https://www.facebook.com/BobbyJarzombekOfficial/posts/george-strait-and-the-ace-in-the-hole-band-im-loving-this-new-pic-of-us/1053714189660936/ | en | Facebook | [] | [] | [] | [
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8911 | dbpedia | 2 | 11 | https://www.kwtx.com/2024/06/24/it-was-pretty-amazing-central-texas-native-reflects-journey-becoming-george-straits-keyboardist/ | en | ‘It was pretty amazing’: Central Texas native reflects on journey to becoming George Strait’s keyboardist | [
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] | 2024-06-24T00:00:00 | John Michael Whitby, 45, of New Braunfels, lived in Waco from the ages of two to fourteen and says it was in Central Texas he learned to love and play the piano. | en | //webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/kwtx/favicon.ico?d=427 | https://www.kwtx.com | https://www.kwtx.com/2024/06/24/it-was-pretty-amazing-central-texas-native-reflects-journey-becoming-george-straits-keyboardist/ | WACO, Texas (KWTX) - A man with arguably the best seat in the house amongst the nearly 111,000 people at George Strait’s record-breaking concert at Kyle Field in College Station June 15 says his road to being on stage with Strait as a member of his “Ace in the Hole” band all started in Waco.
John Michael Whitby, 45, of New Braunfels, lived in Waco from the ages of two to fourteen and says it was in Central Texas he learned to love and play the piano.
Whitby has been the keyboardist for George Strait for 19 years and said being a part of breaking an attendance record set by the Grateful Dead in 1977 was incredible.
“It was pretty amazing getting to play especially coming from Waco, Texas. Taking piano lessons growing up, I remember a recital at Mountainview Elementary in the first grade and then taking more lessons and then seeing George for the first time at the Ferrell center,” Whitby recalled. “I think it was 1992. I was 14 years old.”
Whitby was born in Austin but moved to Waco with his family, including his mom, Susan, and dad, Bill, when he was a toddler.
He attended Viking Hills Elementary, Mountainview Elementary and St. Albans in Waco.
He spent his junior high years at Lake Air Junior High before attending one year at Waco High School. His family then moved to New Braunfels.
Whitby said despite his move, it was a Waco connection that would end up bringing him alongside the King of Country Music.
“We moved to New Braunfels, and I started taking lessons from George’s piano player band leader, a Waco native, Ronnie Huckaby and that’s how I got into all this,” Whitby said.
Whitby has had countless memories with Strait over nearly two decades, touring alongside him all over the United States and once in Europe, but he said topping the Kyle field performance will be tough.
“I mean it was amazing,” Whitby said. “It’s unbelievable.”
Whitby said he talked with Strait’s son, Bubba, to find out his dad’s reaction after having a few days to reflect on the show.
“Talking to Bubba yesterday I said, ‘what did your dad think,” Whitby said. “That’s what I was going to ask really is after all these years, everything, about 50 years, to set that record for the most people there coming to see you and he said, ‘he can’t believe it.”
Whitby said it’s a feeling he shares.
“It hasn’t sunk in all the way just yet but if it’s never broken or broken again in 50 years, because it was about 50 years for The Grateful Dead. So, at least I can say that, or my kids can say that. We played for the most people, ever.”
Whitby and Strait didn’t have much rest after the much talked about Texas show.
They will perform together in Salt Lake City Saturday night. | ||||
8911 | dbpedia | 0 | 24 | https://do210.com/events/2015/4/3/the-texas-jamm-band-featuring-members-of-george-straits-ace-in-the-hole-band | en | The Texas Jamm Band featuring members of George Strait's Ace in | [
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] | null | [] | 2015-04-03T00:00:00 | Check out The Texas Jamm Band featuring members of George Strait's Ace in the Hole Band at John T. Floore Country Store in Helotes on April 03, 2015 and get detailed info for the event - tickets, photos, video and reviews. | en | Do210 | https://do210.com/events/2015/4/3/the-texas-jamm-band-featuring-members-of-george-straits-ace-in-the-hole-band | Mike Daily (steel guitar) Mike has been a member of the Texas Jamm Band since its inception and is also one of the original founding members of the Ace in the Hole Band. Mike comes from a proud country music family tradition that originated in Houston. His grandfather – known as Pappy – discovered George Jones and recorded and produced Jones for his first years as an artist. Mike’s father Don was the first to record his son’s Ace in the Hole Band with George Strait as lead vocalist.
Ronnie Huckaby (piano) Ronnie Huckaby was born and raised in Waco. After high school, he moved to Austin in the early 1970s to experience the exploding outlaw country movement firsthand. He played in local bands around the area until an audition with George Strait in 1983 led him to his current position as band leader and piano player for the country music superstar. Benny McArthur (guitar, fiddle, vocals) Benny McArthur began playing the guitar when he was 13 years old and he picked up the fiddle in his early 20s. In 1983, Benny had the opportunity to join George Strait and he has been a member of Ace in the Hole ever since. His talents are many: guitar, fiddle, vocals, songwriting, producer and studio musician. He wrote George’s hit song “When it’s Christmas Time in Texas”. Benny is also co-founder of the Artist Exclusive Channel which is a new subscription web site designed for independent artists and their fans. Joe Manuel (guitar, vocals) Joe Manuel started in the music business with the Manuel Family Band at a Shakey’s Pizza Parlor in Lake Charles, La., in 1970 at the age of 10. The Manuel family band hit the road in 1976 and Joe eventually landed in Nashville for 23 years. He has worked with Lynn Anderson, T.G. Sheppard, the Grand Ole Opry’s Jimmy C. Newman, Ricky Skaggs, Merle Haggard, Randy Travis, Lee Ann Womack and, of course, George Strait, as a member of the Ace in the Hole Band for the past eight years. | |||||
8911 | dbpedia | 3 | 4 | https://newsroom.acehardware.com/ace-hardware-announces-expansion-plans-for-new-distribution-center--near-kansas-city-missouri/ | en | Ace Hardware Announces Expansion Plans For New Distribution Center Near Kansas City, Missouri | [
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] | 2023-06-22T15:03:00+02:00 | Ace Hardware Corporation, the world’s largest retailer-owned hardware cooperative, announced plans to open a new Retail Support Center (RSC) located in Kansas City, MO. The new facility, spanning approximately 1.5 million square feet, is projected to be fully operational in 2025, and is expected to provide employment opportunities to over 350 ... | en | https://content.presspage.com/favicon/1818.ico?849080577 | Ace Hardware Announces Expansion Plans For New Distribution Center Near Kansas City, Missouri | https://newsroom.acehardware.com/ace-hardware-announces-expansion-plans-for-new-distribution-center--near-kansas-city-missouri/ | Ace Hardware Corporation, the world’s largest retailer-owned hardware cooperative, announced plans to open a new Retail Support Center (RSC) located in Kansas City, MO. The new facility, spanning approximately 1.5 million square feet, is projected to be fully operational in 2025, and is expected to provide employment opportunities to over 350 people.
“We’re excited to add a world-renowned company like Ace Hardware to the growing list of businesses opening new facilities in Missouri,” said Governor Mike Parson. “Our state’s location in the center of the United States gives companies the ability to reach customers quickly. We’re proud to welcome Ace Hardware to Kansas City and look forward to watching its success in the region.”
Ace Hardware is building the new facility to balance its current distribution network and meet the needs of its growing retail landscape. In the last 10 years, Ace Hardware has increased its retail sales by $12 billion. Ace has also experienced 11 consecutive years of new domestic store growth, resulting in the opening of 850 new stores in the past 5 years. Its network of distribution centers allows Ace to offer best-in-category service and support to its retailers, and the new Kansas City facility will help the company keep pace with current demands and projected growth in the coming years.
The new Kansas City RSC will significantly enhance our inventory capacity and bolster service levels across the nation. Encompassing over 1.5 million square feet of floor space, it will be almost twice the size of the average Ace RSC and will be the first facility in the new KCI 29 Logistics Park, assembled by Hunt Midwest. Similar to our recent distribution network expansion, the Kansas City RSC will be equipped with state-of-the art technology, automation, and warehouse management systems.
“We look forward to construction of the new Retail Support Center in Kansas City, which will be a critical part of Ace Hardware’s robust supply chain,” said Lori Bossmann, Executive Vice President, Chief Supply Chain Officer for Ace Hardware Corporation. “This new facility will allow Ace to accommodate its recent growth and sales volume, and it will prepare our company for future business opportunities. By strengthening our presence in the Midwest, Ace will be better positioned to fulfill deliveries more frequently, ensuring consistent service levels as new stores are opening within our network.”
The Retail Support Center in Kansas City will become an integral part of Ace’s global distribution network. Construction is expected to begin in Q2 of 2023, with projected completion in mid-2025. We anticipate that this project will generate an estimated 100 construction jobs to the local community.
“The addition of this RSC ensures that we have strategically positioned facilities aligned with our stores,” said Jake O’Neal, Corporate Vice President, Retail Support. “It also enables us to maintain balanced service areas, ensuring the prompt delivery of goods to our stores and providing our retailers with a competitive advantage in meeting their customers’ needs. During critical events such as seasonal flooding, natural disasters, and the pandemic, Ace’s robust distribution network has served as a lifeline for the communities we proudly serve.” | ||||
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8911 | dbpedia | 1 | 91 | https://www.brokenspokeaustintx.net/broken-spoke-legend | en | BROKEN SPOKE LEGEND | [
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] | null | [] | null | en | https://static.parastorage.com/client/pfavico.ico | brokenspoke | https://www.brokenspokeaustintx.net/broken-spoke-legend | The Broken Spoke is Texas' most definitive dance hall. We've been voted "Best Dancehall in Texas" by Texas Highway! It's not one of those fly-by-night, trendy newcomers, you see springing up in some strip center or feed store on every corner. You can't build a legend overnight. Owners James and Annetta White have been operating the Austin tradition since 1964 and its reputation for great live country music and good Texas cooking is World Famous! We have hosted Presidents, State Governors, the Queen's entourage and super stars from all genres of entertainment. They all visit the Broken Spoke in Austin, because its the Real Deal! No phony-bologny here! This is the Real Texas!
Back in the sixties, the Spoke played host to countless country super stars and legends. Bob Wills, Ernest Tubb, Roy Acuff, and Tex Ritter have all tipped their hats from the stage at the far end of this old dance hall.
Willie Nelson started playing at the Spoke before he moved back from Nashville when he still had a crew cut and a sport coat - before he brought braids and tennis shoes to the forefront of country fashion. In fact, it's not a bit unusual to stumble into the Spoke on a Friday or Saturday night and find the Red-Headed Stranger kicked back against an amp, picking with whatever band is the featured entertainment of the night. It's no secret that the Broken Spoke is one of Willie's favorite hang-outs when he's home in Austin.
Through the years, James and Annetta have opened their doors and welcomed to the stage a pretty impressive list of aspiring musicians. George Strait and his Ace In The Hole Band cut their teeth in the music business playing by the neon lights of the beer signs in the Spoke. A wide variety of country superstars like Garth Brooks, Midland Band, Kris Kristofferson, Sturgill Simpson, Charley Crockett to Kitty Wells have jumped up on that stage and carried on the tradition of good country music that the Broken Spoke has made famous.
It is a favorite hang-out of most of Austin's "real" country musicians. Don't call 'em "Hat Acts," around here...the hats you see on stage at the Broken Spoke are as traditional as the music echoing off the walls. You can see talented musicians every night the Spoke is open such as Dale Watson, Alvin Crow, the Derailers, Jason Roberts, Wagoneers w/ Monte Warden, Gary P. Nunn, Billy Mata, Weldon Henson, Johnny McGowan, Darrell Goldman, Tylor Brandon and many more.
James White likes to tell a story about another Texas legend, Davy Crockett: "yeah, old Davy came through here on his way to fight at the Alamo and he liked what he saw. He said, 'James, don't change a thing 'til I get back.' Well poor ole Davy never made it back so we ain't changing nothin!"
Although the Broken Spoke isn't quite as old as the Battle of the Alamo - it captures the mystical charms that makes Texas worth fighting for all over again. And we're still holding strong right in the middle of a fast-growing Austin, Texas! There isn't anything fancy in the red rustic old dance hall. After you're inside, be sure to check out James M. White's tourist trap room with all its memorabilia of country music. And as James always says, "We ain't fancy, but we're damn sure country." Y'all come see us! | |||||
8911 | dbpedia | 0 | 12 | https://redleafschoolofmusic.wordpress.com/2008/05/18/an-interview-with-terry-hale/ | en | An Interview with Terry Hale | [
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] | null | [] | 2008-05-18T00:00:00 | Over on the Warwick Bass site, there's an interview with Terry Hale, Red Leaf's bass teacher. We always look forward to Terry's positivity, stories from the road, and that low end rumble coming from his students' lessons. Check out the article below, written by Dale Titus, and get to know Mr. Hale a little better!… | en | https://s1.wp.com/i/favicon.ico | Red Leaf Blog | https://redleafschoolofmusic.wordpress.com/2008/05/18/an-interview-with-terry-hale/ | Over on the Warwick Bass site, there’s an interview with Terry Hale, Red Leaf’s bass teacher. We always look forward to Terry’s positivity, stories from the road, and that low end rumble coming from his students’ lessons. Check out the article below, written by Dale Titus, and get to know Mr. Hale a little better!
Terry Hale: George Strait’s Ace-in-the-Hole
As a veteran journalist I rarely have trouble coming up with a title for an article or interview. That is, until I tried to come up with one for this interview with bassist Terry Hale. Most of the world knows Terry has the longtime bassist for George Strait’s band, The Ace In The Hole band. So, the title I chose seems fitting, if not all that original. But as I was interviewing Terry I found out that he is MUCH more than what my title implies. He is a devoted student of music, a respected jazz bassist and a true gentleman.
After you read this interview feel free to email me with any suggestions you might have for a title that better describes one of the bass world’s brightest lights.
When did you first pick up the bass?
The first time I played a bass gig was when I was 11 years old. It was our sixth grade graduation party. Three friends and I made an attempt at putting a band together. The band consisted of two guitars, bass and drums. We played “Louie, Louie” about six times and one original that consisted of a G and an F chord. We called ourselves Green Saphron Mist. We were not very good, but we were entertaining to our classmates.
My first instrument was the guitar – all of my older siblings played. I did try sax for about three months, until my Dad couldn’t handle it any longer. I came home one afternoon and the sax was gone!
Did you take formal lessons?
No, just what was offered within the elementary school system at the time, which was singing, playing the recorder, and simple percussion. I mostly learned from my brothers and sister, who at the time where into the folk scene. I am most definitely an ear player.
When the touring slowed down in the mid-90’s, I did pursue some education from some local universities. I studied Music Theory, Improv, and Ear Training. I now have about 15 hours of credit from classes taken.
Who were your early influences on the bass?
I remember being about 12 years old when I first heard Ray Brown on the Merv Giffin show and it was a life-changing experience. I have spent the rest of my life trying to duplicate that sound. Motown was also a big deal for me. Those are just classic lines, and great musical lessons. The first song I ever learned note-for-note was Otis Redding’s “Sittin’ on the Dock of the Bay”. It was a proud moment. Next came the local Bay Area guys: Jack Cassidy, Phil Lesh, Rocco Prestia – amazing players all. I then devoured the “Wheels of Fire” album (Cream). Jack Bruce was, and is to this day, a great hero of mine. Rick Danko was the guy who hipped me to fretless.
I guess I’d have to say I listen like a thief, and steal from almost every bassist I hear.
You are most famous for playing in the Ace in the Hole Band with George Strait singing. How did you first hook up with George?
It was in the summer of 1975. I’d been playing with some guys for about 18 months, when on one night the singer unceremoniously fired all four of us. We decided to stick together – I mean how hard could it be to find a singer, right? Well it took us a couple months. Right before school was to start, (we were all going to Southwest Texas State University ) we placed an ad on the bulletin board in the student union, “band looking for a singer….” On the other side of the board someone had placed an ad for a singer looking for a band. My room mate was the guitarist at the time and called me and said I should cut my trip home short and come check out this guy that wanted to try out for the band. I did and it was George. He was just out of the military and starting school on the G. I. bill. He came to our house that afternoon, sick with a cold, sang one verse and one chorus of a song called “Frauline” I was floored, told him to take two weeks off and come back when he felt better. We started rehearsals twice a day from about mid August until mid October. Our first gig was October 13th, (Ray Brown’s birthday as a matter of fact) and the rest is still to be seen.
The Ace in the Hole band has had the same musicians (with the exception of the guitarist who passed away) for over 30 years. Most bands don’t survive past 30 weeks! How is it that you all have stayed together for so long?
Desire, tolerance and a combined effort to learn our instruments. I guess the most important thing is to have mutual respect, knowing when to step in and when to jump back. This is one of the things I am most proud of, the fact that it is now a 12-piece band, but that there are still 4 out of the original 5 members here.
Musically, how do you stay fresh when you have been in the same band for so many years?
Space. When we aren’t working together, we’re working with different people in different genres. Also it’s very comfortable now to be on stage with each other. There is a lot of spontaneity – we can pick up on each other’s vibes and play off each other’s efforts. The things we’ve learned from working with other players we bring back to this band. We all are great at sharing musically.
What is coming up for The Ace in the Hole Band?
As far as I am aware right now, there is a CMA award shows this fall and our tour will start in January, 2007. Just “keep on keepin on” I guess.
How did your relationship with Warwick begin and what made you want to play them?
Our relationship had a rather mysterious start; seems some one was impersonating me at a Summer NAMM show in Nashville . Apparently this imposter kept stopping by the Warwick booth to get an endorsement. Luckily for me, (Dana B. Goods’ Artist Relations Manager) Michael Brown follows through. He got in touch with management, and they contacted me.
What made me want to play Warwick basses is the tone, the sound of wood, just huge balls. Warwick played a major roll in enabling me to “name my sound”. I found what I was looking for.
What Warwick basses and amps do you use?
I am proud to say my arsenal now contains two 5-string Thumb basses, one fretted with Seymour Duncan Basslines pickups that I used on the Festival Tours (5 yrs. of stadiums), a frettless that is my main instrument and closest to my heart, and a new Triumph electric up right which is blowing my mind and all those around me with the tone and warmth that I’ve never heard from a non-acoustic upright. It is an amazing instrument and incredibly fun to play.
As for amps, I use the Pro Tube IV with a 4X10 cab, and the new Blue Cab 60 for the Triumph. I had the opportunity to play the Blue Cab 30 recently and it sounds great and is compact as well. (The older I get, the less my amps weigh.)
Not many people know this, but you are an accomplished Jazz bassist too. How long have you played jazz?
I have always been a jazz fan, but I’ve only seriously been learning and practicing it for the last 10-to-12 years. I studied it by the only method I’ve ever used, which is to listen and play. I have the great fortune to be in a local music union that has many great jazz players, and they often teach summer workshops which I partake of whenever available. I also had the good fortune to be able to go back to my old alma mater and take a jazz improv class from Dr. James Polk, who was Ray Charles’ band director for 10 years. What an experience!
I currently have a couple jazz groups that I work with here in Austin . Javier Chaparro’s Jazz Ensemble, Playa Azul, (a Latin Jazz group) and the Rick McRae Trio (Rick being the guitarist for George for the last 22 years), and Caravan, which is a group I put together to help me learn how to play. Caravan has a flexible line-up that can be a duo, trio, or a quartet . Plus my swing groups, the Riff Ryders and the Hip Replacements, the Floyd Domino Big Band, and the Johnny Nicholas Texas All Stars, which is a jump blues big band.
How do you get yourself ready to tour?
Physically, I will increase my jogging miles and weights. Just being in shape when the tour begins is a great asset.
Musically, I will listen to shows from the previous tour and go over any new stuff off of the recent releases. George will usually call for about three days of full band rehearsals, usually hitting the road at the end of the last one. So I’ll make a personal CD of the songlist that we are sent, and play along with it for a week prior to those rehearsals, so I’m all ready to go when the rehearsals start. Mostly now it’s just like riding a bicycle.
You have accomplished so much as a musician. What goals have you set for yourself for the future?
To try to figure out how Ray Brown did what he did and why. To relax and enjoy and hopefully teach younger players anything I might be able to pass along. Catch up on lost years with my wife and kids. Learn how to play bass.
What are three things that a young bassists needs to be successful in music?
Practice: learn your instrument, where the notes are, the sweet spots. Music in general
Practice: your self-respect, respect for those that came before as well as those who follow and music in general.
Practice: humility, it will protect your self-respect. There are always better players, there are always those just learning, never believe your own hype; it is death for sure. Humble yourself to music in general.
Interview by: Dale Titus – DaleT@danabgoods.com | ||||
8911 | dbpedia | 3 | 10 | https://www.imdb.com/title/tt0043338/reviews/ | en | Reporter des Satans (1951) | [
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8911 | dbpedia | 0 | 53 | https://www.liveabout.com/marty-slayton-biography-924958 | en | Marty Slayton's Biography: The Beginning and Now | [
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] | null | [
"Shelly Fabian"
] | 2004-03-08T02:17:59-05:00 | Marty Slayton forged a career as one of country music's busiest backup singers. She's best known for singing backup in George Strait's Ace in the Hole Band. | en | /favicon.ico | LiveAbout | https://www.liveabout.com/marty-slayton-biography-924958 | Marty Slayton has forged a career as one of country music's busiest backup singers. She's sung with the likes of Reba McEntire, Lee Ann Womack, Lorrie Morgan and Alan Jackson throughout the course of her 20-plus-year career, but she's best known for singing backup in George Strait's Ace in the Hole Band.
The Early Years
Slayton grew up in Alamo, Tennessee. Like many country music hopefuls, she set her sights on Nashville to try her hand at landing a recording contract. She wanted a career in which she'd be the one with backup singers, not the other way around.
But backup work was abundant. She spent years singing background vocals for country artists, including a two-year stint with country queen Reba McEntire with whom she performed about 180 shows. Clayton figured it was time to buckle down after that gig wrapped. She was 32 at the time and she considered quitting music for good. She even had a full-time pharmaceutical sales job lined up — benefits, company car and all — when George Strait called.
Strait guaranteed Slayton eight weeks of work. It ended up turning into a 15-year tenure singing with Ace in the Hole Band. Slayton traveled the world, performing in front of crowds bigger than her hometown besides a man who many consider being the king of country music.
Solo Ventures
Backup singers often don't get the credit they deserve. They're onstage, contributing besides some of the most acclaimed musicians out there, but they're unknown when the curtain closes. Slayton has tried her hand at a solo career. She released the album Plan B in 2004, and she even had a brief stint on the TV show "Nashville Star," an "American Idol"-style competition series in which contestants were limited to country music.
Slayton's Return
Now that Slayton's touring career has slowed significantly, perhaps she will do more work in the studio. She's no stranger there, having sung on all of Strait's more recent albums as well as in recordings for Dolly Parton, George Jones, and Alan Jackson. Slayton is also a songwriter, so maybe she'll pen a few hits. She's also expressed interest in writing a book about her experiences in the music industry.
Strait's farewell tour, "Cowboy Rides Away," concluded with a record-setting performance in Arlington, Texas, in the summer of 2014. It was unclear at that time whether he'd perform or tour again, but he released the album Cold Beer Conversation in September 2015, and, not surprisingly, announced that he would be back on stage for "Strait to Vegas," a series of concerts held throughout 2016 in Las Vegas. If Strait isn't done yet, maybe Slayton isn't either.
She's tweeted on Twitter, saying that she feels "blessed and grateful." You can keep up with her on Twitter and Facebook to find out what's around her next corner. | ||||
8911 | dbpedia | 0 | 3 | https://www.wideopencountry.com/a-closer-look-at-the-ace-in-the-hole-band-the-legendary-group-behind-george-strait/ | en | A Closer Look at the Ace in the Hole Band, the Legendary Group Behind George Strait | [
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"Jeremy Burchard"
] | 2021-05-05T15:42:13+00:00 | The Ace in the Hole Band is, as the name suggests, the secret weapon behind George Strait's legendary career from 1975 and beyond. | en | Wide Open Country | https://www.wideopencountry.com/a-closer-look-at-the-ace-in-the-hole-band-the-legendary-group-behind-george-strait/ | Few artists become so famous that everybody knows their band too. Garth Brooks and his longtime band certainly meet that mark. But perhaps the most renowned group of musicians in country music is George Strait's legendary musical group, the Ace in the Hole Band.
Sadly, the Ace in the Hole Band and music community at large lost a giant when Mike Kennedy died in a car accident in 2018. Kennedy performed as the Ace in the Hole band's drummer for more than 30 years.
Let's take a closer look at some of the significant players from the rotating cast of George Strait's Ace in the Hole Band.
Early Beginnings
A lot of people don't realize it, but the Ace in the Hole Band came before George Strait. Back in the early 1970s, a group of students at what is now Texas State University in San Marcos (then Southwest Texas State University) formed a band called Stoney Ridge. When graduation came in 1975, that band broke up — but Ron Cabal, Mike Daily, and Terry Hale decided to form another group for traditional country music.
The trio posted fliers around campus looking for a lead singer. The advertisement was so simple it just said "country band looking for singer," and included a phone number. And that's precisely when a young agricultural science major named George Strait answered the call.
After formally changing their name to Ace in the Hole, the band played their first show ever at Kent Finlay's honky-tonk Cheatham Street Warehouse on October 13, 1975. At the time, they didn't have a permanent drummer, so Finlay's drummer Ted Stubblefield played for both Ace in the Hole and Finlay's band High Cotton Express.
Of course, after years of honing their chops in Central Texas, Strait started making trips to Nashville with Finlay and eventually signed with MCA Records. That's when everything changed. But despite the plethora of musicians available in Nashville, Strait stuck by his road warrior band.
Major Players
Ron Cabal was one of the founding band members and played guitar in the band for about eight years before eventually bowing out. He played a pivotal role in the group's early development before leaving in 1984. He sadly passed away in a hit-and-run accident in Austin in 1996.
Mike Daily (steel guitar) is another founding member who still plays with Strait. His dad Pappy Daily was also a big part of their early days since he first arranged for the band to record two songs in 1976.
Stoney Ridge's originally drummer Tommy Foote returned from Houston in late 1975 to rejoin the new band and held that position up until 1983. That's when he got out from behind the kit to become the road manager, a position he still holds to this day. Roger Montgomery played drums in 1987 when Mike Kennedy joined and played up until his recent passing.
The final remaining piece from the early days is bassist Terry Hale, one of the original Stoney Ridge members and Strait's bass player to this day. Throughout the rest of the 1980s, the Ace in the Hole band added several key players, including keyboardist Ronnie Huckaby, Rick McRae, and Benny McArthur on lead guitar and fiddle and Gene Elders on fiddle. All four have played with Strait for more than 30 years.
Still Going Strong
Though Strait retired from major tours a few years ago, he still performs on occasion with the group. The band frequently records with Strait in the studio and has even recorded an album without Strait on vocals. That 1994 record featured guest vocals from the legendary Mel Tillis and Darrell McCall.
And yes, they also got to have roles in the 1990s country classic Pure Country franchise.
With an 11-piece lineup in most scenarios, the Ace in the Hole Band remains one of the most critically regarded touring bands to this day. And though several members fill in and play with other artists, they stick together like a family for George.
Ace in the Hole Band Current Members
Mike Daily - steel guitar (1975 - present)
Terry Hale - bass guitar (1975 - present)
Ron Huckaby - keyboards (1983 - present)
Rick McRae - lead guitar (1984 - present)
Benny McArthur - guitar & fiddle (1984 - present)
Gene Elders - fiddle (1985 - present)
Wes Hightower - backing vocals (1999 - 2006; 2016 - present)
Marty Slayton - backing vocals (2000 - present)
Joe Manuel - acoustic guitar (2005 - present)
John Michael Whitby - keyboards (2006 - present)
Lonnie Wilson - drums (2019 - present)
This post was originally published on September 7, 2018.
Now Watch: Which George Strait Song Never Went to No. 1? | |||||
8911 | dbpedia | 2 | 31 | https://en.wikipedia.org/wiki/Mr._Big_(American_band) | en | Mr. Big (American band) | [
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] | 2003-02-22T21:32:53+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Mr._Big_(American_band) | American hard rock band
Mr. Big is an American rock band formed in Los Angeles in 1988. The band was originally composed of Eric Martin (lead vocals), Paul Gilbert (guitar), Billy Sheehan (bass), and Pat Torpey (drums). Though primarily a hard rock band, they are also known for softer songs.[6] Their songs are often marked by strong vocals and vocal harmonies. Their hits include "To Be with You" (a number-one single in 15 countries in 1992) and "Just Take My Heart". The band takes its name from a song by Free which it covered on the 1993 album Bump Ahead.
Mr. Big remained active and popular for over a decade despite internal conflicts and changing musical trends, releasing four studio albums: Mr. Big (1989), Lean into It (1991), Bump Ahead (1993) and Hey Man (1996). Guitarist Paul Gilbert departed the band in 1999, and Richie Kotzen was brought on as a guitarist and vocalist. The band released two more albums with this line-up: Get Over It (1999) and Actual Size (2001). Mr. Big disbanded in 2002.
Following requests from fans, Mr. Big reunited with its original line-up in 2009. The band's first post-reunion tour was in Japan. In 2010, Mr. Big released its first album in 15 years with the same line-up: What If.... During the recording of the follow-up album ...The Stories We Could Tell (2014), Pat Torpey was diagnosed with Parkinson's disease and participated only marginally as a touring support. The band's ninth album, Defying Gravity (2017),[7] was its last record involving Torpey as drum producer; he died the following year. Not wanting to continue without Torpey, the band went on hiatus, then announced in November 2022 that they were planning to tour in 2023 with the former drummer and lead vocalist of Spock's Beard, Nick D'Virgilio replacing Torpey as a new drummer. D'Virgilio was present on the band's tenth and latest album Ten (2024).
Mr. Big is frequently cited as an example of the "Big in Japan" phenomenon, where a musical act is disproportionately more popular in Japan compared to similar groups.[8] Mr. Big are sometimes labeled as a one-hit wonder for "To Be with You", but they have maintained consistent popularity in the Japanese market throughout their career.[9]
History
[edit]
Formation and debut album (1988–1990)
[edit]
After bassist Billy Sheehan left David Lee Roth's backing band in 1988,[10] he began piecing together a new band with the help of Mike Varney from Shrapnel Records, a label specialized in the shredding genre. Sheehan started by recruiting vocalist Eric Martin, a Capitol Records solo artist who Sheehan had become aware of after hearing the track "I Can't Stop the Fire", which Martin had recorded with Neal Schon for the soundtrack to the 1984 film Teachers. Sheehan had originally intended to complete the band with guitarist Steve Stevens and drummer Gregg Bissonette (who Sheehan had played with in Roth's backing band),[11] but this fell apart when Stevens opted to pursue his Atomic Playboys project and Bissonette decided to stay with Roth. Soon after, guitarist Paul Gilbert of the Los Angeles-based heavy metal band Racer X joined the band on Sheehan's invitation. Several drummers were auditioned before Pat Torpey formally completed the line-up. Torpey, a journeyman session drummer, had previously recorded and toured with a number of high-profile artists, including Impellitteri, Stan Bush, Marilyn Martin, Belinda Carlisle, Ted Nugent, The Knack, and Jeff Paris (who would later collaborate with Mr. Big in a songwriting capacity).
At Martin's recommendation, the newly-formed band hired manager Herbie Herbert, who as well as managing Martin during his solo career in the mid-late 1980s, had worked with Santana, Journey, Europe. Several band names were considered, including "Wild Blue Yonder", "Red House", "Hawks and Doves", "Mars Needs Women" and "Magic to Burn", before Torpey suggested "Mr. Big", a nod to the song by Free.[12][13]
By 1989, they signed with Atlantic Records and released their self-titled debut the same year, which charted just outside of the top 40 stateside[14] and was also successful in Japan.[15]
In June 1990, the group toured America as an opening act on Rush's Presto Tour. In August 1990, two songs, "Strike Like Lightning" and "Shadows", performed by Mr. Big, were exclusively released on the soundtrack album of the action film Navy SEALs.[16]
Breakthrough and height of fame (1991–1997)
[edit]
Mr. Big's second album, 1991's Lean Into It, was a major commercial breakthrough, especially two ballads, "To Be with You" (which went to number one in fifteen countries) and "Just Take My Heart", as well as the song "Green-Tinted Sixties Mind". The cover features a picture of the train in the Montparnasse derailment. They toured the UK in April and May 1991, and again in 1992, releasing a live album, Mr. Big Live, in 1992. For three nights, they opened for Aerosmith at London's Wembley Arena.
In 1993, another ballad, a cover of Cat Stevens' "Wild World" (from their third album, Bump Ahead), peaked at No. 27 on the Billboard Hot 100.[17] Although it is said that the band also contributed music to the soundtrack for the Sega Mega-CD release of The Amazing Spider-Man vs. The Kingpin, the songs actually featured Eric Martin with musicians hired by Sega.
The band released Hey Man in 1996. The song "Take Cover" was included on the soundtrack to the cartoon series Mega Man. Although the band never replicated its earlier success in the US market, their popularity continued to soar in Japan and in much of Asia.[18] They continued to sell out tours in the Asian market, resulting in a number of live releases for the Japanese market. They are one of the more notable examples of the "Big in Japan" phenomenon. Live At Budokan was one of those live releases intended for the Japanese market only. By the time that album appeared, the group were on hiatus, as the individual band members became more engrossed in other projects; the band temporarily broke up in 1997.
Line-up change and break-up (1999–2002)
[edit]
Gilbert left the band in 1999, and eventually reformed Racer X. Richie Kotzen, another Shrapnel artist and former guitarist for Poison, was brought in as a guitar player. Two studio albums were released by this lineup: Get Over It in 1999, and Actual Size in 2001. Get Over It was released in September 1999 in Japan, and yielded the single "Superfantastic," to a lukewarm audience response. Mr. Big performed a 20-date tour of Japan, followed by a New Year's Eve 1999 show with Aerosmith at the Osaka Dome, in Osaka, Japan. Get Over It was released in the US in March 2000, followed by a short club stint at "Roxy", California. Several music videos for songs on Get Over It were recorded (for "Electrified" and "Superfantastic"), however the director claimed rights to the music videos and they were never released. In 2001, Mr. Big released Actual Size in Asia. The CD sat on the charts in the number three spot and "Shine", the first single, went to number one. The song was also used as the ending theme for the anime series Hellsing.
However, tension had developed between Sheehan and the other members when Sheehan began touring with Steve Vai. Martin, Kotzen, and Torpey decided to write songs without Sheehan, who was only given credit for two songs on Actual Size. Martin and the others were also upset with Sheehan's attitude during the recording of the "Shine" music video. This was when Martin and Torpey decided the only way to keep moving forward was to fire Sheehan. Although Sheehan was upset that the other members had attempted to "fire" him from the band he created, he agreed to rejoin them, provided that that would be their farewell tour. The band then toured and ultimately disbanded, in February 2002, later issuing a statement in May.[19]
Reunion and new albums (2009–2017)
[edit]
A near Mr. Big "one-off" reunion took place on May 13, 2008, in Los Angeles, at the House of Blues, when Paul Gilbert was joined on stage by Pat Torpey, Richie Kotzen, and Billy Sheehan, for renditions of Humble Pie's "30 Days in the Hole" and original Mr. Big composition "Daddy, Brother, Lover, Little Boy". Reportedly, the three had such an amazing time that they decided to contact Eric Martin a few days later, and a reunion of the four original members (Paul, Eric, Pat, and Billy) was put into motion.[20] On February 1, 2009, a radio announcement for "Koh Sakai's Burrn Presents: Heavy Metal Syndicate" contained a short message from Mr. Big, announcing the reunion of the original Mr. Big line-up to celebrate the twentieth anniversary of their debut album. A press conference in Japan in February generated much excitement,[21] and a tour of the country starting in June was announced, with shows in ten locations (including the Budokan). They held their first reunion concert outside Japan at Rock Cafe in Tallinn, Estonia, in September 2009, continuing their tour.[22] Mr. Big toured India in October 2009 as part of the Reunion Tour, playing to huge crowds in Bangalore, Dimapur, and Shillong. In September 2010, Mr. Big recorded a seventh album with producer Kevin Shirley at a Los Angeles-area studio.[23] The album was released in Japan on December 15, 2010, in Europe on January 21, 2011, and in the US in February 2011. What If... is their first album of new material in nearly 10 years.[24] The band also toured in support of the album.[25] The tour to support the album kicked off at The House of Blues, in Hollywood, California, on April 2, 2011, and ended at the Rockout Festival in Istanbul, Turkey, in October 2011. The band also appeared at the Download Festival in June 2011. As part of the album release, the group created a music video for the song "Undertow". Directed by Vicente Cordero and Fernando Cordero, it featured the band in an industrial park.[26]
Mr. Big released their eighth studio album ...The Stories We Could Tell on September 30, 2014, via Frontiers Records. It was produced by Pat Regan, who returned as producer for the first time since 1999's Get Over It. The band confirmed that Pat's fill-in for the upcoming world tour would be Burning Rain drummer Matt Starr, who had also previously performed with Ace Frehley and Joe Lynn Turner. The group's latest album, Defying Gravity, was recorded in Los Angeles in six days, and released on July 21, 2017. Due to Pat Torpey being diagnosed with Parkinson's disease, he could not play drums fully on the record and played on only several tracks.[27][28] Matt Starr recorded the drum tracks, while Pat Torpey acted as "drum producer."[29]
Death of Pat Torpey, hiatus and reunion with new drummer (2018–present)
[edit]
On February 7, 2018, drummer Pat Torpey died from complications of Parkinson's disease at the age of 64.[30] His last show took place at the Wulfrun Hall in Wolverhampton on November 23, 2017. A memorial show took place on May 23, 2018, at The Canyon in Agoura Hills, California, with former member Richie Kotzen as a special guest.[31] The all-star finale of "To Be With You" included, among others, Matt Sorum, Dave Amato, Ricky Phillips, Keith St John, Prescott Niles, Kelly Keagy, Jeff Scott Soto, Ace Von Johnson and Gregg Bissonette.
In October 2018, Eric Martin said in interview with Friday NI Rocks that the band was in the process of planning their at-that-time possible next and final album. According to Martin, once the band was done with its commitments, they would subsequently disband: "Yeah, that's the last hurrah – that's it. It feels a little uncomfortable to keep going without Pat Torpey."[32] However this never materialized and the band entered a state of hibernation with band members devoting time to other projects. In January 2021, Billy Sheehan said that the band was still together, "[...]but, as you know, sadly we lost our drummer, and we don't have any plan at this point for anything. We'll just let nature take its course. At some point, maybe we'll do something again. We don't know. Maybe me and Paul, maybe me and Eric, maybe Eric and Paul, maybe us with a different drummer — it could be anything — but we have not discussed it at all, and we're just kind of letting it go." He also expressed dissatisfaction with Defying Gravity, claiming there was "mastering problem [...that] made the LP unlistenable." He went on to say that "the label ruined the record" by insisting on having the album and "putting it out when it's not ready. If we had another day to get it to proper mastering and get it done right, it would have been fine. 'Cause I was there for the final mixes — I went in there every day and listened to mixes. Pat was there with us too. We went through the mixes, and they were sounding great. And, unfortunately, we got screwed."[33]
In August 2022, Sheehan revealed that the band was "strongly considering" playing shows in 2023, with Matt Starr returning as the band's drummer.[34] However, in a later interview he announced that the band have decided not to continue with Starr as their drummer due to his "vocal range" being different to Torpey's. Sheehan then stated the band has a new drummer whose identity will be revealed soon.[35] When asked in November 2022 if Sheehan's claims that Mr. Big were reuniting to tour and possibly record new material in 2023 were true, Martin said, "I'm not a hundred percent on the recording part, but, yeah, we're gonna do it. We're definitely gonna tour."[36]
In March 2023, it was announced that Nick D'Virgilio would be joining Mr. Big as touring drummer for the 2023-24 "The Big Finish Tour".[37]
Despite having announced a farewell tour, Martin confirmed in November 2023 that the band were still working on new material for their tenth studio album.[38] This resulting album, Ten, was released on July 12, 2024.[39]
Band members
[edit]
Current members
Eric Martin – lead vocals, acoustic guitar (1988–2002, 2009–present)
Billy Sheehan – bass, backing vocals (1988–2002, 2009–present)
Paul Gilbert – guitars, backing vocals (1988–1999, 2009–present)
Nick D'Virgilio – drums, percussion, backing vocals (2023–present)
Touring members
Edu Cominato – drums (2024)[40]
Michele Luppi – co-lead and backing vocals (2024)[41]
Former members
Pat Torpey – drums, percussion, backing vocals (1988–2002, 2009–2018; his death)
Richie Kotzen – guitars, backing and lead vocals (1999–2002; one-off guest in 2018)
Matt Starr – drums, percussion, backing vocals (2018; touring 2014–2018)
Troy Luccketta – drums (1988; touring)
Timeline
[edit]
Discography
[edit]
Main article: Mr. Big discography
Studio albums
Mr. Big (1989)
Lean into It (1991)
Bump Ahead (1993)
Hey Man (1996)
Get Over It (1999)
Actual Size (2001)
What If... (2011)
...The Stories We Could Tell (2014)
Defying Gravity (2017)
Ten (2024)
References
[edit] | ||||||
8911 | dbpedia | 0 | 28 | https://www.soundslikenashville.com/news/george-strait-things-you-may-not-know/ | en | [] | [] | [] | [
""
] | null | [] | null | null | ||||||||||
8911 | dbpedia | 2 | 27 | https://www.merriam-webster.com/dictionary/ace | en | Ace Definition & Meaning | [
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""
] | null | [] | 2024-08-12T00:00:00 | The meaning of ACE is a die face marked with one spot. How to use ace in a sentence. | en | /favicon.svg | https://www.merriam-webster.com/dictionary/ace | Etymology
Noun (1)
Middle English as, borrowed from Anglo-French, going back to Latin ass-, ās "copper money piece (at first a pound, but progressively reduced to a half-ounce), pound unit of weight, unit," of uncertain origin
Note: The word ās has been compared within Latin to asser "wooden beam, pole, post" (generalized from a plural asserēs, from a singular *assis?) and assis, axis (by hypercorrection?) "plank, board," though any relationship is far from certain. A loanword from Etruscan?
Verb
derivative of ace entry 1
Adjective (1)
derivative of ace entry 1
Noun (2)
short for asexual, with spelling copying ace entry 1
Adjective (2) | |||||
8911 | dbpedia | 0 | 69 | https://secondhandsongs.com/artist/69107/all | en | Artist: Ace in the Hole Band | [
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"Ace in the Hole Band",
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SecondHandSongs is building the most comprehensive source of cover song information. | |||||
8911 | dbpedia | 2 | 26 | https://www.dallasobserver.com/music/mekons-you-rhett-6404321 | en | Mekons, you Rhett | [
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] | null | [
"Robert Wilonsky"
] | 1995-07-06T04:00:00 | A rock great lends his support to the Old 97's | en | /favicon.ico | Dallas Observer | https://www.dallasobserver.com/music/mekons-you-rhett-6404321 | When Old 97's frontman Rhett Miller calls from a Chicago recording studio, where the band is recording the follow-up to last year's Hitchhike to Rhome, he cannot contain his enthusiasm. He speaks quickly and a little breathlessly, bursting with the news that labelmate (on the Chicago-based Bloodshot Records) and Windy City resident Jon Langford--revered as the leader of the Mekons, the best American rock and roll band that hails from Leeds, England--is upstairs laying down guest vocals and guitars on two tracks for the next Old 97's disc.
"It's so cool," Miller gushes.
Langford played guitar on the end of "Doreen," and he contributed vocals--well, one word, actually--to a cover of "Over the Cliff," originally written and recorded by Langford for a Bloodshot compilation. That one word is "asshole," which Langford screamed.
Langford, who hung around the studio with the band to have a few drinks once he had recorded his parts, says he was more than happy to accept the band's invitation.
"I went to a gig and they asked me to stick around and listen to the fifth song in the set," he recalls as he sits next to Miller. "I figured it would be a cover of a Mekons song, but it turned out to be 'Over the Cliff,' and it was amazing. I did my part on 'Over the Cliff' in one take, as well. And for 'Doreen,' I played a horrible guitar solo for an hour, till they made me stop. I was like, 'No, wait, give me another try. I can double it up like Thin Lizzy.'"
Langford says he met the Old 97's when his own "noisy country band" the Waco Brothers shared a few bills with the 97's around the Chicago area. At one show, the Waco Brothers were forced to share the Dallas band's equipment, and Langford was impressed with how "helpful and friendly" the Old 97's were.
The pairing of Langford (whether as a Waco Brother or as a Mekon) and the Old 97's couldn't be more appropriate: both share an affinity for country music but come at it from an affectionate distance. Rhett Miller started out as a teen-folkie singing in a vaguely affected British accent, then after briefly flirting with power-pop (as Rhett's Exploding and Sleepy Heroes), he and longtime partner Murry Hammond pledged themselves to the gospel of Uncle Tupelo and were born-again country-pop-folkies. (Which is much, much more appealing than that description would seem.)
The Mekons began as part of the British punk-art school scene of the late '70s in Leeds that also spawned Gang of Four and Delta 5. But by the time they recorded Fear and Whiskey in 1986 and The Mekons Rock 'n' Roll three years later, they had become a damned special (if not damned bizarre) country-rock band. They covered Gram Parsons and Merle Haggard but sounded like the Clash, they brought politics into the honky-tonk, and they drank like Bob Wills with a new liver. Sally Timms and Langford were the Emmylou Harris and Gram Parsons of the '80s, and to say the Mekons were underrated would be implying they were regarded at all outside a small cadre of critics and fans. (When the band performed at 21st Amendment in Deep Ellum last year, they drew maybe 50 people--which Langford hardly noticed, he says, because "we were all lit.")
As critic Greil Marcus pointed out in his terrific 1986 essay on the band, titled "The Return of King Arthur," the Mekons were England's answer to The Band--a group of non-native Americans who took all that was good and forgotten about American music and brought it all back home. "The Mekons are a lot like The Band," Marcus wrote, "in their seamless melding of rock 'n' roll, old country music, and ancient British folk music." And like The Band (or fellow Canadians like Neil Young or Cowboy Junkies), the Mekons were always exiles in their own homeland--enamored of American music, unwilling to speak their own tongue.
Langford--who will be going to England in three weeks to begin recording the next Mekons CD, to be accompanied by the long-awaited band-written detective novel and a catalog of artwork done by members of the Mekons--says he finally moved to America because of his love for American music. He recently released a disc of Johnny Cash covers on a small Chicago label, and the Waco Brothers have just recorded their full-length country debut for Bloodshot.
"The Waco Brothers started doin' covers like George Jones and Merle Haggard," he says. "That's the attraction for me to America--the music. Of course, there's also a lot of detractions, but country music is the greatest. If you're going to play in a bar and drink beer, that seems the obvious thing to play. It turned into a bit of an obsession.
"People come around my house and say, 'Could you turn that country music off?' I don't know. I guess I've just sort of let it all come in, and I don't really use any sense of taste--I love it all. I just buy old country samplers and laugh at the shitty songs and sing along with the good ones."
Riders on the Range
Modern-day western swing is a misunderstood and fragile thing--go too far in one direction and it's almost like light jazz, go too far the other way and it approaches kitschy nostalgia; and so the line separating Bob Wills and George Strait and Cowboys and Indians is crooked and splintered, the intentions not always so obvious. But the second installment in Texas Monthly's Honed on the Range CD series, this one rounding up the best of the modern-day western swing practitioners, sets the record straight: it's the nature of this music that even the purists (including Leon Rausch and Johnny Gimble) sound no more "authentic" than the Ace in the Hole Band or jazzer Herb Ellis, so jumbled are the current influences.
The disc advertises these folks as "contemporary Texas swing" artists, and it gathers up the obvious suspects (Asleep at the Wheel with Willie Nelson, Johnny Gimble), the lesser-known heroes (Alvin Crow, Don Walser), plus several of Dallas' own (Cowboys and Indians, Tommy Morrell and the Time Warp Tophands, and Dave Alexander and the Legends of Western Swing). If the disc doesn't burst at the seams like the best of Bob Wills or Milton Brown, if the music now seems more pop than traditional, that's because these artists work outside of the context: Maryanne Price's "Oilwell, Texas" sounds like an outtake from a Yankee's revue, the late San Antonio tenor saxophonist Clifford Scott is more bop than swing, and the Ace in the Hole Band sounds incomplete without Strait. And maybe it's the homer in me, but it's ironic that Cowboys and Indians--the youngest of the bunch--come closest to capturing the raw spirit of Wills and Brown.
Honed on the Range, Volume 2 is available by calling (800) 926-7657.
Scene, heard
When Seal comes to Starplex on July 7, he'll bring rubberbullet drummer Earl Harvin with him; Harvin, as reported here a month ago, joined the soul singer's touring band after MC 900 Ft Jesus' recent European tour ended, and appeared with Seal on "The Late Show with David Letterman" three weeks ago. With Harvin on the road so much lately, rubberbullet has been put on hold and the band members have been off doing their own things--for instance, guitarist Aaron Berlin has been playing with the Buck Pets--waiting for his return. Mark Elliott of Leaning House Records also is planning to release the terrific and long-awaited recording debut of Harvin's jazz band, simply titled The Earl Harvin Trio/Quartet...
The long-defunct VVV Records label was once the imprint of choice for Dallas' new-wave bands, and it still ranks among the best of Dallas' indie labels, along with Star Talent of the late '40s and Direct Hit (home to Bedhead and Dooms U.K., among others). To celebrate its legacy, and in the spirit of the Live at the Hot Klub album, on August 12 at the Major Theatre there will be a reunion of the bands once on VVV--including NCM (fronted by current Enabler Neil Caldwell, who owned the store and label till two years ago), The Telefones (and The Teenage Queers, with Bobby Soxx as guest vocalist), Quad Pi (including Lithium X-Mas's Mark Ridlin), The Ralphs (actually The Rockin' Honky-Tonk Fools doing Ralphs material), The Devices (which would later become Loco Gringos), Fort Worth Cats, and The Ejectors. More details to follow...
Slowpoke, which released a terrific album (Mad Chen) last summer and then played maybe three shows to promote it, is slowly emerging from the black hole into which it disappeared. Frontman David Gibson retreated to work on his master's degree and medical internship, and the band has undergone a substantial personnel change: drummer Travis Williams just quit to join the experimental Denton band Muzinga Phaser, and Corbett Guest (formerly of Goth band Motherwell) has signed on as the new bass player. Next week, Grass Records will finally release the long-awaited split seven-inch with the Toadies (who cover the Talking Heads' "Not in Love"), and in September, Slowpoke will go into the studio with producer Chris Nagle (Joy Division, Wedding Present, New Order) to record the follow-up to Mad Chen. The album will be recorded in New York City at the studio owned by former Bongwater-Shimmy Disc mastermind Kramer. "But before we record," Gibson says, "we'll probably start playing live. When? I don't really know yet..."
This ain't the classifieds, but Earl--the band that rocks in the middle ground separating Morrissey and the Toadies--is looking for a drummer. Eric Spruce moved to Minnesota a month ago, and the band has been using a temp since then. Interested parties should contact John Branson at 381-3762...
The Grown-Ups, Denton's keepers of the flickering ska flame, are currently recording at Inside Tracks Studios in Hell's Lobby, with Brave Combo's Carl Finch producing. One track from the sessions, a cover of "Rampage," will be included on Moon Records' Spawn of Skamageddon compilation due in stores August 1. The band's next local appearance is in Denton on July 15, at the Good/Bad Art Collective. | ||||
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George Strait
The King at Kyle Field
College Station, Texas
June 15, 2024
Kyle Field in College Station is known as a mecca of college football, regularly hosting nearly 100,000 fans per game during football season. It is not known as a concert venue, having only hosted two since it opened nearly 100 years ago. The last concerts held there were ZZ Top in 2008, and a split bill of Emmylou Harris and Rodney Crowell back in 2013.
Saturday night, George Strait, the undisputed king of country music, headlined and hosted "The King at Kyle Field" concert which broke the all time record for largest single ticketed concert in U.S. history with a total of 110,905 fans in the audience. Everything is definitely bigger in Texas.
After maneuvering through heavy traffic around the stadium, I made it to my seat right when opener Parker McCollum began to sing "Handle On You." It was the Conroe native's birthday, and he was all smiles as he played his guitar while wearing a bright red polo, Ray Ban aviators, and Lucchese trucker cap. The rotating stage sat at the 50-yard line, right at the center of the stadium.
"This is possibly the greatest night of my life" he confessed while overlooking the massive crowd. "Its been a hell of a year!" he continued before ending his set with "Burn It Down."
It was a hot summer day with the temperature creeping near 100 degrees, but as the sun set over the stadium grandstands, a nice cool breeze hovered over the audience just in time for the King's set. As the house lights dimmed, it was time for the Ace In The Hole band to make their way toward the stage, followed by Mr. Strait.
"What's going on everybody? We got some Aggies out there?!" asked Strait after singing "Stars On The Water" and "I Got A Car." Dressed in his traditional black cowboy hat, blue pressed button up shirt, Wrangler jeans and boots, he commanded everyone's attention with his golden voice and wide smile. He finished his opening set with "Here For A Good Time" and "Check Yes Or No."
It can be difficult to explain to a non-Texan just how important and special George Strait is to us Texans. Even those who aren't big country music fans hear his songs and immediately sing along. Seeing his live show takes that reverence to another level. It's almost like being in the presence of actual royalty or a president. A George Strait concert is more than a music event, it becomes a spiritual experience.
As the crowd sang along with "I Can Still Make Cheyenne," I felt my emotions build up in my chest. A song about losing love and pushing forward with life, the track hits a chord with anyone who has suffered heartbreak. "There's somebody new and he sure ain't no rodeo man."
As the night came to an end, the band took a break and passed the microphone to Retired Lt. General Leroy Sisco, who presented the keys of a brand new home to Sgt. Tiffany Baker, who was wounded while serving in combat. This was the 118th home that George Strait and the Military Warriors Support Foundation has provided to wounded veterans. Chant's of "USA! USA!" rang out, and everyone stood to applaud the moment.
The night continued with fan favorites "The Chair," "Amarillo By Morning," and "Troubadour." Strait also offered up tracks from the new album entitled Cowboys And Dreamers that will be released in September. "Maybe I'll retire someday" said Strait with a smile.
As Strait and the band departed, the crowd continued to call for an encore for more than 10 minutes. Once Strait and crew walked back onstage. the audience roared with appreciation. The encore set included a set of tributes: one to his tequila (Código 1530), one for Tom Petty (You Wreck Me), and one to his former loves (All My Exes Live In Texas).
"When I do walk off the stage for the last time, I will always remember you!"
And we will always love you, sir. Thanks for the memories and the soundtrack to our lives. | ||||
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Musical artist
George Harvey Strait Sr. (born May 18, 1952) is an American country music singer, songwriter, actor, and music producer. He is credited for pioneering the neotraditional country style in the 1980s,[2] famed for his authentic cowboy image and roots-oriented sound at a time when the Nashville music industry was dominated by country pop crossover acts. Given his influence on the genre, Strait has been nicknamed the "King of Country Music" by writers and music critics.[3][4][5][6] He currently holds the record for the most number one songs on all charts by an artist, in any genre of music.[3][7]
Strait's success began when his first single "Unwound" was a hit in 1981, helping introduce the neotraditional movement to the mainstream. During the 1980s, seven of his albums reached number one on the country charts. In the 2000s, he was named Artist of the Decade by the Academy of Country Music, elected into the Country Music Hall of Fame, and won his first Grammy award for the album Troubadour. Strait was named CMA Entertainer of the Year in 1989, 1990 and 2013, and ACM Entertainer of the Year in 1990 and 2014. He has been nominated for more CMA and ACM awards and has more wins in both categories than any other artist.
By 2009, he broke Conway Twitty's previous record for the most number-one hits on Billboard's Hot Country Songs chart when his 44 number one singles surpassed Twitty's 40.[8] Strait has amassed 60 number-one hits.[9] "Give It All We Got Tonight" was number one in 2013,[10] breaking a record also previously set by Twitty. Strait holds the record for most number one songs on all charts by an artist in any genre of music."[3][7]
Strait has been known for his touring career beginning when he designed a 360-degree configuration and introduced festival style tours. For example, the Strait Tours earned $99 million in three years.[11] His final concert for The Cowboy Rides Away Tour at AT&T Stadium in Arlington, Texas in June 2014, drew 104,793 people. It set a new record for the largest indoor concert in North America.[12] In 2024 he set the record for the largest ticketed concert for a single act in U.S. history, with over 110,905 people at Kyle Field in College Station, Texas.[13][14]
Strait has sold more than 120 million records worldwide, making him one of the best-selling music artists of all time.[15] He holds the RIAA record for most certified platinum albums by any artist, with 33 certified platinum albums. He also has 13 multi-platinum and 38 gold albums. His best-selling album is Pure Country (1992), which sold 6 million (6× platinum). His highest certified album is Strait Out of the Box (1995), which sold 2 million copies (it went 8× Platinum due to being a box set with four CDs). According to the RIAA, Strait is the 12th best-selling album recording artist in the United States overall selling over 69 million records across the United States.[16]
Early life
[edit]
George Harvey Strait Sr. was born on May 18, 1952, in Poteet, Texas, to John Byron Strait Sr. (January 11, 1922 – June 4, 2013),[17] and Doris Jean Couser (June 26, 1930 – January 30, 2010).
He grew up in nearby Pearsall, in Frio County where his father was a junior high school mathematics teacher and the owner of a 2,000-acre (810 ha) cattle ranch outside of Big Wells, Texas. The family worked at the ranch on the weekends and in the summers. When George was in the fourth grade, his father and mother were divorced, and his mother moved away with his sister, Pency. George and his brother John "Buddy" Jr. (1950–2009) grew up with their father.[18] For most of his early life, George was in ranching alongside his older brother Buddy and his father John.[19]
Strait began his musical career while attending Pearsall High School, where he performed in a rock and roll garage band, known as the Stoics, taking most of their influence and inspiration from the Beatles and other British Invasion-era rock groups.[20] "The Beatles were big," Strait confirmed. "I listened to them a lot and that whole bunch of groups that were popular then." He performed in other rock bands during his high school tenure.[19] His musical preference soon turned to country with singers Hank Thompson, Lefty Frizzell, Merle Haggard, George Jones, Bob Wills, Hank Williams, and Frank Sinatra influencing his style. Strait did not tune in to and listen to country music radio often as a youth, usually selecting the news and the farmer's report instead. His introduction to country music came mostly by way of live performances, which according to Strait could be heard in every town in Texas.[21]
Marriage and military service
[edit]
He eloped with his high school sweetheart, Norma Voss after their high school graduation.[19] The couple initially married in Mexico on December 4, 1971. In the same year, he enlisted in the United States Army as an infantryman. While stationed at Schofield Barracks adjacent to Wahiawa, Hawaii as part of the 25th Infantry Division, George auditioned and began performing with an Army-sponsored country music band, "Rambling Country", which also played off-base under the name "Santee".[19][22] On October 6, 1972, while still in Hawaii, George and Norma had their first child, Jenifer.[23] He served in the United States Army from 1971 to 1975 and ultimately attained the rank of corporal.[24]
Higher education
[edit]
After George Strait was honorably discharged from the Army in 1975, he enrolled at Southwest Texas State University (now Texas State University) in San Marcos. He graduated with a degree in agriculture.[25] He was also presented an honorary doctoral degree by his alma mater–Texas State University in San Marcos–in a private ceremony on May 26, 2006.[25] Strait is a loyal alumnus of the college; in 1985 he established an endowment fund for the development and operation of the Freeman Ranch for agricultural purposes, land and wildlife management, and gifts of scholarships.[25]
Music career
[edit]
1970s
[edit]
During his college years, Strait joined the country band Stoney Ridge, answering a flyer the band posted around campus looking for a new vocalist. Strait renamed the group the Ace in the Hole Band, and quickly became the lead; they began to perform at different honky-tonks and bars around south and central Texas, traveling as far east as Huntsville and Houston.[27] They gained a regional following and opened for national acts such as The Texas Playboys. Soon his band was given the opportunity to record several Strait-penned singles, including "That Don't Change The Way I Feel About You" and "I Can't Go On Dying Like This" for the Houston-based D Records independent label. However, the songs never achieved wide recognition, and Strait continued to manage his family cattle ranch during the day to make some extra cash.[27][28]
While he continued to play with his band, without any real connections to the recording industry, Strait became friends with Erv Woolsey, who operated one of the bars in which the Ace in the Hole band played and who had previously worked for the major label MCA Records. Woolsey convinced some of his Music Row (Nashville) connections to come to Texas and to listen to Strait and his band play. Impressed with the performance but concerned that they could not market the Western Swing sound that the band featured, they left without offering a deal.
After several unsuccessful trips to Nashville in search of a record deal in which Strait was turned down by every label in town, he considered giving up music altogether. He was offered a job designing cattle pens and decided to take it. He gave the band notice that he was leaving, but after a discussion with his wife, she convinced him to give pursuing music one more year. Not long afterward, a major label, MCA, signed Strait to a recording contract in February 1981. The initial deal was for one song. If the single did well, the label would consider doing an album.[29] The Ace in the Hole band remained with Strait, performing as the backup and touring band for the now solo career of Strait.[28]
1980s
[edit]
In the spring of 1981, Strait released his first single for MCA Records, titled "Unwound", which climbed to number six on the Billboard Hot Country Songs chart that year and was included on his debut album Strait Country. The record featured two other singles including "Down and Out", a number 16 hit for Strait, and "If You're Thinking You Want a Stranger (There's One Coming Home)".[30]
Strait Country was hailed by critics as being a "new-traditionalist" breakthrough that broke the trend of pop-influenced country prevalent at the time.[30] The critically acclaimed Strait from the Heart, his second album, was released in 1982 and featured the first number-one single of his career, "Fool Hearted Memory" and the top-five Western ballad "Amarillo by Morning" which was originally sung and written by Terry Stafford in 1973. It later became one of Strait's signature songs.[33] In 1983, Strait made his first appearance at the Houston Livestock Show and Rodeo, when the headlining star, Eddie Rabbitt became sick with the flu. Performing at that rodeo has since become a mainstay throughout his career. He has made more than 20 appearances at the rodeo and played for more than one million fans.
Strait recorded 17 number ones during the decade, including a string of five that lasted from 1983 to 1984[34] from his next two albums Right or Wrong, his first number-one album and the CMA award-winning Does Fort Worth Ever Cross Your Mind. The next year, he won the CMA award for top male vocalist, and released his first greatest hits compilation, which featured songs from his first three albums. Also in 1985, Strait released Something Special, the third-straight number-one album of his career, featuring the number-one single "The Chair".[30] In 1986, Strait repeated as the CMA vocalist of the year and released his fourth number-one album #7.
Strait and his family were struck with tragedy when his 13-year-old daughter, Jenifer, was killed in a one-car, alcohol-unrelated accident in 1986. She was riding in a Ford Mustang driven by Gregory Wilson Allen, 18, of Staples, Texas. Allen was charged with a class A misdemeanor for vehicular homicide. Mike Cox, spokesman for the Texas Department of Public Safety in Austin, said, "The responding trooper determined the cause of accident to be excessive speed and that the car did not negotiate the turn properly. Jenifer was riding in the front passenger seat, and none of the four occupants was wearing seat belts at the time.[35] When the vehicle flipped over onto its passenger's side, Jenifer was partially ejected, killing her on impact.[35][36] The incident caused George to greatly limit his contact with the media. He stopped doing interviews for many years after the accident; he and his family did not wish to discuss Jenifer's death.[37]
George Strait's grief did not hinder his performance, however, or his output; as he released 11 straight number-one hits, starting with "Nobody in His Right Mind Would've Left Her" in 1986 and ending with "Ace in the Hole" in 1989.[34] The singles spanned four albums including #7, Ocean Front Property in 1987, If You Ain't Lovin' You Ain't Livin' in 1988, and 1989's Beyond the Blue Neon, all of which reached the number one spot on country album charts. Ocean Front Property was the first country album to ever debut at number one on the charts by any artist. The streak included such songs as "Ocean Front Property", "All My Ex's Live in Texas", "Famous Last Words of a Fool", and "Baby Blue". Strait finished the decade by winning the CMA Entertainer of the Year award in 1989. One year later, he won the award again.[30]
1990s
[edit]
Strait began the decade with the release of his 10th studio album, Livin' It Up, which featured two number-one hits, including "Love Without End, Amen", his first multiweek hit, and "I've Come to Expect It From You". Both songs remained first for five weeks in 1990. Chill of an Early Fall shortly followed in 1991, and received positive reviews. Entertainment Weekly noted that the album marked a shift for Strait from "repeating himself" in his previous works to producing different material.[38] It produced the number-one songs "If I Know Me" and "You Know Me Better Than That", but ended his streak of 31 straight top-10 hits with the cover of "Lovesick Blues", which peaked at number 24. The record blocked his run of eight top-charting albums with its peak of number four. In the spring of 1992, Holding My Own was released. It did not produce any number ones, but did include two top-five songs, including "So Much Like My Dad".
Later in 1992, Strait played the main character in the film Pure Country, and released the film's soundtrack. It was his most successful studio album, producing such hits as "Heartland", "I Cross My Heart", and "When Did You Stop Loving Me", and peaked at number one and number six respectively on the Country and Billboard 200 album charts. The success continued with his next album, Easy Come, Easy Go in 1993, which reached the top five on the Billboard 200 and featured the hits "I'd Like to Have That One Back", "The Man in Love with You", and the number-one title track.[30]
His next four albums, including Lead On in 1994, Blue Clear Sky in 1996, Carrying Your Love with Me in 1997, and 1998's One Step at a Time, all charted at number one, with Blue Clear Sky claiming the spot on its debut week, and Carrying Your Love with Me peaking at number one on the Billboard 200 for the first time in Strait's career. This series of albums produced eight number-one singles for Strait, including "You Can't Make a Heart Love Somebody", "Carried Away", "One Night at a Time", and "I Just Want to Dance with You".[30]
During this period, Strait also released a four-disc, box-set career retrospective, Strait Out of the Box, in 1995, which also included two new songs, the top 5 hit "I Know She Still Loves Me" and the No.1 hit "Check Yes or No". It became the second-best selling box set ever with shipments of 8 million in the United States. He was named as the CMA's Top Male Vocalist in 1997 and 1998.[30] Starting in 1997, and continuing until 2001, Strait headlined the George Strait Country Music Festival, which included artists such as Tim McGraw, Faith Hill, Kenny Chesney, Alan Jackson, and others.[30]
In an effort to introduce these acts to as many fans as possible, the festival promised not to visit any market more than twice. It played only a small number of dates, usually no more than 20 a year, but still managed to be the ninth-biggest grossing tour of 1998.[39]
Strait completed the decade with the album Always Never the Same in 1999, which peaked at number two on country charts and matched the cross-over success of Pure Country by reaching number six on the Billboard 200. The record produced the hits "What Do You Say to That", "Meanwhile", and the number-one "Write This Down". Reviews of the album's material were generally mixed, but Entertainment Weekly observed that at this point in his career, Strait could record the "most lightweight" material and "make it soar" on the radio with his "grace".[38] All in all, Strait scored 17 number-one hits on the Billboard country airplay charts in the decade, and carried his successes into the next century.[18]
2000s
[edit]
Strait released a self-titled album in 2000, which despite a number-one and number-seven showing on the country and Billboard 200 album charts, respectively, produced no number-one singles, and was the first studio album of his career to not be certified platinum. The singles "Go On" and "If You Can Do Anything Else" were released from the record, with both peaking in the top five. In May 2001, The Road Less Traveled was released. Reviews for the album were mostly positive; Rolling Stone described it as sticking to the formula, "but adds a few twists that make it superior to his last few releases."[40] It featured "vocal processing", and was considered by some critics as an experimental album.[28] Three singles were released from it, two of which reached number one, including "She'll Leave You with a Smile", his 50th on combined charts and "Living and Living Well", both of which reached the top 30 of Billboard Hot 100, with the former peaking at number 23, Strait's highest rank on the chart. The single "Run" peaked at number two and reached number 34 on the Billboard 100. Strait released two records in 2003. For the Last Time: Live from the Astrodome was a recording of the last Houston Livestock Show and Rodeo to take place in the Astrodome. The performance itself set the record for paid attendance at the venue, with 68,266 people, breaking Latin superstar Selena's previous record of about 67,000 in 1995.[41]
His next album, Honkytonkville was described as "a fiery set of hard country", and was praised "for its mixture of the old Strait with his modern, superstar self."[28] It did not produce any number ones for Strait, but included the hits "Cowboys Like Us" and a cover of Bruce Robison's "Desperately". His 2004 performance at Reliant Stadium set a new rodeo attendance record, with 68,679 spectators. That year, he issued a greatest hits package billed as 50 Number Ones, chronicling the number-one hits of his career from all charts, starting with "Fool Hearted Memory" and ending with "She'll Leave You With a Smile." A new track, "I Hate Everything", was also included, and became his 51st overall number one in 2004.
The next year, Somewhere Down in Texas arrived, which produced the hit "You'll Be There", marking Strait's first appearance on the adult contemporary chart. The next year, he embarked on a tour that included only 18 performances, but grossed over $15 million. He attributed this success to the fact that his band and he are "musically very tight", have a large pool of songs to draw from, and perform those songs very similarly to how they sound on their albums.[42]
On October 3, 2006, Strait marked his 30th year in the music industry with the release of a new album titled It Just Comes Natural. The album was recorded in Key West, Florida, in Jimmy Buffett's Shrimp Boat Sound Studio (said to be a better recording location due to lack of allergy flare-ups during recording process), which was also the recording location of Troubadour.[citation needed] It featured 15 new songs. Strait's long-time friend and songwriter, Dean Dillon, co-wrote two of the songs on the album. It received generally positive reviews from critics. People, in their four-star review, remarked, "If ever there was a natural in country music, it's Strait," while USA Today raved that "he continues to make such consistent quality look easy". The first single from the album, "Give It Away" reached number one, making one of its co-writers, country legend "Whispering Bill" Anderson, the first songwriter to have a number-one hit in five different decades. The title track, "It Just Comes Natural" became his 42nd Billboard number one.[citation needed]
In 2007, "Wrapped" reached number one on the Mediabase 24/7 country music charts, giving Strait his 55th overall number-one single. From January through April of that year, Strait headlined a 23-date arena tour with country-music legend Ronnie Milsap and then-newcomer Taylor Swift. He released a new album titled Troubadour on April 1, 2008. The CD contained 12 tracks, including a duet with Patty Loveless and another with long-time songwriter Dean Dillon. The lead single from the album, "I Saw God Today", debuted at number 19 on the Radio and Records and Billboard charts. It is the highest debut ever for a single from Strait and the fourth-highest debut for a song in country-music history. Troubadour debuted at number one on the Billboard Top 200 album charts, selling over 160,000 copies in its first week of release. "River of Love", the third single from the album, became his 57th number-one song in 2009.[43]
In April 2009, Strait was honored by the Academy of Country Music with the Artist of the Decade Award, which was presented to Strait by the previous ACM Artist of the Decade, Garth Brooks. In June of that year, he headlined the first event at the new Dallas Cowboys Stadium in Arlington, Texas. Strait's single "Living for the Night" was released on May 28, 2009, and was written by Strait, his son Bubba, and Dean Dillon. The song was the lead single from his album Twang, released on August 11, 2009. Twang was certified gold for selling over 500,000 copies.[citation needed]
2010s
[edit]
In 2010, Billboard ranked Strait number one in the top-25 country artists of the past 25 years.[44] On September 6, 2011, Strait released the album, Here for a Good Time, which yielded two number-one singles—"Here for a Good Time" and "Love's Gonna Make It Alright"—bringing Strait's number-one singles total to 59. The album's third single, "Drinkin' Man", was less successful, peaking at number 37.
In October 2012, Strait released the single "Give It All We Got Tonight",[45] which was included on his album Love Is Everything, released on May 14, 2013. The song initiated a "60 for 60" movement by Strait's label, to make the song his 60th number-one single on all country charts while he was still 60 years old.[46] The song reached the top of the Mediabase charts in May 2013. The album's next single, "I Believe", reached number 50 on the U.S. Country Airplay chart, making it Strait's first single to miss the top 40. Strait won the 2013 CMA Entertainer of the Year award.
In November 2013, Billboard presented Strait with its Legend of Live honor during the 10th annual Billboard Touring Awards ceremony.[47] The award honors the concert industry's top artist based on Billboard's Boxscore chart and box-office performance.[48] Strait is the first country artist to receive Billboard's highest touring accolade.[49] On April 19, 2015, Strait made a guest appearance at the 2015 ACM Awards, he performed "All My Ex's Lives in Texas" and his new single "Let it Go".[50]
In 2016, Strait was selected as one of 30 artists to perform on "Forever Country", for a mash-up track of "Take Me Home, Country Roads", "On the Road Again", and "I Will Always Love You", which celebrates 50 years of the CMA Awards.[51]
In 2018, Strait released a single called "Codigo", after a brand of tequila produced by a company in which he had invested.[52]
The Cowboy Rides Away Tour
[edit]
On September 26, 2012, Strait announced that he was retiring from touring, and that his Cowboy Rides Away Tour would be his last.[53][54] Tickets for both arenas and stadiums on the Cowboy Rides Away Tour sold out in a matter of hours. The tour started on January 18, 2013, in Lubbock, Texas, and was divided into two legs: 21 concerts in 2013 and 26 concerts in 2014. The tour ended in Arlington, Texas, on June 7, 2014. Strait was supported on the tour by his longtime 11-member touring group, the Ace in the Hole Band. For the 2013 leg, Martina McBride was the opening performer.[53]
On January 9, 2014, Strait initiated the second leg of the tour, which featured the opening performers Jason Aldean, Eric Church, Martina McBride, Miranda Lambert, Little Big Town, Vince Gill, Lee Ann Womack, Merle Haggard, Chris Young, Ronnie Dunn, Luke Bryan, Tim McGraw, Kenny Chesney, Alan Jackson, and Asleep at the Wheel.[56] Many of these performers gathered together for the tour's final concert in Arlington, Texas on June 7, before 104,793 fans - at the time the largest ticketed attendance ever at a single-headlining act concert in the United States. Strait would then break his own record, ten years later. The concert also set a record for the largest gross at a single-show country concert, $18,194,374, and broke the 33-year-old record as well for "largest indoor concert ever," easily surpassing the 87,500 fans who attended the December 5, 1981, Rolling Stones concert at the New Orleans Superdome (opening acts, The Neville Brothers, followed by George Thorogood and the Destroyers).
A live album recorded from the final concert in Arlington titled The Cowboy Rides Away: Live from AT&T Stadium was released on September 16, 2014, with DVD/CDs of the concert being released on November 10, 2014, with Walmart exclusively releasing a deluxe edition including two CDs, as well. This deluxe DVD is the entire over three-hour concert and the accompanying two CDs have 28 of the 40 songs sung that night.[57] On August 29, 2014, the Country Music Television channel broadcast a two-hour concert special of the event titled George Strait: The Cowboy Rides Away.[57] This CMT concert special had 1+1⁄4 hours of music from the concert and interviews.
Strait broke the record for most fans at a U.S. concert by a single headlining act on Saturday, June 15, 2024, with a concert at Kyle Field at Texas A&M University in College Station, Texas, with 110,905 fans in attendance. The record was previously held by The Grateful Dead who had 107,019 fans in attendance at their 1977 show at Raceway Park in New Jersey.[58] The show also set a new record for Texas A&M’s Kyle Field for most fans at a single event. The previous record was on October 11, 2014, with 110,633 fans, for a Texas A&M football game against Ole Miss.[59]
Musical style
[edit]
Strait's style of country music has been largely labeled as neotraditional country, which relies on traditional instrumentation in country music, i.e. fiddle and pedal steel guitar.[60][2][61] His style has also been labeled as Texas country, Western swing,[62][60] and honky-tonk.[60][62]
Personal life
[edit]
Strait eloped in Mexico with his high school sweetheart Norma in December 1971.[63] Their first child, Jenifer, was born on October 6, 1972. Their son, George Harvey Strait Jr., known as "Bubba", was born in 1981.[64]
Jenifer was killed in an automobile accident in San Marcos on June 25, 1986, at age 13. The family set up the Jenifer Lyn Strait Foundation, which donates money to children's charities in the San Antonio area.[65] George Strait Jr., who is a graduate of Texas A&M, competed as a Professional Rodeo Cowboys Association team-roping competitor.[66] Strait was able to watch his son compete at the Houston Livestock Show and Rodeo in 2006 shortly before taking the stage for his own performance.[67]
On April 10, 2009, John Byron “Buddy” Strait, who was George's older brother, died at the age of 58.
Since 2010, Strait has served as spokesman for the VF Corporation's Wrangler National Patriot program, a campaign designed to raise awareness and funds for America's wounded and fallen military veterans and their families.[68] Strait says, "I've been a part of the Wrangler family for a long time... when they came to me with the idea for supporting fallen and wounded American veterans and their families, I knew I wanted to get involved."[68] He also appeared in commercials for Tractor Supply Company.[69]
In February 2012, Strait became a grandfather when George Strait Jr. and his wife Tamara had their first child, a son, George Harvey Strait III.[70]
Strait owns a Gulfstream G450 business jet; its tail number is N518GS.[71] His personal aircraft is housed at the Landmark Aviation facility in San Antonio. He teamed up with Texas Governor Greg Abbott to help with disaster relief efforts in the wake of Hurricane Harvey which devastated coastal areas of Texas.[72]
Strait along with long-time friend and business partner Tom Cusick created the Vaqueros Del Mar (Cowboys of the Sea) Invitational Golf Tournament and Concert held annually at Strait and Cusick's Texas Hill Country resort Tapatio Springs Resort near Boerne, Texas. The Invitational raises money for David Feherty's Troops First Foundation, benefiting wounded servicemen, servicewomen and their families. Since its beginning in 2012, more than US$5 million have been raised by the events.[73][74][75] In January 2018, George Strait was named the 2018 Texan of the Year by the Texas Legislative Conference, a statewide group of business and political leaders. Strait was honored for his fundraising efforts in the wake of the widespread flooding following Hurricane Harvey.[76][77]
Discography
[edit]
In more than 30 years of recording, all of which have been spent with MCA Records, George Strait has garnered 61 number-one songs on all country charts (including Mediabase 24/7, the former Radio & Records chart, and the now-defunct Gavin Report chart), and has more number-one hits than any other artist in a single genre. His 44 Billboard country number-one hits are a record, four more than Conway Twitty's total that includes several duets with Loretta Lynn.[78] Additionally, Strait is also the first artist in the history of Billboard to have at least one single enter the top 10 of a Billboard chart for 30 consecutive years, starting in 1981 when his debut single "Unwound" peaked at number six on the Hot Country Singles chart. All of his top-10 singles have been on that chart.[79] Strait has sold more than 68 million records in the United States alone,[80] and his certifications from the RIAA include 13 multiplatinum, 33 platinum, and 38 gold albums.[81]
Filmography
[edit]
Strait has acted in several films. He had a bit part in The Soldier (1982) and starred in Pure Country (1992). He also appeared as himself in Grand Champion (2002).
The film Pure Country featured George Strait in the lead role as Dusty Chandler, a famous country singer who strays too far from his country roots and traditional sound. It provided the opportunity for Strait to branch out from his own traditional country sound for a more rock-and-roll approach. The film had little success at the box office and took in only $15 million, but the soundtrack also called Pure Country, produced several hit singles for Strait. It has become his best-selling album to date. Strait had a limited role in the sequel to Pure Country, Pure Country 2: The Gift.[82]
Year Title Role 1982 The Soldier Himself 1992 Pure Country Wyatt "Dusty" Chandler 2002 Grand Champion Himself 2003 King of the Hill Voice of Cornell 2010 Pure Country 2: The Gift Himself
Honors and awards
[edit]
Strait holds the record for most number-one albums and singles, gold albums, platinum albums, and multiplatinum albums in the history of country music, and is 11th in the most number-one albums in all other genres. Strait is third only to Elvis Presley and The Beatles with the most gold and platinum albums in the history of music.[83] Strait has been certified as the 12th-best selling artist in American history, with career record sales of 70 million in the United States.[84]
Strait has held the world record for most number one hit singles across all charts and genres with 60 number-one hits since 2013,[3][7] and is the only artist in the history of music of any kind to have a top-10 hit every year for 30 years. He is also second all-time in top-10 hits in the history of music, currently five away from breaking the all-time record held by Eddy Arnold, who had 92 in his historic career. Strait has won 22 CMA Awards, including consecutive Entertainer of the Year honors in 1989 and 1990, and also just recently won that same honor in 2013 (and is the only artist to win the top honor in three different decades) and holds the career record for CMA nominations (as a whole) and the most consecutively of all time.
As of 2009, he holds the record for the most CMA awards. Strait also holds those same records for wins and nominations for the Academy of Country Music Awards. Strait was elected into the Country Music Hall of Fame in 2006, performing his then-latest number-one hit "Give it Away" right before accepting his replica Hall of Fame plaque at the 40th CMA Awards. He was only the second artist (after Eddy Arnold in 1966) to be inducted into the Hall of Fame while still actively recording and producing chart-topping hits and albums.
As of June 8, 2010, Strait was named the top country-music artist of the past 25 years according to Billboard. In October 2008, the Academy of Country Music Awards named Strait their Artist of the Decade for the 2000s. He was presented the award by the previous winner Garth Brooks. Past winners of the award are Marty Robbins (1960s), Loretta Lynn (1970s), Alabama (1980s), and Garth Brooks (1990s).[85] With the win of the entertainer-of-the-year award in 2013, he is the only artist to ever win that award in three different decades and also was the oldest winner. The win is currently the longest span between wins for that award, as well. Strait is also tied with Merle Haggard for the most male vocalist-of-the-year awards.
On June 1, 2013, Strait appeared at the Alamodome, in San Antonio, Texas, before 70,000 fans in the last concert of the first half of his two-year farewell tour. Governor Rick Perry, who was in attendance with First Lady Anita Thigpen Perry, announced that May 18, Strait's birthday, would be "George Strait Day" in Texas each year.[86]
In 2023, Rolling Stone ranked Strait at number 156 on its list of the 200 Greatest Singers of All Time.[87]
Year Award Category Work 1985 Academy of Country Music Top Male Vocalist — [88] 1985 Country Music Association Male Vocalist of the Year — [89] 1985 Country Music Association Album of the Year Does Fort Worth Ever Cross Your Mind [89] 1986 Academy of Country Music Top Male Vocalist — [88] 1986 Academy of Country Music Album of the Year Does Fort Worth Ever Cross Your Mind [88] 1986 Music City News Country Male Artist of the Year — 1986 Country Music Association Male Vocalist of the Year — [89] 1986 Billboard Year-End Awards Top Country Artist — 1987 Billboard Year-End Awards Top Country Artist — 1988 Academy of Country Music Top Male Vocalist — [88] 1989 Country Music Association Entertainer of the Year — [89] 1989 Special Connie B. Gay Award — 1989 Academy of Country Music Entertainer of the Year — [88] 1989 Special Presidential American Success Award — 1990 Country Music Association Entertainer of the Year — [89] 1990 Radio & Records Country Performer of the Year — 1991 American Music Awards Favorite Country Male Artist — 1993 Academy of Country Music Tex Ritter Movie of the Year Pure Country [88] 1995 Academy of Country Music Single of the Year "Check Yes or No" [88] 1995 ASCAP Voice Of Music Award — 1996 TNN/Music City News Video of the Year "Check Yes or No" 1996 TNN/Music City News Single of the Year "Check Yes or No" 1996 TNN/Music City News Album of the Year Lead On 1996 Music City News Country Single of the Year "Check Yes or No" 1996 Country Music Association Single of the Year "Check Yes or No" [89] 1996 Country Music Association Album of the Year Blue Clear Sky [89] 1996 Country Music Association Male Vocalist of the Year — [89] 1996 Academy of Country Music Top Male Vocalist — [88] 1996 Academy of Country Music Album of the Year Blue Clear Sky [88] 1996 Radio & Records Best Single "Check Yes or No" [88] 1996 Radio & Records Best Male Vocalist — 1996 Radio & Records Most Valuable Performer — 1997 TNN/Music City News Album of the Year Blue Clear Sky 1997 Country Music Association Male Vocalist of the Year — [89] 1997 Country Music Association Album of the Year Carrying Your Love With Me [89] 1997 American Music Awards Favorite Country Album Blue Clear Sky 1997 Academy of Country Music Top Male Vocalist — [88] 1997 Academy of Country Music Album of the Year Carrying Your Love With Me [88] 1997 Radio & Records Best Album Blue Clear Sky 1997 Radio & Records Best Male Vocalist — 1998 Country Music Association Male Vocalist of the Year — [89] 1998 American Music Awards Favorite Country Male Artist — 1998 American Music Awards Favorite Country Album Carrying Your Love With Me 1998 Radio & Records Best Male Vocalist — 1999 Country Weekly Golden Pick Awards Favorite Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Line Dance Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Video Entertainer — 1999 Country Weekly Golden Pick Awards Favorite Male Artist — 1999 Country Weekly Golden Pick Awards Favorite Entertainer — 1999 Country Weekly / TNN/CMT Music Awards Album of the Year One Step at a Time 2000 Country Weekly / TNN/CMT Music Awards Impact Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Single of the Year "Write This Down" 2000 Country Weekly / TNN/CMT Music Awards Male Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Entertainer of the Year — 2000 Country Weekly / TNN/CMT Music Awards Album of the Year Always Never The Same 2000 Country Music Association Vocal Event of the Year "Murder on Music Row" (with Alan Jackson) [89] 2001 Country Music Association Song of the Year "Murder On Music Row" (awarded to songwriters) [89] 2002 Country Weekly Favorite Collaborative Song "Designated Drinker" (with Alan Jackson) 2003 CMT 40 Greatest Men of Country Music Ranked No. 9[citation needed] — 2003 Academy of Country Music Special Achievement Award (in recognition of 50 No. 1 Songs) — [88] 2003 Special Award National Medal of Arts — 2004 Cheyenne Frontier Days Hall of Fame — [90] 2005 Country Music Association Musical Event of the Year "Good News, Bad News" (with Lee Ann Womack) [89] 2006 Honorary Doctoral Degree Texas State University–San Marcos — 2006 Country Music Hall of Fame Inducted into the Country Music Hall of Fame — 2006 Academy of Country Music Single Record of the Year (artist) "Give It Away" [89] 2006 Academy of Country Music Single Record of the Year (producer) "Give It Away" [89] 2006 Academy of Country Music Song of the Year (artist) "Give It Away" [89] 2007 Country Music Association Song of the Year "Give It Away" (awarded to songwriter Jamey Johnson) [89] 2007 Country Music Association Album of the Year It Just Comes Natural (for artist and producer) [89] 2008 Country Music Association Single of the Year "I Saw God Today" [89] 2008 Country Music Association Album of the Year Troubadour [89] 2009 Grammy Awards Best Country Album Troubadour 2009 Academy of Country Music Artist of the Decade — [88] 2010 Billboard.com Top Country Artist of the Past 25 Years — [91] 2013 Country Radio Broadcasters Inc. Country Radio Broadcasters Career Achievement Award — 2013 ASCAP ASCAP Founders Award — 2013 Billboard Touring Awards Legend of Live Award — 2013 Country Music Association Entertainer of the Year — [89] 2014 Academy of Country Music Entertainer of the Year — [88] 2015 Academy of Country Music 50th Anniversary Milestone Award Winner — [88] 2017 Academy of Country Music Cliffie Stone Icon Award — [88] 2020 Billboard Music Awards Top Country Tour 2021 National Cowboy and Western Heritage Museum Western Heritage Awards Lifetime Achievement Award [92]
References
[edit]
Citations
[edit]
Sources
[edit] | ||||||
8911 | dbpedia | 1 | 65 | https://www.pennlive.com/life/2024/03/member-of-legendary-country-music-band-has-died.html | en | Member of legendary country music band has died | [
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"Brian Linder | blinder@pennlive.com",
"Brian Linder",
"blinder@pennlive.com"
] | 2024-03-22T09:00:00.507000+00:00 | No cause of death was reported. | en | /pf/resources/images/pennlive/favicon.ico?d=1375 | pennlive | https://www.pennlive.com/life/2024/03/member-of-legendary-country-music-band-has-died.html | Gene Elders, a longtime fiddle player in Country Music Hall of Famer George Strait’s legendary Ace in the Hole Band, has died.
No cause of death has been reported.
WANT MORE COUNTRY MUSIC NEWS? CLICK HERE.
It was the second heartbreaking death to rock Strait in a day’s time after his manager, Erv Woolsey, also passed away.
“Hard to believe we lost two of our music family members on the same day,” Strait posted on X, formerly Twitter. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.”
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Elders’ website said he played in Strait’s band since 1984. It said he also played in Lyle Lovett’s Large Band for 11 years, and also played on recordings for Joan Baez, Lucinda Williams and Dan Fogelberg.
Fans took to social media following the news to remember Elders.
“I’ve been fortunate enough to watch Gene Elders play that haunting fiddle outro on ‘Amarillo By Morning’ live several times,” one person wrote. “The arena goes dark except for a long spot light on Gene, it sends chills every time. RIP Gene Elders.”
“Today was a devastating day for the Strait camp,” another person wrote. “Our hearts are hurting. Rest in Peace Gene Elders. Rest in Peace Erv Woolsey. We will miss you both.” | ||||
8911 | dbpedia | 0 | 2 | http://www.georgestraitfever.org/aceintheholeband.html | en | AceInTheHoleBand | [
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] | null | [] | null | George Strait's Ace In The Hole Band; one of the best western swing bands there is. Here is their history from 1975 to present, info about their album, their appearance in Pure Country, and lots of interviews and concert tour photos. | null | ||||||||
8911 | dbpedia | 1 | 49 | https://thewesterner.blogspot.com/2020/12/story-behind-ace-in-hole-band-legendary.html | en | THE WESTERNER: Story Behind the Ace in the Hole Band, Legendary Backing Band Behind George Strait | [
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] | null | Country music legends like Bob Wills and Buck Owens had backing bands (The Texas Playboys and the Buckaroos). George Strait has his Ace in t... | en | https://thewesterner.blogspot.com/favicon.ico | https://thewesterner.blogspot.com/2020/12/story-behind-ace-in-hole-band-legendary.html | Country music legends like Bob Wills and Buck Owens had backing bands (The Texas Playboys and the Buckaroos). George Strait has his Ace in the Hole Band.
The band has been with Strait since their early days at Southwest Texas State University, now known as Texas State University, in San Marcos, Texas. Its origins lie in the band that was known as Stoney Ridge.
Coincidentally, Strait became the band’s lead singer after members of Stoney Ridge were looking for one.
How George Strait Became The Lead Singer
The story goes that the band put out fliers seeking a lead singer. Strait, who was an agriculture science major at Southwest Texas State, saw a flier and made a phone call.
Band members listened to Strait, liked what they heard, and added him to the roster in the mid-1970s.
Strait eventually went on to have his solo career in the 1980s. The band, though, continued to play behind Strait and does so to this day.
Members of the band include Mike Daily on steel guitar, Terry Hale on bass, Ron Huckaby on keyboards, Rick McRae on lead guitar, Benny McArthur on guitar and fiddle, Gene Elders on fiddle, Wes Hightower and Marty Slayton on backing vocals, Joe Manuel on acoustic guitar, John Michael Whitby on keyboards, and Lonnie Wilson on drums. | |||||
8911 | dbpedia | 0 | 44 | https://music.fandom.com/wiki/Ace_Cannon | en | Ace Cannon | https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711 | https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711 | [
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] | 2024-07-29T22:27:06+00:00 | Ace Cannon, born as John Cannon[1] (Grenada, Mississippi, may 5, 1934), is an American tenor and alto saxophonist. He was one of the most prominent artists of Hi Records in the 1960s. [2] At the age of 10 for the first time he played the saxophone. His father worked as... | en | /skins-ucp/mw139/common/favicon.ico | Music Hub | https://music.fandom.com/wiki/Ace_Cannon | Ace Cannon, born as John Cannon[1] (Grenada, Mississippi, may 5, 1934), is an American tenor and alto saxophonist. He was one of the most prominent artists of Hi Records in the 1960s. [2]
Biography[Edit][]
At the age of 10 for the first time he played the saxophone. His father worked as a violinist and guitarist in Memphis and the surrounding area. [3] The young Cannon went to the Hollywood Junior High School and Tech High school, where he played in school orchestras. After obtaining his degree, he enrolled in a music course at the Memphis State University, but kept there after one and a half semester on.[4] He then worked for six years as an administrative assistant and manager at a company that manufactures irrigation pumps. [3]
Cannon signed with Sun Records and played there with Billy Lee Riley and Brad Suggs. He made from 1959 to 1961 at the Hi Records Bill Black's Combo and done much work as a session musician. In the beginning he made use of the name ' Johnny Cannon '. One of the owners of Hi Records, Joey Coughi, created his stage name: Ace Cannon. [3] In 1961 he started, accompanied by Black and his group, to his solo career with the single "Tuff". This peaked in 1962 the 17th place in the Billboard Hot 100.His next single "Blues (Stay Away from Me)" ended up on the 36th place.
Cannon moved In the 1970s to Nashville. He was nominated for a Grammy Award for his portrayal of "Blue Eyes Crying in the Rain". In 1974 he was made about him entitled a documentarie Aces High.
In 1987, he played at the request of Chips Mahadevan, who worked for him as a sound engineer at Hi Records, with Johnny Cash, Jerry Lee Lewis, Carl Perkins and Roy Orbison on the album Class of ' 55. [4] after the release of this he toured until the end of the year with Perkins by the United States and the Scandinavian countries.
Cannon was included in the Rock and Soul Hall of Fame and the Rockabilly Hall of Fame. In May 2007, it was in his hometown for the first time the annual Ace Cannon Festival. On december 9, 2008, he was inducted into the Mississippi Musicians ' Hall of Fame.
Discography[Edit][]
This review is (still) not complete; You can help by expanding it. | ||
8911 | dbpedia | 3 | 11 | https://www.popmatters.com/ace-in-the-hole-2496217026.html | en | Ace in the Hole | [
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] | null | Thanks to our tunnelvision take on the world around us, we tend to believe that every social misstep is part of some purely modern trend, a situation or... | en | PopMatters | https://www.popmatters.com/ace-in-the-hole-2496217026.html | Thanks to our tunnelvision take on the world around us, we tend to believe that every social misstep is part of some purely modern trend, a situation or subject only recently discovered during our current cultural watch. Violent teens turn school grounds into graveyards and we curse the apparent plague of criminally-minded kids. Yet 60 years ago, post-War America dealt with a juvenile delinquency problem so potent that Hollywood jumped on the scare tactic bandwagon.
Serial killers are frequently considered a post-modern ideal, and yet one of the most notorious mass murderers, Dr. H. H. Holmes’, practiced his particular brand of carnage during the Chicago World’s Columbian Exposition…of 1893! From questions over fossil fuel efficiency and alternative energy sources to the hot button political problems of terrorism, immigration, and social amorality, history doesn’t only repeat itself; it seemingly stops and spot checks its lack of progress every so often, just too make sure things are recycling along nicely.
And then there are the tabloids. Forget the fact that, a century ago, William Hearst’s stained newsprint invented the term “yellow journalism”, or that movie stars suffered the slings and arrows of outrageous accusation long before modern newspapers focused on their foibles. No, as long as there has been an undeniable link between finances and the Fourth Estate, there have been rule-bending reporters like Chuck Tatum, the press card carrying carnival barker at the center of Billy Wilder’s bitter social slam, Ace in the Hole.
In fact, it was much worse back in the days when media was mitigated to print, radio, and the newsreel. Before the byline established a writer’s credentials, it was scandal, suffering, and the sensational that drew readers. And if you were lucky enough to be the journalist at the center of the mass hysteria maelstrom, you could ride the human interest all the way to scribe stardom.
As part of Criterion’s continuing efforts to bring the best of motion pictures to the digital domain, Ace in the Hole is given an intriguing two-disc presentation. As stated by film scholar Neil Sinyard (who appears on a bonus commentary track), the film represented yet another piece of Wilder’s post-WWII puzzle; an acerbic overview that began earlier with Double Indemnity, and continued through The Lost Weekend and Sunset Blvd. Using a slew of symbols and a Front Page knowledge of the press, he settled on the story of a reporter rendered inhuman by his desire for glory and some professional payback.
Fired from every big city paper in the country, Chuck Tatum (a brilliant Kirk Douglas) treks across the US, looking for possible sanctuary and a place to practice his cut throat craft. He lands in a backwater New Mexico burg, a place that sees the annual rattlesnake hunt as worthy copy. While on his way to the reptile roundup, a stop at a roadside attraction delivers potential pay dirt. The owner of the Indian souvenir stand, a war vet named Leo Minosa, is trapped in a cave.
While Minosa’s blasé bride could care less, his father hopes for a rescue. Proving his commitment to the cause, Tatum risks his life by going deep into the mountainside. He contacts Minosa, and tells him everything will be okay. Within 24 hours, the conniving chronicler has the whole area corded off, and as he manipulates the local authorities to follow his plan, he waits for his pals in the big time to come begging.
Meanwhile, tourists intrigued by the story start flocking to the site, and soon a small community of concerned citizens – and those hoping to take advantage of them – has sprouted up. For Tatum, this is pure reporter’s gold. For the rest of the Minosa family, however, it creates conflicting emotions. While his parents are desperate for any hope, lonely wife Lorraine has other, more personal plans. It all hinges on whether the desperate man can be rescued – and only one person is determining if and when that happens.
If any cub columnists out there want instructions on how to properly stir up a substantial media circus, Wilder and his conscious-free antihero provide a nearly flawless tutorial. Like all great Hollywood classics, Ace in the Hole reverberates with an energy that expertly compliments its material, rendering even the most ordinary sequences visceral and dramatically intriguing. There are several elements that cause this kind of celebrated synchronicity – great scripting, expert casting, fluid direction, and brilliant performances – and in this capacity, Wilder is a winner once again.
Iconic from the moment we see him, Douglas has the grizzled, world-weary wise guy act down pat. It’s the sort of performance that can be easily overlooked at first, since it seems to be built solely out of swagger and one too many bottles of badly aged Scotch. Tatum is not a drunk, be he often uses alcohol as a means of diminishing his everpresent principles. He understands the wrongness of his every action, but with an assuring bottle of booze nearby, the ends always justify the means.
It’s this recklessness that forces his frequent unemployment, but it is also the inspiration for his biggest creative coups. When he first finds Minosa, the man’s predicament is laughable at best. Wedged under a piece of collapsed flooring, and easily accessible with some minor engineering adjustments, there is not much to this potential potboiler. But by expertly picking up the vibes around the situation – the disinterested wife, the defiant parent, the corrupt local sheriff, and the easily lead construction chief – Tatum sees the pawns he can prepare for the biggest story of his life.
These initial moments are crucial to Ace in the Hole, since they establish the relative ease over which a minor incident can balloon into a nationwide nail biter. Through pure determination and drive, an innate knowledge of people and the public, and a gift for finding the right internal buttons to push, he will conduct the chaos. And don’t downplay his defiance. If he’s a whore, selling out situations to the highest bidder, he sees the same potential in all individuals. Tatum knows what we are – it’s all a matter of haggling over the price.
Indeed, the most remarkable thing about Wilder’s script is that it never softsteps the notion of morbid curiosity. As we see the crowd of curiousity seekers build and expand, a few cars and motor homes eventually turning into an entire carnival and a small shanty town of vendors and confidence artists, we recognize our own inescapable part in this pathetic production. Without the crowds, the story would simply provide some necessary local color to the desert town, and then fade away once the rescue was completed. But thanks to Tatum’s insight into our instinctual need to participate in the process of tragedy, he elevates the search into a mandate on humanity.
Of course, we don’t make out too well. Wilder stages amazing scenes where the camera looks out over a vast flat plain, the lens picking up bits and pieces of the throng before finally settling right on top of it. There are also sequences inside the Minosa’s diner, aggravating families clamoring for food and faster service, their need for comfort as unquenchable as their looky-loo inquisitiveness.
If you think that Wilder is rather down on the entire process, from the people inside to the celebrants surrounding it, you’d be right. While it seems safe to call his overall philosophy the nature of man contemptuous, he is never cruel or heartless about his condemnation. Indeed, much of the material included as part of the two-disc DVD suggests a man whose main issue was not the human condition, but individual predictability. Wilder wanted to believe that when faced with immoral options, we’d take the more redemptive road. But since we are bound by our beliefs, as well as carrying the weight of the world on our shoulders, a shortcut of any sort will always be more agreeable – be it found in a babe with a bad marriage, a bottle, or a has-been actress looking for a little younger male companionship. Tatum doesn’t want to hurt anybody, but he is willing to gamble with their lives if it means some extra inches come column time.
Over half a century after the film’s debut, nothing has really changed. The minute a man gets trapped in a mine, or a child slips and stumbles into a well, the 24-hour news blockade steps in and assesses the story’s viability. Reporters with recognizable names like Geraldo and Anderson take up residence right outside the fray, forwarding speculation and specious data as hardline realities. Experts and professional pundits line up, each one operating under the undeniable theory that face time equals fame. Thus the subtleties are lost and the unfathomable exaggerated to keep couch potatoes glued to the tube.
Eventually, reality rears its ratings-destroying head, and the truth turns into tragedy. If anything, the passage of time has made such a situation even more sickening. If the camera could capture the last seconds of a dying man’s misery, the current voyeuristic version of the news would run it as an endless loop.
While he remains a lot of things throughout this ordeal, Tatum is never viewed as completely irredeemable. Toward the end, when he realizes what his efforts have wrought, he tries to turn the tide. He plays out all his cards, keeping the title trick up his sleeve for a last minute bit of redemption. But the funny thing is, by this point, nobody cares – not the big city papers, not the crowd of tantalized gawkers, not the politicians and officials he’s propped up and patronized, not the suffering subject at the center of all the hoopla. | |||||
8911 | dbpedia | 2 | 0 | http://www.georgestraitfever.org/aceintheholeband.html | en | AceInTheHoleBand | [
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8911 | dbpedia | 3 | 31 | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7549457/ | en | Rhegmatogenous retinal detachment: a review of current practice in diagnosis and management | [
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"Teresa Sandinha"
] | 2020-08-19T00:00:00 | Rhegmatogenous retinal detachment (RRD) is a common condition with an increasing incidence, related to the ageing demographics of many populations and the rising global prevalence of myopia, both well known risk factors. Previously untreatable, RRD now ... | en | https://www.ncbi.nlm.nih.gov/coreutils/nwds/img/favicons/favicon.ico | PubMed Central (PMC) | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7549457/ | BMJ Open Ophthalmol. 2020; 5(1): e000474.
PMCID: PMC7549457
PMID: 33083551
Rhegmatogenous retinal detachment: a review of current practice in diagnosis and management
,1 ,1 ,1,2 ,3 and 4
Ziyaad Nabil Sultan
1Ophthalmology, Royal Liverpool and Broadgreen Hospitals NHS Trust, Liverpool, UK
Find articles by Ziyaad Nabil Sultan
Eleftherios I Agorogiannis
1Ophthalmology, Royal Liverpool and Broadgreen Hospitals NHS Trust, Liverpool, UK
Find articles by Eleftherios I Agorogiannis
Danilo Iannetta
1Ophthalmology, Royal Liverpool and Broadgreen Hospitals NHS Trust, Liverpool, UK
2UOSD Glaucoma, Arcispedale S Maria Nuova, Reggio Emilia, Emilia-Romagna, Italy
Find articles by Danilo Iannetta
David Steel
3Ophthalmology, Sunderland Eye Infirmary, Sunderland, Sunderland, UK
Find articles by David Steel
Teresa Sandinha
4St Paul's Eye Unit, Royal Liverpool and Broadgreen University Hospitals NHS Trust, Liverpool, Liverpool, UK
Find articles by Teresa Sandinha
1Ophthalmology, Royal Liverpool and Broadgreen Hospitals NHS Trust, Liverpool, UK
2UOSD Glaucoma, Arcispedale S Maria Nuova, Reggio Emilia, Emilia-Romagna, Italy
3Ophthalmology, Sunderland Eye Infirmary, Sunderland, Sunderland, UK
4St Paul's Eye Unit, Royal Liverpool and Broadgreen University Hospitals NHS Trust, Liverpool, Liverpool, UK
Corresponding author.
Correspondence to Dr Ziyaad Nabil Sultan; ten.shn@natlus.daayiz
Copyright © Author(s) (or their employer(s)) 2020. Re-use permitted under CC BY-NC. No commercial re-use. See rights and permissions. Published by BMJ.
This is an open access article distributed in accordance with the Creative Commons Attribution Non Commercial (CC BY-NC 4.0) license, which permits others to distribute, remix, adapt, build upon this work non-commercially, and license their derivative works on different terms, provided the original work is properly cited, appropriate credit is given, any changes made indicated, and the use is non-commercial. See: http://creativecommons.org/licenses/by-nc/4.0/.
Abstract
Rhegmatogenous retinal detachment (RRD) is a common condition with an increasing incidence, related to the ageing demographics of many populations and the rising global prevalence of myopia, both well known risk factors. Previously untreatable, RRD now achieves primary surgical success rates of over 80%–90% with complex cases also amenable to treatment. The optimal management for RRD attracts much debate with the main options of pneumatic retinopexy, scleral buckling and vitrectomy all having their proponents based on surgeon experience and preference, case mix and equipment availability. The aim of this review is to provide an overview for the non-retina specialist that will aid and inform their understanding and discussions with patients. We review the incidence and pathogenesis of RRD, present a systematic approach to diagnosis and treatment with special consideration to managing the fellow eye and summarise surgical success and visual recovery following different surgical options.
Keywords: retina, vitreous, treatment surgery
Introduction
Rhegmatogenous retinal detachment (RRD) ( ) is the most common form of RD occurring in approximately 1 in 10 000 of the population per annum.1 It develops when there is a retinal ‘break’ or full-thickness defect in the neurosensory retina (NSR) that allows the ingress of fluid from the vitreous cavity into the subretinal space, resulting in separation of the NSR from the underlying retinal pigment epithelium (RPE).2 In this review, we mainly discuss acute progressive RRD with onset less than 2 weeks, whereas chronic RRD is defined as being present for longer than 2 weeks.3
Until the early 1900s, RD was a blinding disorder with unclear pathogenesis; RD was initially thought to represent an exudative process, occurring from choroidal leakage and not caused by retinal breaks.4 Specifically, it was thought that stretching of the retina, effectively ‘inflating’ of the retina, caused breaks and early treatment involved instrumentation to produce tears in order to allow for subretinal fluid egress into the vitreous cavity. The field was revolutionised by Jules Gonin who recognised the role of retinal breaks in causing detachments through the study of cadaveric eyes.5
The past 80 years of RRD treatment have, therefore, focused on surgical techniques to close or appose the retinal break(s) to the RPE. Once the break is closed, the RPE then actively removes fluid from the subretinal space to the choroid where it is absorbed via the choroidal vasculature. In 1951, Schepens et al introduced extraocular scleral buckling (SB) for RD,6 raising the rate of successful reattachment to close to 90%. For the next two decades, SB was the principal surgical intervention for patients with RRDs. In 1970s pars plana vitrectomy (PPV) was developed as an alternative surgical approach for patients with RD by Charles and Machemer,7 8 and in 1973 Norton introduced the use of intraocular tamponade with sulphur hexafluoride (SF6) gas, expanding the role of intraocular surgery in the management of RRDs.9 Intraocular gases (such as SF6 or perfluoropropane, C3F8) are an important element of managing RRD with PPV as they allow closure of retinal break(s) until a permanent, retinopexy-induced, choroidoretinal adhesion develops.10 Their use can be substituted by silicone oil (SO) which provides permanent or long-term non-expansile tamponade and may be preferable in eyes with complicated RRD—for example due to proliferative vitreoretinopathy (PVR), trauma or giant retinal tears—or in patients who have to fly following surgery.10 11 In recent years, improvements in vitrectomy instrumentation, the development of wide-angle microscopic viewing systems, the use of perfluorocarbon liquids, and the development of microincisional techniques have reduced the morbidity, and expanded the role of vitrectomy, resulting in it becoming the most popular treatment modality for primary, as well as complex and/or recurrent RRD for many surgeons. An excellent and comprehensive historical review of the evolution of RRD theory and management has been provided by Gloor and Marmor.4 12
Pathogenesis
There are no anatomic junctions between the NSR and RPE, but weak mechanical forces are responsible for their adhesion.2 These include the active and passive forces of choroidal oncotic pressure and the RPE pump, creating a pressure gradient between the two.2 The interphotoreceptor matrix, consisting of a variety of molecules including the glycosaminoglycans chondroitin sulphate and hyaluronic acid, and the RPE microvilli, enveloping the photoreceptor outer segments also contribute to these adhesive mechanisms.2 The metabolic state and oxygenation of the RPE affects this overall adhesion.2 Any RD is by definition an accumulation of subretinal fluid between NSR and RPE. The two prerequisites for the development of RRD are (1) liquefaction of the vitreous; an RRD will not occur without first some degree of liquefaction of the formed vitreous gel that precedes posterior vitreous detachment (PVD), and supplies the low viscosity fluid that is able to flow through retinal breaks, and (2) a retinal break through which fluid gains access into the subretinal space. These can take a variety of forms including retinal tears, as well as round retinal holes, usually forming in the context of pre-existing lattice degeneration. Operculated holes form when a retinal tear flap is avulsed from the retinal surface.2
Risk factors
Most RRDs are associated with retinal tear formation at the time of PVD.13 The risk of tear formation is increased in people with areas of pre-existing retinal thinning such as lattice degeneration, which is also associated with abnormal vitreoretinal adhesion. RRDs can also occur without PVD in people with pre-existing retinal lesions, such as atrophic retinal holes, lattice degeneration and retinal dialyses which can be due to previous blunt trauma or idiopathic.14 15 Approximately 7%–8% of the normal population have areas of lattice degeneration, but only a small proportion will progress to RRD, although higher than the non-lattice degeneration population.16 17 Asymptomatic retinal dialysis is thought to have a high risk of progression to RD, especially after trauma.18
There is an increased risk of RRD in myopic patients, with an up to 10-fold increase in myopia over three dioptres (D).15 This is an important consideration amid the increasing incidence of high myopia (greater than −6D) worldwide, with the prevalence in school-aged children in Asia as high as 80%.19 20 RRD risk also varies by gender and ethnicity with men, and Caucasian and Asian populations are at relatively higher risk.21 22
People who previously had cataract surgery also have a higher incidence of RRD, with approximately one in five RRDs in the UK being pseudophakic.1 About 0.5%–0.6% of people experience RRD after phacoemulsification, with the risk increasing year on year to at least 10 years. Posterior capsule rupture increases the risk substantially by up to 15–20 times.22–24 Several other factors are associated with pseudophakic RRD, including (in order of decreasing effect) increasing axial length, younger age and male sex.22
Risk to fellow eye
The fellow eye in patients with RRD is at a higher risk. The Scottish Retinal Detachment Study found a prevalence of bilateral RRD of 7%.25 Interestingly, in the same cohort, retinal tears were found in 8% of fellow eyes in patients with primary RRD, which underscores the need for a thorough dilated fundal examination of the fellow eye. A UK study by Fajgenbaum et al found that the risk of fellow-eye RRD was highest during the early postoperative period and declined over the years.26 Specifically, the probability (hazard rate) of RRD in the fellow eye was 3% in the first year, and declined to 0.3% over 10 years; the cumulative risk of RRD in the fellow eye was 8% over 15 years.26
Prevention: prophylactic treatment to fellow eye following RRD
Although RRD may develop in a fellow eye from pre-existing retinal lesions, most subsequent RRDs (at least 50% and possibly as high as 80%–90%) in the fellow eye will occur from ophthalmoscopically normal areas of retina,27 therefore, prophylactic treatment with either laser or cryotherapy to funduscopically abnormal areas does not completely reduce the incidence of fellow-eye RRD. However, in one large UK study only 6% of eyes treated prophylactically developed RRD.25 It should also be noted that 30% of patients with symptomatic retinal tears or holes, will develop RRD if untreated.28
Diagnosis: rules for detecting retinal breaks
The cornerstone of RRD examination is the search for retinal break(s). For over 40 years, the seminal paper by Lincoff and Giese,29 gave rise to the ubiquitously cited ‘Lincoff rules’ for identifying the location of the primary or causative retinal break in RRD ( ). There are RRDs that do not obey these rules that present clinical challenges. Although not yet validated, but based on long experience, David Wong cited six new rules that illustrate the locations of retinal breaks in RRDs that do not obey Lincoff’s rule, during the 2018 British and Eire Association of Vitreoretinal Surgeons meeting ( ) (D. Wong, personal communication). He described that a retinal break in the upper temporal quadrant would recruit SRF and gradually result in a subtotal RD, higher on the temporal side and bullous inferiorly (rule 1). Similarly, a retinal break in the same location could result in an acute bullous superior RD overhanging the posterior pole and macula (rule 2). This last configuration is thought to be due to vitreous separation and collapse, which in turn is responsible for rapid onset and the bullous overhanging nature of the RD. Areas of thin retina in the detached retina point to where the break is (rule 3). In fundus-obscuring vitreous haemorrhage the ophthalmologist should suspect multiple retinal breaks (rule 4). In case of RRD involving the posterior retina but limited in extent inferiorly and peripherally, the primary break is likely located at the posterior pole (rule 5). Finally, in inferior bullous RRD, the retinal breaks should be on the concave as opposed to the convex side, and this can be appreciated by alternately rolling the patient on each side (rule 6). Further work needs to be undertaken to determine if these rules hold.
Surgical management of RRD
Aim of intervention
The main target of RRD management is to achieve retinal reattachment. Although the benefit for treatment of asymptomatic (chronic) RRD remains unclear, symptomatic RRD is a clear indication for surgery. On presentation, RRD is usually divided into ‘macula-on’ where the foveal centre is not involved, and ‘macula-off’ where the fovea is detached.30 People with macula-on RRD typically have good initial best-corrected visual acuity (BCVA) and a better visual prognosis with successful surgery. Macula-off RRDs have lower initial BCVA and worse visual prognosis even with successful reattachment of the retina. However, in macula-off RRDs postoperative BCVA is better in patients with 1–3 days of visual loss compared with 4–6 days, and hence these patients also need to be treated as a matter of urgency.31 Indeed it is likely that prognosis reduces linearly for every day that the macula remains detached.
Optical coherence tomography (OCT) is not routinely required to assess macular status, as this can be established by BCVA and clinical examination, with preoperative BCVA determining potential postoperative BCVA. However, OCT and ultrasound imaging may be useful in assessing the presence of PVD, as this can influence the surgical approach.
Surgical approaches
There are three main current options for the management of RRD, namely pneumoretinopexy (PnR), SB and PPV. The choice of surgery will depend on various factors, including number, location and size of retinal breaks present and the presence of any PVR; the ability of the patient to posture in order to allow optimum positioning of intraocular tamponade agents; lens status and surgeon’s experience and preference. PVR remains the most predictive variable for failure of primary surgery with success rates dropping from 90% to 68% if PVR is present preoperatively.31 It is characterised by cellular proliferation affecting both surfaces of the detached retina and the vitreous base, resulting in the formation of contractile periretinal membranes. PVR can also occur following surgery and is one of the chief causes of failure, along with new break formation as well as missed retinal breaks. Although several studies have identified a number of clinical risk factors for PVR developing and causing primary failure, including vitreous haemorrhage, PVR at presentation, aphakia, uveitis, RRD associated with trauma, duration of detachment and presence of choroidal detachment preoperatively,32 to date there is no effective treatment for PVR.
Scleral buckle surgery
Between 2002 and 2010, 12% of primary RRDs in the UK were treated with SB alone.33 In clinical practice in the UK, Europe, and North America, many phakic eyes with localised RRD associated with small anterior holes or retinal dialysis, are usually treated with SB, especially if there is no associated PVD. The SB technique involves break localisation, cryotherapy and a local or circumferential buckle element. The buckle indents the sclera to appose NSR and RPE, and hence ‘close’ the retinal break ( ). Some surgeons routinely include an encircling element to the buckle regardless of other breaks, while other surgeons only add encirclements if there are multiple breaks or evidence of PVR. Due to fewer SB procedures currently being performed, experience for younger vitreoretinal surgeons is limited and this may affect potential success rates.
SB: anatomical success
Primary anatomical success of SB ranges between 53% and 83%34–36; SB can be particularly successful for retinal dialysis and round roles.37 38 In a retrospective study of 436 eyes, Goezinne et al reported primary anatomical success of 76%, with secondary anatomical success of 97% following PPV for failed SB.39 In addition, they also reported that retinal tears greater than three disc diameters were associated with more primary surgical failures, and advocated primary PPV for these patients.39 Lens status can further influence SB surgical success; Heimann et al reported a failure rate of 40% and 26% in pseudophakic and phakic patients with buckling surgery, respectively, although after successful reattachment, recurrent late re-detachment is relatively rare.34
SB: visual outcomes
After successful reattachment of the retina, pockets of shallow subretinal fluid may occur, and persist for many months before spontaneously resolving.40 The presence and persistence of this subretinal fluid does not negatively affect final visual acuity but can delay visual recovery.40 Final visual acuity following SB is at least comparable to other surgical modalities.36 A large randomised controlled trial (RCT) comparing SB and PPV found that phakic patients undergoing SB achieved better BCVA, while there was no significant difference in BCVA between pseudophakic patients receiving SB or PPV intervention.34 Myopia can occur secondary to increase in axial length, typically by approximately 1 mm (usually translated to a refractive error of 2–3 dioptres) after SB surgery with the use of an encircling band.36 41 Corneal topographical (astigmatic) changes with segmental buckles vary postoperatively, depending on the buckle required, but typically return to preoperative levels within 1 month.42 Cataract secondary to the procedure itself is uncommon but has been reported at up to 46% at 1-year follow-up.34
SB: limitations and complications
Some of the limitations of SB pertain to the challenges of case selection, and the potential to miss additional retinal breaks compared with PPV. Intraoperative complications include scleral perforation, subretinal haemorrhage, retinal incarceration and choroidal detachment, and are reported to occur in 5% of SB procedures.39 Scleral explant complications including pain, explant-related infection, exposure or simply cosmetically noticeable prominence, can require scleral buckle removal in 1%–6%.43 44 Diplopia occurs in approximately 4%–14% of cases in the immediate postoperative period, and usually resolves spontaneously but can persist, requiring prisms or surgery, and is not always improved by scleral buckle removal.45 46
Pars plana vitrectomy
PPV is currently preformed for the majority of RRDs in the UK ( ). However, more absolute indications include eyes in which a scleral buckle cannot be placed (eg, thin sclera), RRD associated with vitreous opacities obstructing the retinal view, giant retinal breaks, posterior retinal breaks that cannot be easily reached by buckling, and RRD associated with vitreoretinal traction that cannot be relieved by SB, including significant levels of PVR. Contrary to PnR which utilises non-diluted expansile intraocular gases, tamponade in PPV is usually performed by complete filling of the vitreous cavity with gas diluted in air at iso-volumetric concentrations which do not expand (eg, 20% SF6 or 14% C3F8).10
PPV: anatomical success
PPV has been generally very successful in treating RRD. The two large comparative randomised studies of Heimann et al (against SB) and Hillier et al (against PnR) reported primary anatomical success of 72% and 93%, respectively, for vitrectomy.34 47 Brazitikos et al randomised 150 eyes with pseudophakic RRD (with PVR less severe than grade B) to receive SB or PPV.36 Re-detachment rates in the PPV and SB arms were 6% and 17%, respectively, lower than those reported by Heimann et al at 20% and 40%, respectively, but with the same direction of effect suggesting that vitrectomy is more effective than SB in pseudophakic eyes.34 The surgical management of inferior RRD can present further challenges in terms of lower success rates. Some surgeons advocate primary combined SB-PPV for RRD with inferior breaks in detached retina,48 while other surgeons advocate primary PPV alone. Recent series have reported high success rates with air tamponade alone in RRD with inferior breaks, suggesting that tamponade in vitrectomy may not act purely by break closure, but also by a reduction in intraocular fluid currents.49–51
PPV: visual outcomes
Typically, visual recovery is closely linked with macular status pre-operatively, but macula-sparing cases can have worse vison postoperatively from macular involvement by displaced SRF intraoperatively, as well as some degree of epiretinal membrane (ERM) formation (35%) and CMO (15%) which can also effect visual recovery and require revision surgery for ERM in up to 15% of cases.52 The Pneumatic Retinopexy versus Vitrectomy for the Management of Primary RRD Outcomes Randomized Trial (PIVOT) compared outcomes following PnR and PPV for primary RRD, and reported that BCVA had improved by 3 and 61 Early Treatment Diabetic Retinopathy Study (ETDRS) letters at 1 year following PPV for macula-on and macula-off RRD, respectively.47 In this study, phakic and pseudophakic eyes achieved similar postoperative BCVA with PPV.47 A large RCT comparing SB and PPV found similar improvement in BCVA among pseudophakic patients at 1 year, but better BCVA in phakic patients undergoing SB.34 Both these RCTs reported greater cataract progression following PPV, than after SB or PnR.
PPV: limitations and complications
Regardless of indication, PPV is associated with specific complications, such as iatrogenic retinal tears, lens touch and cataract formation. In a prospective study, Saleh et al found that the rate of iatrogenic retinal tears was 3% (11/394).53 A large retrospective UK study (n=628) comparing 20 G and 23 G PPV, reported the incidence of iatrogenic breaks at 17% and 8%, respectively, possibly largely relating to the use of cannulated sclerotomies with narrow gauge vitrectomy systems.54
Following PPV in phakic eyes with air or gas tamponade, there is often early transient posterior lens change, that usually resolves with gas absorption. However, nuclear sclerotic cataract typically develops several months postoperatively in 50%–70% of patients depending on tamponade use and age primarily.55 The median duration for visually significant cataract formation after PPV is reported as 8 months.56
Lens touch during PPV is a well-documented complication and consequent iatrogenic cause of cataract. A UK retrospective study of 1399 patients undergoing PPV reported an incidence of 4%.56 Lens touch is associated with age (as lens size increases), increased complexity as indicated by PVR, use of SO and need for retinectomy.56 Posterior capsule rupture is nearly eight times more likely after lens touch.56
Increased intraocular pressure (IOP) following PPV is an important postoperative complication. PPV with gas tamponade can induce significant acute and usually short-term IOP rises (≥30 mm Hg), especially when combined with SB, concurrent lensectomy, laser photocoagulation and postoperative formation of fibrinous membranes.57 The silicone study compared IOP abnormalities following PPV with either C3F8 gas or SO for PVR.58 Frequency of chronically raised IOP was higher among eyes randomised to SO (8%) compared with C3F8 (2%), while C3F8 was associated with higher possibility of hypotony from severe anterior PVR.58 All eyes with raised IOP were aphakic, and there was little correlation between the presence of SO in the anterior chamber and glaucoma.58
Pneumoretinopexy
Combined transconjunctival cryotherapy and PnR for the treatment of superior RRD, was first introduced by Hilton and Grizzard.59 In their 20-patient case series, treatment indication was RRD involving the superior eight clock hours associated with a single break or multiple breaks within 1 hour of each other,59 and this still broadly holds true today. PnR is rarely performed in the UK, where more than 99% of all RRDs are managed with PPV, SB or combined PPV-SB.33 PnR is more frequently performed in North America (in certain places even more frequently than either SB or PPV).60
PnR: anatomical success
The procedure relies on injecting a small volume of expansile gas which then expands to tamponade a specific arc of retina. The choice of endoretinal tamponade agent is an important consideration as different gases have distinct properties relating to the amount of expansion, the time required to reach maximal volume, and the total duration of tamponade. For example, air does not expand at all and disappears after 3 days on average, while SF6 gas doubles its volume in approximately 36 hours and can remain within the vitreous cavity for 12 days.61 A bubble of C3F8 gas can quadruple its size in 3 days and may persist within the eye for almost 40 days.61 For an average eye, 0.3 mL of expanded gas can cover 60° of the retinal surface, whereas it takes 1.2 mL of gas to cover 90° of the retinal surface and hence typically 0.5 mL of SF6 or 0.3 mL of C3F8 is injected.61 In myopic (larger) eyes, these assumptions are not fixed and the amount of gas can also be ‘titrated’ to the break position and ease of effective tamponade.
Primary anatomical success with PnR varies with lens status. Primary anatomical success with PnR in phakic eyes ranges between 73% and 81%,35 47 and is lower in pseudophakic and aphakic eyes (41%–67%).61 In patients with primary failure after PnR that require subsequent surgery (PPV or SB), high anatomical success rates (98%–99%) can still be achieved.35 62 Thus, primary PnR failure does not appear to negatively influence the success of further RD surgery.
PnR: visual outcomes
Visual rehabilitation following PnR is considerably faster than either SB or PPV. The PIVOT study in primary RRD found that at 12 months following PnR, patients read approximately 5 ETDRS letters more than their PPV counterparts.47 In addition, patients treated with PnR had superior composite 25-item National Eye Institute Visual Function Questionnaire scores at 3 and 6 months, although these did not persist at 12 months.47 Vertical metamorphopsia was more prevalent at 12 months in patients treated with PPV, whereas there was no difference in horizontal metamorphopsia between the two treatment groups.47 Accordingly, given that any RD intervention may fail, it is important to emphasise that primary PnR does not seem to negatively impact post-operative vision when further surgery is performed, namely PPV or SB.
Hillier et al reported the incidence of cataract at 12 months following PnR and PPV at 16% and 65%, respectively.47 Tornambe et al reported similar post-PnR cataract formation; 19% at 2 years.62
PnR: limitations and complications
A fundamental difference of PnR to both SB and PPV is that the procedure does not relieve vitreoretinal traction. In addition, the injection of intravitreal air or gas can induce additional retinal breaks, especially in eyes with initial incomplete PVD.47 Although not strictly a contraindication, aphakia and pseudophakia are associated with reduced anatomical success.61 In addition, PnR is not an option for inferior breaks. Randomised trials comparing primary PnR vs SB, and PnR versus PPV, have shed some light on RRD management. However, authors also acknowledge that real-life results may differ. Notably, all patients in the PIVOT study received intervention within 24 hours from symptom onset, and median time in the PnR group was 2 hours.47 It is also widely accepted that the success of PnR relies on a thorough preoperative retinal assessment with scleral indentation to identify all retinal breaks, which is not always possible.
Optimising outcomes in macula-off RRD
Timing
Acute progressive macula-on RRD continues to be managed as a VR emergency, requiring urgent referral and intervention. Macula-off RRD, presenting acutely (1 day) is also increasingly considered a VR emergency, given the potential for good post-operative vision and the risk of permanent visual loss.
Early wisdom regarding the optimal timing of surgical intervention in macula-off RRD suggested that undergoing surgery at any time between day 1 and day seven following symptom onset had no effect on final BCVA.63 64 However, a retrospective study by Williamson et al evaluated 325 patients with macula-off RRD and found that median final BCVA was 6/9 independently of symptom duration (recorded from day 1 to ≥21 days).65 Notably, they showed that surgery at any time between days 1 and 3 after symptom onset produced equivalent visual outcomes, nevertheless surgery on day 4–6 conferred worse vision.65 Hence, it seems that outcomes in macula-off RRD could be improved with more urgent intervention.
Postoperative posturing
By using fundus autofluorescence, retinal displacement has been demonstrated to occur following PPV for RRD.66–68 It has been suggested that some of the metamorphopsia after otherwise successful reattachment surgery may be secondary to retinal displacement.68 69 Research continues to better elucidate variables surrounding the aetiology of the displacement, with studies of immediate postoperative positioning regimens and types of tamponade agents used.69–71 Current evidence proposes that early postoperative face-down positioning may help minimise retinal displacememt.69 72 In a study of 86 patients, Shiragami et al showed that retinal displacement was greater in patients that adopted a face-down position 10 min after PPV, as opposed to immediately following surgery; 64% (28/44) and 24% (10/42), respectively.69 Casswell et al compared retinal displacement in patients positioned either face-down or ‘supporting-the-break’ (positioned such that the retinal break is uppermost in order to allow the floating gas to remain in contact with the break), and reported retinal displacement in 42% and 58%, respectively.72 Although there was no statistical difference in subjective distortion, there was a significant and clinically relevant improvement in binocular diplopia, suggesting that immediate face down positioning for at least a few hours could improve results.72
Conclusion
Although RRD is now routinely treated, the success rate remains stubbornly less than 100%, and typically around 85% with most large modern series. Potentially, optimising retinal break detection and effective, rapid onset retinopexy, obviating the need for tamponade could help improve primary success rates. PVR remains a common cause of failure and new strategies to prevent and treat PVR are required. The optimum method to repair detached retinas to allow maximal visual recovery, especially in macula-involving cases, is gradually becoming more defined, but surgeon experience and preference will still remain major factors affecting technique choice.
Footnotes
Contributors: Original concept: TS. Literature search: ZNS and TS. Drafting: ZNS, DI and TS. Figures: TS, ZNS and DS. Reviewing draft: ZNS, EIA, DS and TS.
Funding: The authors have not declared a specific grant for this research from any funding agency in the public, commercial or not-for-profit sectors.
Competing interests: None declared.
Patient consent for publication: Not required.
Ethics approval: The study is approved by the University of Wollongong Human Research Ethics Committee.
Provenance and peer review: Commissioned; externally peer reviewed.
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] | 2024-06-17T19:23:01+00:00 | George Strait has set the record for the largest concert ever held in the United States, with 110,905 fans gathered at Kyle Field. | en | uDiscover Music | https://www.udiscovermusic.com/news/george-strait-largest-concert-u-s/ | “What’s going on everybody?” country legend George Strait asked to a record crowd of 110,905 fans gathered at Kyle Field at Texas A&M in College Station on June 15.
The Texas native set an all-time attendance record for a ticketed concert in the United States, previously held by The Grateful Dead who had 107,019 fans in attendance at their 1977 show at Raceway Park in New Jersey.
Strait’s show also set a new record for Texas A&M Kyle Field for a single event (previously recorded on October 11, 2014, at 110,633, for a Texas A&M game against Ole Miss) with 110,905 fans in attendance for George Strait: The King at Kyle Field with special guests, fellow Lone Star natives, Parker McCollum and Catie Offerman.
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During the show he asked: “We got some Aggie’s out there? Oh yeah! I’m ashamed to say this, but this is my first time to ever be in Kyle Field… damn! Just invite me back, I’ll come!”
George Strait has set many records in his illustrious career: the most No.1 singles of any artist in any genre, the only artist to chart a Top 10 hit every year for 30 years, and the most No.1 albums, gold albums, and platinum albums in the history of country music including 20 of his massive 60 No.1 hits.
Prior to the show, Strait debuted two new songs, “MIA in MIA” and “The Little Things,” both off his forthcoming album, Cowboys And Dreamers, his 31st album for MCA Nashville, which will be released on September 6.
Written by Adam Craig and Dean Dillion, and produced by Strait with Chuck Ainlay, “MIA Down in MIA” features the Texas native’s Ace in the Hole Band, including longtime fiddle player Gene Elder.
“I’m dedicating this record to my longtime manager and friend Erv Woolsey and my longtime fiddle player and friend Gene Elders (a player on four of these tracks), who we lost on the same day, March 20, 2024, as well as my longtime friend and road manager Tom Foote, who we lost on April 29, 2024,” shares Strait. “I will never forget all of the good times we had together. May they rest in peace with our Lord Jesus Christ.” | |||||
8911 | dbpedia | 0 | 33 | https://www.alux.com/networth/george-strait/ | en | George Strait Net Worth in 2024 | [
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] | null | [] | 2017-05-24T17:58:06+00:00 | George Strait Net Worth by ALUX.COM. How much money does George Strait have? How rich is George Strait? How much is George Strait Worth? Answers here! | en | Alux.com | https://www.alux.com/networth/george-strait/ | George Strait Net Worth: How rich is George Strait? & How much money is George Strait worth? Time to find out!
George Strait is an American country music singer, songwriter, actor, music producer and his current net worth is $330 million.
Born in Poteet, Texas as the son of John Byron Strait, Sr., and Doris Jean Couser, he spent his childhood nearby Pearsall, in Frio Country.
His father who owned a ranch outside of Big Wells, Texas used to get his entire family to work there on the weekends and in the summers.
However, his parents divorced when George attended fourth grade. His mother and sister ended up moving away. George along with his brother remained with their father.
While attending Pearsall High School, he started showing interested in music. There he used to play in a rock and rolls garage band.
After his musical taste changed to include country singers like Hank Thomson, Lefty Fizzell, his love for The Beatles fade away.
Because he turned to radio only to hear about news, his introduction to country music came mostly by way of live performances.
Before enlisting in the United States Army, he married his high school sweetheart Norma.
He and his wife had their first child while in Hawaii. Upon honorably discharged from the army he attended Southwest Texas State University and graduated with a degree in agriculture.
While in college he joined the country band Stoney Ridge, after he saw a flayer the band posted around campus.
He remained a part of the group and quickly became their lead. The band used to perform at different bars around Texas.
Soon the band became famous and some agent offered them the opportunity to record some songs. The songs never achieved success, but Strait kept managing his family ranch during the day for some extra cash.
He continued to play with the band, and after several trips to Nashville in search for a record deal, he ended up turned down by every label in town.
In that moment he considered giving up music.
After almost giving up the band, MCA signed him to a recording deal in 1981. The label would consider doing an album after the only song that the band would record did well.
The Ace in the Hole band remained with Strait, performing as the backup and touring band for the now solo act
Today George is often referred to as the King of Country and is one of the most influential and popular recording artists of all time.
This wraps up our George Strait Net Worth profile! | |||||
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8911 | dbpedia | 2 | 10 | https://backstagecountry.com/2024/05/17/george-strait-new-album/ | en | George Strait Announces New Album ‘Cowboys And Dreamers’ | [
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] | 2024-05-17T00:00:00 | George Strait debuted the first release from his 31st album, Cowboys And Dreamers, with "MIA Down in MIA" one day before his 72nd birthday. | en | backstagecountry.com | https://content.bbgi.com/2024/05/17/george-strait-new-album/ | To prepare for this list, one of the albums I listened to in its entirety once again was Alan’s 1999 album, Under the Influence, where Jackson sang classic country songs from the artists that influenced him, like George Jones (another king of country), Merle Haggard, and more. As I listened, I realized Alan sounded like he was born to sing country music.
That Impactful Song
Jackson’s songs have made such an impact on country music through the years, including the song he wrote after 9/11 in 2001 called “Where Were You When The World Stopped Turning.” That song spoke for so many of us trying to wrap our heads around the tragic terror attack on that fateful day. It was a rare country song that crossed over without using any pop production techniques: it was just a song that resonated with millions of people, regardless of their preferred genre.
Entertainer of The Year
Alan was crowned CMA Entertainer of the Year in 1995, 2002, and 2003. Many of his songs became country anthems and inspired today’s country stars, including Luke Bryan, Blake Shelton, and more.
Hall Of Fame
Standing tall, Jackson is for sure a King of Country Music and someone who will be remembered for that for years to come. He was inducted into the Country Music Hall Of Fame in 2017.
Willie is a name that everyone, even those who don’t know much about country music, knows and loves. He’s worked in many different genres and has really transcended genre, but he remains a country singer at his core.
Rock and Roll Hall Of Fame
Nelson was inducted into the Rock and Roll Hall of Fame in 2023. Chris Stapleton was a part of that tribute. Stapleton was backstage at the CMA Awards (11/8) in Nashville, holding on to his seventh Male Vocalist trophy, and shared what he considers one of his most significant career moments.
Chris told us, “Well, that was an incredible thing for me to get the call from Willie to come and be a part of him inducted into the Rock and Roll Hall of Fame. I’ve never been to any Rock and Roll Hall of Fame event.”
Stapleton recalled in part, “It was one of my favorite musical moments maybe that I have ever had in my life. To sit there… The gravity of that moment… it didn’t hit me because, like I said, we go through these rehearsals, and everything is kind of out of order; you don’t know what’s happening. I was sitting there, and his sons were behind me, and it was just a wonderful moment to get to be a fly on the wall sort of sitting there alongside Willie Nelson, who is obviously a huge influence and a hero.”
CMA
Willie won the CMA’s Entertainer of the Year in 1979. He has won countless awards through the years, including winning 12 GRAMMY awards.
Movies and Music
His movies and music have defined country music through the years, and at 90 years of age, he is still touring and making music.
Nelson was inducted into the Country Music Hall of Fame in 1993. Over his amazing career, Willie wrote thousands of songs and has had his songs recorded by Patsy Cline (“Crazy”) and Elvis Presley (“Always On My Mind”).
Kenny’s contribution to country music runs deep. He has won the CMA’s Entertainer of the Year award four times in his career in 2004, 2006, 2007, and 2008. Chesney won the same award from the ACM in 2004, 2005, 2006, and 2007.
Stadium Tours
His stadium tours have brought millions of fans together to listen to their favorite country star in stadiums all over the country. In the summer of 2024, his “Sun Goes Down” tour sold out stadiums all over the U.S., including three nights in Boston alone.
CMT
Kenny was the very first country artist to win a CMT Music Award for Video of the Year at the show’s debut in 2002 for his music video, “Young.” He has steadily charted country music songs and brought many to number one from the late 1990s to today.
Beach Country
The country superstar’s love of all things ocean and beach has brought country music to the seashores and islands, giving more people a chance to hear that unique country sound.
Song Master
In talking about picking songs for the 2024 Born album, Chesney told us, “When I look for songs, I obviously feel like I’ve got to have a little bit of me in it, but that’s not always the case. I look for songs that pique someone’s interest. I look for songs that give somebody the courage to take a chance in their own life. I look for songs that give somebody the courage to fall in love or actually to get away from someone.”
Kenny is a song master and definitely a King of Country Music in his own right.
I’ve been thinking about this list for weeks and asked one or two friends and family members who they think would be the all-time King of Country Music. Without fail, all of them had Johnny Cash at the top of their list. Then I got to think, yeah, Cash is the one artist that anyone, whether a country music fan or not, thinks about and associates country music with. He has been the inspiration for many country stars today. And he’s inspired a lot of rock and rollers too: that makes sense. In his early days, he was labelmates with Elvis Presley. Carl Perkins, Jerry Lee Lewis and Roy Orbison at Sun Records. Decades later, when Rick Rubin (a hip-hop and heavy metal producer) signed him to American Recordings, he brought Cash to a new and younger audience via his covers of Tom Petty, Soundgarden and especially Nine Inch Nails (“Hurt”).
Other Artist’s Influence
Keith Urban told me once that he fell in love with country music after his father and he saw a Johnny Cash concert as a kid in his native Australia.
Dolly
Dolly Parton told me of the first time she saw Johnny Cash perform, “He was just magnetic, and I was a young girl and in the audience, and I was maybe thirteen, and that was my first experience of what sex appeal was and thinking grownup thoughts. I always kidded him that he was my first crush, my first grownup crush.”
His Legacy
As a journalist, I never interviewed Cash; he was before my time, but I did see him in person at a show taping one time, and I interviewed his siblings, Tommy Cash and Joanne Cash, for a radio special and heard many first-hand stories about the Man In Black. I also covered his funeral service in Nashville in 2003. At the funeral (north of Nashville in Hendersonville), everyone from Nashville and Hollywood was there, including actor Joaquin Phoenix, who played Cash in the 2005 movie I Walk The Line.
Hall Of Fame
Johnny Cash’s influence and music were like no other in country music, and there will never be another like him. He was inducted into the Country Music Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1992. You simply cannot count Kings of Country Music without the name Johnny Cash.
Tim is what many of his contemporaries call a “song master.” McGraw has a knack for picking the right songs to record at the right time. While he does write songs himself, he doesn’t often record his own songs, choosing instead to record the best songs whether or not he wrote them.
Number- One Songs
Since his career began in the early 1990s, he has been steady with his song selection and has scored number-one songs consistently in three decades. His career has lasted that long, and that is a tall order for anyone in country music to achieve.
McGraw also has a style that is like no one else. His career with his wife Faith Hill has also been a reason he is one of the Kings Of Country Music, as the couple is often referred to as “Country Music Royalty.”
Acting
Taking cues from Johnny Cash and Willie Nelson before him, Tim also dove into acting in Hollywood and became a great and convincing actor. One of his most recent roles was in the Paramount series 1883, where he played opposite his wife Faith and, in my opinion, gave an Emmy-worthy performance as James Dutton.
Awards
McGraw consistently tours and has won countless awards in country music, GRAMMYs, and beyond. There is no doubt in my mind that in a few years, he will get the honor of being invited into the Country Music Hall of Fame.
And let us not forget the name of Taylor Swift’s very first single on the radio… “Tim McGraw.”
Garth is a name associated with country music and always will be. His career started in 1989 in Nashville, and by the early 1990s, he was all anyone in any music circle was talking about. His live shows were like nothing country music had seen before, as his energy was boundless on stage and infectious. Other country singers had played arenas before, but Garth was the first country artist to really create an arena rock spectacle.
Setting Records
It was Brooks who started setting music records in all of music and sold more albums than almost anyone in music, getting to a point where his numbers surpassed Elvis Presley’s. According to the RIAA, Garth has sold over 157 million albums.
Entertainer of the Year
Brooks brought so much to country music, winning the CMA’s Entertainer of the Year seven times and then taking his name out of the running himself in later years so other artists could win the career-defining award.
Gracious and Kind
I have been fortunate to have interviewed Garth many times in my career, and he has always been gracious and kind. He has a way of making everyone he talks to feel like the only person in the room. He often asks about yourself and even makes a point to recall moments you’ve told him about before. His personal touch with people has undoubtedly helped him become so loved in the industry.
He was inducted into the Country Music Hall of Fame in 2012.
Brooks has never let his music videos live on YouTube, so finding a music video to attach to this story was a challenge for sure. We shared a promo clip from his new docu-series on Amazon, “Friend In Low Places.”
George actually is referred to as King of Country Music, and he has earned it. Strait had scored over 60 number-one songs in his incredible career, which started when he began playing songs in the Army in the 1970s.
No-Brainer
He is a no-brainer for the all-time King of Country as many artists on this list followed him and cite him as “The King,” including Garth Brooks, who often talks about his country music hero.
My Interview With The King
George has always been a bit elusive, and to interview him is a big deal in Nashville. I have been fortunate enough to interview the “King” twice in my career, and he is as gentle and sweet as you can imagine. I found he was a lot like he is on stage, showing style and grace with a smile.
One of those interviews was in 2012, when he retired from touring, saying he would only do special events. He told me of his choice at the time, “I wanna quit doing it before they quit coming. I sort of had 60 being in the back of my mind as the magic number and thought it might be time for me to think about it. And so, after a lot of thought and sleepless nights, I just feel like I’m making the right decision.”
Made Good On His Promise
The King upheld his promise to do special events and concerts. He played in several big city stadiums with Chris Stapleton and Little Big Town in 2023, with more dates set for 2024.
Honors
Strait has sold nearly 70 million albums and earned more than 60 major entertainment industry awards, including induction in the Country Music Hall of Fame in 2006.
George is the all-time King Of Country Music in my book, and I think many of you would agree. | |||||
8911 | dbpedia | 0 | 48 | https://goblueraiders.com/news/2024/4/8/womens-golf-gilchrists-ace-helps-blue-raiders-to-second-lowest-round-of-season.aspx | en | Gilchrist's ace helps Blue Raiders to second | [
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] | 2024-04-08T00:00:00 | CHATTANOOGA, Tenn. – Lauren Gilchrist's hole-in-one highlighted a day that saw Middle Tennessee women's golf match its second-lowest round of the season. Gilchrist | en | /images/logos/site/site.png | Middle Tennessee State University Athletics | https://goblueraiders.com/news/2024/4/8/womens-golf-gilchrists-ace-helps-blue-raiders-to-second-lowest-round-of-season.aspx | Women's Golf 4/8/2024 3:16:00 PM Thomas Donley, MT Athletics
Gilchrist's ace helps Blue Raiders to second-lowest round of season
CHATTANOOGA, Tenn. – Lauren Gilchrist's hole-in-one highlighted a day that saw Middle Tennessee women's golf match its second-lowest round of the season. Gilchrist led the Blue Raiders with a round of 70 (-1) as the team combined for a score of 290 (+6).
Using a 7 iron, Gilchrist aced the 146-yard par-3 third hole at Council Fire Golf Club on Monday morning. She became the second Blue Raider with a hole-in-one in the team's last three rounds.
Gilchrist's second-round score of 70 matched her career low. She enters the third round tied for 50th at 151 (+9) after taking 11 strokes off her first-round score.
Lanie Campbell improved upon her first-round score by three strokes with a 72 (+1) Monday. She picked up three birdies in the second round and heads into the final round tied for 26th at a team-low 147 (+5).
Ella Manley is tied for 60th at 152 (+10) after a round of 74 (+3) Monday. She made an eagle on the second hole and picked up three other birdies in the second round.
Nicole Johnson is tied for 68th at 153 (+11). Molly Bebelaar is tied for 76th at 155 (+13).
The Blue Raiders are 13th as a team at 601 (+33).
By the Numbers
21 – MTSU shaved 21 strokes off its first-round score Monday.
2 – The Blue Raiders' two eagles are the most in the tournament.
15 – MTSU combined for 15 birdies Monday.
Coach's Comments: Chris Adams
"We really came out today with a great mindset and played pretty solid. I'm proud of the way everyone competed and super happy for Lauren's hole-in-one and her under par finish. Ella eagled on her second hole, so we had some momentum early and steadied the ship after a few doubles. We have another day to come out and move up the leaderboard."
Tournament Notes
South Florida and Michigan are tied for the team lead with matching scores of 570 (+2).
Monet Chun of the Wolverines is the individual leader at 135 (-7).
Tuesday's third round will be the final regular season action for MTSU.
Follow the Blue Raiders
Follow Middle Tennessee Women's Golf on social media on Facebook /MTWGolf Twitter (@MT_WGolf) and Instagram (@mt_wgolf).
Players Mentioned | ||||
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Their popularity has expanded from that weekly local jam to other venues, private parties, and corporate events in Texas and neighboring states, including a monthly kick-butt and dance crowd night at Mo’s Place in Katy, Texas. This December will mark the fifth year that Members of Ace in the Hole have played in Las Vegas, Nevada during the National Rodeo Finals.
The band has changed a little over time, but the music remains the same as it was when the group originally started out, filling the dance floor of that college night club while the club-goers partied and danced their feet off. | ||||
8911 | dbpedia | 1 | 53 | https://www.facebook.com/TheSLBMusic/videos/dancehall-devil-featuring-benny-mcarthur-of-george-straits-ace-in-the-hole-band-/369088598194055/ | en | "Dancehall Devil" featuring Benny McArthur (of George Strait's Ace In The Hole band) and GRAMMY-nominee Haydn Vitera is OUT NOW!!! It's been 13 years... | [] | [] | [] | [
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Find the songs with BPMs to match your running, walking, cycling or spinning pace.
Introducing
Upgrade your experience with unlimited, ad-free searches, API access, custom playlists and more! | ||||
8911 | dbpedia | 0 | 30 | https://www.britannica.com/biography/George-Strait | en | George Strait | Biography, Music, & Facts | [
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] | 2013-06-18T00:00:00+00:00 | George Strait, American country music singer, guitarist, and ‘new traditionalist,’ known for reviving interest in the western swing and honky-tonk music of the 1930s and ’40s through his straightforward musical style and unassuming persona. Learn more about his life and career. | en | /favicon.png | Encyclopedia Britannica | https://www.britannica.com/biography/George-Strait | George Strait (born May 18, 1952, Poteet, Texas, U.S.) is an American country music singer, guitarist, and “new traditionalist,” known for reviving interest in the western swing and honky-tonk music of the 1930s and ’40s through his straightforward musical style and his unassuming right-off-the-ranch stage persona. He was among the most popular concert and recording artists in the 1980s and ’90s, and his shows continued to pack stadiums to their capacity well into the 21st century.
Strait was raised in the small town of Pearsall in southern Texas, where his father worked as a junior-high-school math teacher while also operating a ranch, about 40 miles (64 km) to the southwest, that had been in the Strait family for almost a century. During his youth Strait spent many weekends with his brother riding horses, roping cattle, and otherwise absorbing the lifestyle and values of the rural West. Country music, however, was not an element of the culture that he readily embraced. He was more interested in hammering out the latest rock tunes, with guitar skills that he knew were limited, with his high-school garage band.
Britannica Quiz
Pop Culture Quiz
After attending Southwest Texas State University (now Texas State University–San Marcos) for a year, Strait married his high-school sweetheart and enlisted in the U.S. Army in 1971. While stationed in Hawaii, he refined his guitar and vocal technique and developed an affinity for the country music of Hank Williams, George Jones, Merle Haggard, and, especially, Bob Wills, the champion of western swing. In 1973, while still in the military, he joined his first country music band, at his army post.
Strait left the army in 1975, resumed his studies at Southwest Texas State University, and graduated with a degree in agriculture in 1979. While at the university he joined the country band Stoney Ridge (later renamed Ace in the Hole), which played regularly in the clubs near campus. Strait tried repeatedly to promote his music in Nashville, but the industry executives balked, doubting the appeal of his traditional style in a market then dominated by a slicker image and a pop-country sound. In 1981, however, MCA Records relented and signed him to a one-song contract; if the song proved a success, the company would offer a longer-term agreement. Strait’s response, “Unwound” (1981), reached number six on Billboard magazine’s Hot Country Songs chart, landed him an extended contract with MCA, and ultimately launched his career as a professional musician.
During the next decade Strait released more than a dozen albums, each of which sold more than a million copies. Close on the heels of his honky-tonk debut album, Strait Country (1981), he issued Strait from the Heart (1982), which contained his first number one country music hit, “Fool Hearted Memory.” In 1992 Strait played the role of a country music superstar in the film Pure Country, which further fueled his popularity. He remained phenomenally productive and in 2006 was inducted into the Country Music Hall of Fame. His 2008 release, Troubadour, won a Grammy Award for best country album. In 2009 he made a foray into songwriting, writing three of the tracks on Twang with his son, George (“Bubba”) Strait, Jr. By 2010 the senior Strait had recorded nearly 50 songs that reached the top spot on Billboard’s Country Songs chart. | ||||
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] | 2024-07-29T22:27:06+00:00 | Ace in the Hole is a song recorded by George Strait in 1989. It was used for the January 2001 showtape. | en | https://static.wikia.nocookie.net/chucke/images/4/4a/Site-favicon.ico/revision/latest?cb=20220829224415 | Chuck E. Cheese Wiki | https://chucke.fandom.com/wiki/Ace_in_the_Hole | Jasper: Here we go!
You've got to have an ace in the hole
A little secret that nobody knows
Life is a gamble, a game we all play
But you need to save something for a rainy day
You've got to learn to play your cards right
If you expect to win in life
All: Don't put it all on the line for just one roll
You've got to have an ace in the hole
Jasper: If you're headed down a one way street
And you're not sure it's the way you want to go
In money or love, or all the above
Have a little more than what you show
When life deals out a surprise
Have a few surprises of your own
No matter what you do, no matter where you go
You've got to have an ace in the hole (Oh!)
You've got to have an ace in the hole
A little secret that nobody knows
Life is a gamble, a game we all play
But you need to save something for a rainy day
You've got to learn to play your cards right
If you expect to win in life
All: Don't put it all on the line for just one roll
You've got to have an ace in the hole
(Instrumental interlude)
Jasper: Yeah!
Look out!
Take it away, Munch!
Yeah!
Uh-huh!
Don't put it all on the line for just one roll
You've got to have an ace in the hole
All: No matter what you do, no matter where you go
You've got to have an ace in the hole | ||
8911 | dbpedia | 2 | 25 | https://writingexplained.org/idiom-dictionary/ace-in-the-hole | en | What Does Ace in the Hole Mean? | [
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] | null | [] | 2016-12-16T09:46:22+00:00 | What is Ace in the Hole? What does it mean? Learn this English idiom along with other words and phrases at Writing Explained. | en | Writing Explained | https://writingexplained.org/idiom-dictionary/ace-in-the-hole | Ace in the Hole Meaning
Definition: Some argument or resource held in reserve until used for advantage.
The idiom describes a play in stud poker. An ace is dealt to a player who holds or keeps the card face down until played for its winning value. This is known as the “hole card.”
This is a commonly used American English idiom connected to the popularity of poker, but it has come to describe the same player advantage in any game, sport, business, political, or economic competition.
If you overhear someone refer to your ace in the hole, they recognize or suspect that you have a secret plan, idea, or resource that you refuse to reveal until the most opportune time to assure you win.
Origin of Ace in the Hole
A writer for the June 1886 edition of Iowa’s The Humeston New Era described a poker game using the term,
“Thus matters went on until four cards lay in front of each man, face up and one turned down. Not a pair in sight and everyone thought each man had an ace ‘in the hole’.”
Some attribute its more mainstream popularity to a 1951 Billy Wilder film starring Kirk Douglas as a muckraking journalist who manipulates the public even to the point of endangering the life of a man trapped in a cave (hole) until he can claim the glory for the man’s rescue.
It is also the title of a 1954 story by John Updike, a 1980 song by Paul Simon, and the name of country singer George Strait’s backup band.
Example of Ace in the Hole
Once reserved for poker, this phrase is now used to describe a person’s position in several game situations.
As ace in the hole refers to the hidden and potentially winning ace in a poker game, it can refer to the player’s hold on the solution in virtually any board game.
For example, a player may have the card in hand that would solve the crime in a game of Clue. That would be her ace in the hole.
It might refer to the talented player being held in the reserve by the coach until needed for the big winning play. The sports writer might label the new kicker ace in the hole because he helped win the previous game.
Or, the diplomat may keep a secret about intelligence agency data until the moment is right. Once the leverage is used, the news will report the diplomat as playing his ace in the hole.
More Examples
A May 17, 2013 story about the takedown of high stakes gambling circles among Manhattan’s elite was titled “5th Ave. Poker, With $25,000 Chips and an F.B.I. Ace in the Hole.” – The New York Times
On August 5, 2006, the Los Angeles Times mourned the injury suffered by Angels’ pitcher Bert Colon in an article titled “No Ace in the Hole.” –Los Angeles Times
On July 19, 2011, Chris Cilliza published an opinion piece Called “Rick Perry’s ace in the hole: Rudy Giuliani.” –The Washington Post
Summary
Ace in the hole is a popular English idiom that stems from the game stud poker. Originally used only in the poker world, it now has a wider meaning to refer the strategy of deliberately holding a winning argument or resource until the most opportune moment. | |||||
8911 | dbpedia | 3 | 69 | https://www.pennlive.com/life/2024/06/country-music-world-rocked-by-17th-death-this-year.html | en | Country music world rocked by 17th death this year | [
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] | 2024-06-21T09:00:00.701000+00:00 | It has been a tragic year for country music. | en | /pf/resources/images/pennlive/favicon.ico?d=1375 | pennlive | https://www.pennlive.com/life/2024/06/country-music-world-rocked-by-17th-death-this-year.html | it has been a brutal year for the country music world as the list of legendary performers and contributors who have died continues to grow.
WANT MORE COUNTRY MUSIC NEWS? CLICK HERE.
Don Cason, a songwriter and singer, who worked with the likes of Elvis and Dolly Parton, is the most recent, tragic addition to the list.
That now makes 17 who have died this year.
Alan Jackson is retiring. Here’s the list of country music legends saying farewell this year
Country music star ‘lucky to be alive’ after his heart stopped following show
Country music world praying after star is rushed to hospital for emergency surgery
Popular Nashville singer, songwriter who went missing has been found dead
Country music star files for emergency restraining order against estranged wife
The following is a look back at those lost:
Norah Lee Allen
It has been an emotional year for The Oak Ridge Boys, and things took a particularly heartbreaking turn on Easter.
According to Taste of Country, Norah Lee Allen, the wife of lead singer Duane Allen, died Sunday morning after battling an illness for “an extended period of time.” The site reported that she had been at Vanderbilt Hospital when she died.
Allen reportedly shared the news on social media Sunday.
“This morning, my wife of 54 years and 8 months took her last breath of air on planet Earth,” he wrote. “Norah Lee went to be with Jesus at 7:28 am, Easter morning. She had not been feeling well for some time. Her family all spent the night with her last night at Vanderbilt Hospital. We took time singing with and to her, telling her stories, and loving her every second that God let us share her here on this Earth.”
The Grand Ole Opry took time to remember Allen, too.
“During (Wednesday’s show), we paused to remember a beloved member of our Opry family we lost earlier this week, Norah Lee Allen,” a post on the Opry’s X page, formerly Twitter, read. “For decades, Norah Lee added her voice to Opry performances as one of our background vocalists, our Opry Singers.
“She was also a member of our family as the wife of Duane Allen of Opry group The Oak Ridge Boys,” the post continued. “She will be lovingly remembered by all who knew her and all who knew her voice here at the Grand Ole Opry.”
Fran Boyd
Fran Boyd, a country music groundbreaker and champion of the genre, died earlier this month.
She was 84.
Billboard wrote that she died on March 9. The site said that Boyd “played a key role in shaping and advancing the (Academy of Country Music) from its early years in California in the late 1960s, through the start of the millennium.”
Boyd was reportedly the first paid employee of the ACM, coming onboard in 1968 as executive secretary. She worked her way all the way up to executive director. Per Billboard, she “oversaw nearly every aspect of the annual (ACM) awards” show.
She worked for the ACM for more than three decades before retiring in 2002.
The Academy of Country Music posted on X, formerly Twitter, regarding Boyd’s death.
You can see that post, here.
“Fran Boyd played an essential part in the Academy’s history, stretching way back to the 1960s and steering the ship through decades of change, innovation, and growth, all while fostering an incredible passion for country music,” Gayle Holcomb, ACM Board Sergeant-At-Arms told Billboard. “Fran will always be remembered as a champion for our industry, its artists, and this organization. On behalf of the ACM Officers and Board of Directors, I send our gratitude, prayers and condolences to the Boyd family.”
Don Cason
Singer, hit songwriter, producer and author Buzz Cason died in June.
He was 84. No cause of death was reported.
“Buzz Cason never concerned himself too much with musical boundaries,” Country Music Hall of Fame and Museum CEO Kyle Young said. “He just lived and breathed music. As a singer, songwriter, producer, and publisher, he helped shape and expand the sound of Nashville in countless ways across seven decades.”
Cason’s career in music began in the 1960s when he helped found The Casuals, known as Nashville’s first rock band. He then pursued a solo career and went on to sing backup vocals for the likes of Elvis Presley, Kenny Rogers, John Denver and Roy Orbison, according to Taste of Country.
As a songwriter and producer he combined with the likes of Dolly Parton, the Oak Ridge Boys, Martina McBride, Mel Tillis and Jimmy Buffett. His biggest hit song, “Everlasting Love,” was co-written with Mac Gayden. Taste of Country said that song is one of the few to make the Billboard Hot 100 in four consecutive decades.
Larry Collins
Larry Collins, a former country music child star turned legendary guitarist and song writer, died on Jan. 5.
He was 79. Per reports, Collins died of natural causes.
He first made his splash in country music alongside his older sister, Lorrie, when they formed the “The Collins Kids” duo when Larry was just 9 years old. They recorded a series of hits — “Hop, Skip and Kump,” “Hoy Hoy,” and “Beetle Bug Bop” — with music catering to children. The became regulars on “Town Hall Party” in 1954 and they performed together into the 60s.
Per reports, Lorrie had her first child in 1961 and stepped away from music to focus on family. The duo did reunite years later in the 90s.
While Lorrie, who died in 2018, focused on building her family, Larry moved on to a solo career where he made, perhaps, his biggest mark as a songwriter. He is credited as the co-writer for “Delta Dawn,” which became Tanya Tucker’s first hit song among other songs.
Allison Cornell
Allison Cornell died in February.
She was a part of Shania Twain’s band for years.
“Allison Cornell was such a talented and wonderful person,” Twain wrote on X, formerly Twitter. “It was a privilege, as an artist, to have her on stage with me through a lot of my touring career. Feeling very sad. Allison’s memory will live on but sadly another beautiful human has gone too soon. Rest in Peace (heart emoji).”
A post on Cornell’s artist management page also addressed her death.
“It is with great sadness that we say farewell to Allison Shropshire Cornell,” the post began. “Rest in Peace. Heaven has opened up its gates to an incredible talent!”
Gene Elders
Gene Elders, a longtime fiddle player in Country Music Hall of Famer George Strait’s legendary Ace in the Hole Band, has died.
No cause of death has been reported.
It was the second heartbreaking death to rock Strait in a day’s time after his manager, Erv Woolsey, also passed away.
“Hard to believe we lost two of our music family members on the same day,” Strait posted on X, formerly Twitter. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.”
Elders’ website said he played in Strait’s band since 1984. It said he also played in Lyle Lovett’s Large Band for 11 years, and also played on recordings for Joan Baez, Lucinda Williams and Dan Fogelberg.
Fans took to social media following the news to remember Elders.
“I’ve been fortunate enough to watch Gene Elders play that haunting fiddle outro on ‘Amarillo By Morning’ live several times,” one person wrote. “The arena goes dark except for a long spotlight on Gene, it sends chills every time. RIP Gene Elders.”
“Today was a devastating day for the Strait camp,” another person wrote. “Our hearts are hurting. Rest in Peace Gene Elders. Rest in Peace Erv Woolsey. We will miss you both.”
Tom Foote
George Strait revealed in may that a member of his operation had died for the third time this year.
The latest death was Tom Foote, a former drummer for Strait’s Ace in the Hole band and the singer’s longtime road manager.
The singer announced the death on Tuesday on X, formerly Twitter.
“We lost another one of our good friends and a huge part of our musical journey yesterday,” Strait wrote. “Tom Foote, our one-time drummer and long-time road manager for around 48 years, suddenly passed away at his home after our rehearsal. The band and I were with him most of the afternoon, and he was great. Just doing what he loved to do which was making sure we were taken care of. 2024 is taking its toll on the Ace in the Hole group. We’re all heartbroken to say the least. Rest in peace brother Tom. You will be hugely missed. I’ll see you down the road amigo.”
Foote was reportedly the drummer for a band that hired Strait to be its new singer back in 1975. That band eventually became the Ace in hte Hole Band. He reportedly stayed on as drummer through 1983 when he moved into his role as road manager.
“So sorry to hear this,” one person responded to Strait. “Prayers for peace and comfort!”
“My prayers for his family and yours,” another wrote.
“I’m so sorry about your (loss),” another wrote. “This year has really been a trying year for you and your group king George. My prayers are with you all. Hold on … keeping playing that true country music. Your long time fans love it. Prayers going up.”
And there were plenty more responses like that. You can see them here.
Foote’s death comes after Gene Elders, a longtime fiddle player in Strait’s Ace in the Hole Band, and Erv Woolsey, his manager, both died within a day of one another back in March.
Wayland Holyfield
Wayland Holyfield might not be a name that most country music fans know, but that probably should not be the case.
Because the guy was an icon.
Holyfield died on Monday, according to multiple reports. He was 82.
So, what made Holyfield so iconic in the country music world?
Well, the guy was one of the greatest songwriters the genre has ever seen. Holyfield helped write 14 No. 1 hits and had more than 40 songs reach the Top 10 during his time, according to Taste of Country.
The site said Holyfield wrote songs for some of country music’s most legendary performers including George Strait, George Jones, the Judds, Brooks & Dunn, Randy Travis, Reba McEntire, Waylon Jennings, Conway Twitty “and many more.”
“Wayland Holyfield — who died May 6 — wrote sons of unflagging devotion, including the Don Williams hit “You’re My Best Friend” and Anne Murray’s “Could I Have this Dance,” the Country Music Hall of Fame and Museum said in a post on X, formerly Twitter. “Holyfield was devoted to his wife, to the craft of songwriting, and to advocating for the rights of his peers.”
Mark James
Mark James, a legendary songwriter and hitmaker, died on June 8.
He was 83.
James, who was a Houston native, died on June 8 at his home in Nashville.
James won a pair of Grammys in 1983 for his “Always on My Mind,” which was performed by Willie Nelson. He also wrote the hits, “Hooked on a Feeling,” and “Suspicious Minds.” He is a member of the Songwriters Hall of Fame.
“Mark’s legacy and zest for life will live on in the hearts of those who loved him; and through his timeless lyrics and melodies that have been the soundtrack of lovers for generations,” his family said according to the Hollywood Reporter.
Along with being inducted into the Songwriters Hall of Fame, he was also named by BMI as one of the Songwriters of the Century for 2000. He is also a member of the Texas Songwriters Hall of Fame, the New York Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame, according to the Hollywood Observer.
Along with Nelson, James wrote hits for the likes of Elvis Presley, B.J. Thomas and Brenda Lee.
Toby Keith
Toby Keith died on Feb. 5 following a battle with stomach cancer.
He was 62.
It was tragic news, especially, for a man who battled so bravely such a horrible disease, but if there’s any solace to be found for his fans, it could be in some of his final words. Because, in his final days, Keith sat down with News 9 in Oklahoma to talk about his journey.
He was noticeably thinner as he talked about battling cancer, gave his thoughts on dying and, yes, even talked about death.
He called cancer a “long dark hallway,” but he also approached the subject in a way that only a man at complete peace could. And that is something he pinned on faith.
“You take it for granted on the days that things are good, and you lean on it when days are bad,” he said. “It has taught me to lean on it a little more every day.”
And that is when Keith talked about thinking about, at times, the possibility that he might die.
“I was going through all the chemo, radiation, surgery, and I got to the point where I was comfortable with whatever happened,” he said. “I had my brain wrapped around it, and I was in a good spot either way.”
That, he said, was a point that people with faith are not able to so easily get to.
So, if there is any comfort in news like this, perhaps it is that Keith had faith. And, mentally, he was prepared and comforted by his faith.
Mojo Nixon
The headline in Rolling Stone called Mojo Nixon an “unabashed outlaw cult hero,” and if you dig into the story you quickly find out that’s just about a perfect way to sum the guy up.
Nixon was one heckuva interesting guy.
He died on Feb. 7 at the age of 66, and even how he went was out of the ordinary. He was a host aboard the Outlaw Country Cruise and his family said he suffered a “cardiac event,” that took his life.
“How you should live is how you should die,” the family told Rolling Stone. “Mojo Nixon was full-tilt, wide-open rock hard, root hog, corner on two wheels + on fire. Passing after a blazing show, a raging night, closing the bar, taking no prisoners + a good breakfast with bandmates and friends.
“A cardiac event on the Outlaw Country Cruise is about right… & that’s just how he did it, Mojo has left the building,” they added. “Since Elvis is everywhere, we know he was waiting for him in the alley out back. Heaven help us all.”
Rolling Stone wrote that Nixon “enjoyed a supremely weird yet singular career.”
His big break came in 1987 with his hit novelty song “Elvis is Everywhere,” that became a regular on MTV.
He put out six albums alongside Skid Roper, and five more solo projects. He also served as a DJ for SiriusXM’s Outlaw Country for years, too.
Margo Smith
Margo Smith might not be a name that most young country music fans know, but if you Google her you will see “legend” right there next to her name.
Sadly, the headlines will also mention that she has died at the age of 84. According to multiple reports, Smith actually passed away on Tuesday, Jan. 23. A cause of death has not been reported.
Smith was reportedly a kindergarten teacher in Ohio for around a decade before her career took off.
Known as “The Tennessee Yodeler,” she then churned out 18 studio albums between 1971 and 2005.
Smith was named ASACP Country Artist of the Year in 1979 and won the CCMA Living Legend Award in 2001.
The Academy of Country Music tweeted Monday about her death.
“Please join the Academy in mourning the passing of Country star Margo Smith,” it said in a statement on X, formerly Twitter. “Nominated for ACM Most Promising Female Vocalist in 1976, she had two #1 hits in the 1970s: “Don’t Break the Heart That Loves You” and “It Only Hurts for a Little While.” Boasting a show-stopping talent for yodeling, she was known as “The Tennessee Yodeler.” We send our love and healing to her family, friends and fans.”
Jo-El Sonnier
Jo-El Sonnier might not be a name that most fans of modern country music would know well but read up and it doesn’t take long to realize the guy was a legend.
Check out the videos of performances and it becomes obvious, too, that seeing him perform in person was a high-energy affair.
He put his heart and soul into a show, and apparently, he did that right up until the end. Sonnier died back on Jan. 13, and now new details are being reported and it turns out he actually died after a performance.
Louisiana Music Hall of Fame Executive Director Mike Shepard told WWL Radio New Orleans that the 77-year-old Sonnier “died doing what he loved.”
“Jo-EL’s death on stage after a successful encore is actually the only way a musician should go out,” he said.
The station reported that Sonnier, a singer/songwriter who played the accordion, had a long list of accolades that included a Grammy in 2015 and an ACM Male Vocalist of the Year nomination. He was reportedly inducted into seven different Music Hall of Fames and worked as a studio musician for a long list of stars including Dolly Parton and Johnny Cash.
“He loved the idea of being honored for his music,” Shepard told WWL, “being honored for what he loved to do, pure as his heart.”
Roni Stoneman
Country music legend Roni Stoneman died on Feb. 22.
She was 85. No cause of death was given.
While her name may not be familiar to modern-day country music fans, Stoneman was known as the “first lady of the banjo,” and was a popular performer on the hit TV show, “Hee Haw.”
Stoneman was a native of Washington, D.C.
She was the daughter of Ernest “Pop” Stoneman, who was reportedly one of the first performers to make a career of recording country music.
Country Music Hall of Fame and Museum and CEO Kyle Young said country music was “a birthright and her life’s work.”
“The second youngest of 23 children born to Hattie and Ernest ‘Pop” stoneman, Roni was an integral part of a bedrock country music family, who were longtime fixtures in the country music scene of Washington D.C.” Young said. “For 18 years on ‘Hee Haw,’ she stole scenes as both a skillful banjo player and as a comical, gap-toothed country character. She was a great talent and a strong woman.”
Banjo News said Stoneman said she glued picks to her fingers so she could play the banjo faster.
Jeremy Tepper
Jeremy Tepper, a legend in the country music world, has died on June 14.
He was 60.
Tepper reportedly suffered a heart attack. Variety reported that his wife, singer Laura Cantrell, announced that he died on social media.
Tepper occupied multiple roles across his years, working as a musician, journalist, executive and finally the program director of SiriusXM’s “Outlaw Country,” according to Variety.
“Jeremy Tepper, a beloved member of SiriusXM, profoundly influenced us with his unwavering dedication to music and innovative spirit,” SiriusXM said in a statement on X, formerly Twitter. “His contributions, in shaping Outlaw Country and Willie’s Roadhouse, are beyond measure. Our thoughts are with his loved ones during this time.”
Stevie Van Zandt also posted on X following Tepper’s death.
“Lost my good friend Jeremy Tepper last night,” he wrote. “An incredibly tragic loss so young. He ran my Outlaw Country station on SiriusXM brilliantly. It is actually quite a complicated format and he made it look easy. Our deepest condolences to Laura and his family and friends.”
Variety referred to Tepper as a “music lifer.” According to the site, that trek began when he was the frontman for the band World Famous Blue Jays and then co-founded the record label, Diesel Only, in 1990. He also served as the country music critic for Pulse! Magazine and was the editor of the Journal of Country Music, per Variety.
The site said he had been the format manager for SiriusXM’s Outlaw Country channel since 2004. It noted that he also worked with the “Willie’s Roadhouse” and “Road Dog Trucking” channels.
Erv Woolsey
Legendary country music figure Eugene Ervine “Erv” Woolsey has died.
He was 80.
Woolsey reportedly died Wednesday from complications following surgery, according to multiple reports.
While Woolsey may not be known to country music fans as an artist, he was one of the genre’s most influential managers. Most notably, he was the long-time manager of Country Music Hall of Famer George Strait, as well as stars Lee Ann Womack, Dierks Bentley, Ronnie Milsap and Clay Walker.
Strait posted about Woolsey on X, formerly Twitter, on Wednesday.
“My manager for around 45 years and most importantly my friend for even longer, Erv Woolsey, passed away this morning,” he wrote. “He had complications from surgery and just couldn’t overcome it. He was a very tough man, and fought hard, but sadly it was just too much. We will miss him so very much and will never forget all the time we had together. Won’t ever be the same without him.”
According to a Billboard report, Woolsey worked for several labels before moving to Nashville in 1973 and become the head of promotions for ABC Records. The site said that Woolsey helped guide the careers of several top artists there, but it was during his time as the owner of The Prairie Rose, a club in Texas, that he first met Strait and began to book him for regular shows at there.
Billboard said Woolsey worked for MCA in the 1980s and helped artists such as Loretta Lynn, Tanya Tucker, Conway Twitty and the Oak Ridge Boys find radio success. And, then in 1981, he reportedly got MCA records to sign Strait.
He wasn’t just a manager, though.
Per Billboard, Woolsey did write “I Too Deep” for Strait and also had a hot country chart topper that he wrote, “I Can Still Make Cheyenne.”
Arch Yancey
Arch Yancey, a Country Radio Hall of Famer, died in March.
He was 88. No cause of death was reported.
Country Air Check reported that Yancey died on Monday.
The site said that Yancey got his first break way back in 1955 when he beat out Johnny Cash for a job at WBIP in Boonesville, Mississippi. The site reported that just three years later, Yancey was at Top 40 KNUZ-AM in Houston.
He reportedly spent 31 years on the air before retiring in 1989.
Country Air Check reported that, among his awards, he won Gavin Country Personality of the Year in 1971 and was ACM Personality of the Year in 1982.
It said he was inducted into the Country Radio Hall of Fame in 2006.
“It was one big blur of good times,” Yancey said back in 2005 of his career. “It was pretty wild.” | ||||
8911 | dbpedia | 1 | 89 | https://www.jacksonville.com/story/entertainment/music/2024/05/12/concert-review-george-strait-and-chris-stapleton-in-jacksonville/73602247007/ | en | Concert review: Strait, Stapleton turn Jacksonville into a honky tonk for stadium show | [] | [] | [] | [
""
] | null | [
"The Florida Times-Union",
"Tom Szaroleta"
] | 2024-05-12T00:00:00 | George Strait played dozens of hits and a few new ones Saturday in Jacksonville. Opener Chris Stapleton got a little help from local favorites. | en | Florida Times-Union | https://www.jacksonville.com/story/entertainment/music/2024/05/12/concert-review-george-strait-and-chris-stapleton-in-jacksonville/73602247007/ | If there is one guy who deserves to have his star behind the bar at the Honky Tonk Hall of Fame, it's gotta be George Strait.
"Honky Tonk Hall of Fame" is a new song Strait played Saturday night in front of 50,000 or so fans in Jacksonville's EverBank Stadium. It was written by Chris Stapleton, one of the openers for Saturday's show, and it's so new that Strait and Stapleton stared each other down as they sang it, as if each one was scared he'd forget a line.
They pulled it off perfectly and it's clearly going to be another big hit for Strait. The guy has 40-something Number One hits in a career that stretches back to the early '80s and, to his credit, he didn't just play all of them Saturday night. He played a lot of them, of course, but he also mixed in some deep cuts, ones that only made the Top 20.
It was the third concert at the stadium in eight days, following two last week headlined by Luke Combs. The weather was perfect on Saturday and there seemed to be more families in the crowd than at the Combs shows, perhaps because it was Mother's Day Eve, but more likely because that's just Strait's nature. He's a family-friendly frontman, a pro who has seen it all and knows just what it takes to keep a huge crowd happy for better than two hours.
Last week's show: Luke Combs rattles stadium at Jacksonville concert, ready to come back and do it again
Combs in photos: Luke Combs in concert at Jacksonville's EverBank Stadium
He mostly does that by delivering great songs in front of one of the finest country bands ever assembled. There are players who have been in Strait's Ace in the Hole Band for decades and it shows. No one ever steps forward for a solo — some of them don't even stand up — but they know how to deliver the goods. If you wanted traditional Western, complete with fiddles and steel guitar, there was plenty to be had ("Amarillo by Morning," "I Can Still Make Cheyenne," "How 'Bout Them Cowgirls"). Big singalongs? "Ocean Front Property," "Check Yes or No" and "All My Exes Live in Texas" ought to qualify.
"Honky Tonk Hall of Fame" wasn't the only new song in Strait's set. He said he has a new album, "Cowboys and Dreamers," ready for release. Saturday night, he played "Three Drinks Behind," Waylon Jennings' "Waymore Blues" and "MIA in MIA," a salute to life in South Florida.
Stapleton, who also sang a verse of "Pancho & Lefty" and all of "You Don't Know What You're Missing" with Strait, might seem an unlikely pairing with the Texan. His opening set, which lasted for about 90 minutes, was much more bluesy than Strait's, opening with "White Horse," which he played a few weeks ago on "Saturday Night Live."
Stapleton never looks like he's working very hard on the guitar, but he sure sounds like it. He had a second guitarist and a pedal steel guitar in his band Saturday but did most of the heavy lifting himself, sending out punky chords to open "Second One to Know" and getting slow and bluesy on "I Think I'm in Love With You."
Stapleton brought the house down twice with nods toward the Jacksonville music scene. Once was mid-show, when he stood center stage with his electric guitar and picked out a few verses of "Free Bird." He's been playing it for years and it was no real surprise, but playing a Lynyrd Skynyrd classic for 50,000 people in Jacksonville still takes a lot of nerve.
The second was at the end of his show, as he introduced his crack band. He brought out Susan Tedeschi and Derek Trucks from Jacksonville's Tedeschi Trucks Band to join them on "Tennessee Whiskey." They'll open for Stapleton at a show next month in Texas and they sent the crowd favorite to dizzying new heights. Tedeschi took the second verse of the song and Trucks improvised a long slide guitar solo to close it out. Many in the crowd didn't know who they were, but those who did were going out of their minds at the unexpected treat.
Little Big Town kicked off the show a little before 6 p.m. and played for about an hour, playing most of their big hits as the seats steadily filled. Singer Karen Fairchild, blessed with a voice a million "American Idol" wannabes would kill for, commented early in the set that she wanted to see those seats full by the time the group got around to playing "Girl Crush," and the fans delivered. Seats were maybe one-third full when Little Big Town started and nearly packed by the time they finished.
The group has some of the best four-part harmonies in all of music and it worked surprisingly well, considering it was in a football stadium. No need for a light show; the four singers stood up front in the sunshine while their band played in the shadows behind them. | |||||
8911 | dbpedia | 0 | 1 | https://www.tshaonline.org/handbook/entries/ace-in-the-hole-band | en | Ace in the Hole Band | [
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] | null | The Handbook of Texas is your number one authoritative source for Texas history. Read this entry and thousands more like it on our site. | en | /images/favicon/apple-touch-icon.png | Texas State Historical Association | https://www.tshaonline.org/handbook/entries/ace-in-the-hole-band | The Ace in the Hole Band has been country superstar George Strait’s backup band since 1975. The original members, which included George Strait (vocals and guitar), Ron Cabal (lead guitar), Mike Daily (steel guitar), Terry Hale (bass), and drummer Ted Stubblefield (who was replaced early on by Tommy Foote), met while they were students enrolled at Southwest Texas State University (now Texas State University).
The Ace in the Hole Band rose from the ashes of Stoney Ridge, a group that had included Daily, Hale, Cabal, Foote, and vocalist Jay Dominguez. In July 1975 Dominguez left the band, and Foote moved to Houston after graduating from the university. The remaining members began posting flyers across campus to advertise for a new vocalist. George Strait, at the time a young agriculture major, auditioned and was quickly hired as lead singer. The band played its first show as Ace in the Hole on October 13, 1975, at Kent Finlay’s Cheatham Street Warehouse in San Marcos. Ted Stubblefield, who also was a member of Kent Finlay’s group, High Cotton Express, played drums for both bands for a short time. Foote returned to San Marcos to replace Stubblefield by January 1976, and the core Ace in the Hole lineup was formed.
During the mid-1970s Cheatham Street Warehouse provided a particularly fertile environment for the development of such groups as Ace in the Hole. Finlay booked a variety of dynamic young acts including Asleep at the Wheel, Stevie Ray Vaughan, Jerry Jeff Walker, Alvin Crow, and others, and the bands that played at Cheatham Street often came by on their nights off to listen to each other and engage in a spirit of friendly competition. Ace in the Hole’s main hometown competition at that time was Joe Bob’s Bar and Grill Band, led by Joe Bob Burris, a talented singer-songwriter who continued to perform locally in the early 2000s. Ace in the Hole played nearly every week at Cheatham Street for six years during the mid-to-late 1970s before it broke into the national market in the early 1980s.
From the outset Ace in the Hole played mainly traditional country music, including honky-tonk and western swing, by such artists as Bob Wills, Hank Williams, Johnny Bush, George Jones, and Merle Haggard. In fact, the group had difficulty finding work in Austin venues, which were caught up in the “Progressive Country” movement at the time and had little interest in hiring a more traditional country band.
Around 1976 Mike Daily’s father, Don Daily (son of Pappy Daily, founder of D Records in Houston), decided to record the band. He arranged for the group to go to Doggett Studios in Houston Heights and cut the Dallas Frazier tune “The Honky Tonk Downstairs.” On the flip side was Strait’s own composition, “I Just Can’t Go on Dying Like This.” The single was released to regional radio stations throughout the Southwest, and it received airplay on stations in Houston and Oklahoma. Approximately one year later the band had added Bill Mabry on fiddle, and it recorded the Clay Blaker song “Lonesome Rodeo Cowboy,” along with another Strait tune, “That Don’t Change the Way I Feel About You.” Within a year the band cut Blaker’s “The Loneliest Singer in Town” and another Strait composition, “I Don’t Want to Talk It Over Anymore.” During this session the band also recorded “Right or Wrong” and an instrumental version of “Little Liza Jane.” The three George Strait compositions were later released on the multi-platinum MCA box set George Strait: Strait Out of the Box (1995).
In 1977 Cheatham Street Warehouse owner Kent Finlay, local songwriter Darrell Staedtler, and George Strait drove to Nashville in hopes of making connections for Strait in the Nashville music scene. At the time most Nashville record executives were promoting a pop-oriented country sound and were not interested in Strait’s more traditional approach. Nevertheless, Strait did record several good demos in Nashville and made some initial contacts that would eventually lead to his first record deal.
The most important contact Strait made in Nashville was reconnecting with MCA Records A&R man, Erv Woolsey, who had once owned the Prairie Rose nightclub in San Marcos where Ace in the Hole had performed. Through Woolsey, Strait would later sign his first record deal with MCA in 1981. By 1984 he had become one of the most popular entertainers in country music, and Woolsey left MCA to become Strait’s full-time manager. Strait’s commitment to more traditional country music would revolutionize the mainstream country market and inspire legions of younger “neo-traditional” artists.
The 1980s brought several changes to Ace in the Hole as Strait began touring nationally. In 1983 piano player Rondal Huckaby joined the group, and drummer Roger Montgomery replaced Tommy Foote, who became road manager, a job he continued to hold in 2014. In 1984 Ron Cabal left the band and was replaced by Rick McRae and Benny McArthur on guitars. Fiddler Gene Elders joined the band in 1985, and in 1987 Mike Kennedy became the group’s newest drummer. In 1990 Cabal wrote a book entitled A Honky Tonk Odyssey, My Eight Years with George Strait. Cabal was later killed in 1996 in a hit-and-run accident outside of Austin.
Although Ace in the Hole is primarily George Strait’s touring band, the members also have recorded with Strait in the studio. Perhaps the most notable of their studio recordings was Strait’s 1987 release, “Ocean Front Property,” which was the first country song ever to enter the charts at Number 1. The band members also were featured in Strait’s critically and commercially-acclaimed 1992 movie Pure Country. In 1994 the Ace in the Hole Band recorded a self-titled CD without Strait that featured guest vocalists Darrell McCall and Mel Tillis. The band’s success and solid reputation continued into the 2000s as they maintained a steady touring schedule with Strait, who was inducted into the Country Music Hall of Fame in 2006 and named Artist of the Decade by the Academy of Country Music in 2009. That same year, in June 2009, Strait and Ace in the Hole headlined the opening of the new Cowboys Stadium (now AT&T Stadium) in Arlington to an audience of more than 60,000 fans.
In 2013 Strait announced that he was retiring from touring. Strait and the Ace and the Hole Band subsequently embarked on their final tour—“The Cowboy Rides Away” tour. Their last performance took place on June 7, 2014, at AT&T Stadium in Arlington before more than 104,000 fans. It was the highest-attended single-show concert in the United States and provided the largest gross in sales. That concert also produced a live album and DVD. Strait won Entertainer of the Year awards from the Country Music Association (2013) and Academy of Country Music (2014).
As of 2015 the Ace in the Hole Band included Terry Hale (bass guitar), Mike Daily (steel guitar), Ron Huckaby (keyboards), Rick McRae (lead guitar and fiddle), Benny McArthur (lead guitar and fiddle), Mike Kennedy (drums), Gene Elders (fiddle and mandolin), Joe Manuel (acoustic guitar), John Michael Whitby (keyboards and guitar), and Thom Flora and Marty Slayton Jordan (backup vocals). Tommy Foote served as road manager. The band continued to perform, and some members also played under the name Texas Jamm Band. Mike Daily records and produces other artists and is active in music publishing with Tommy Foote. | ||||
8911 | dbpedia | 1 | 8 | https://www.nj.com/entertainment/2024/03/legendary-country-music-bands-member-dies-played-with-icons-for-40-years.html | en | Legendary country music band’s member dies, played with icons for 40 years | [
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] | 2024-03-24T11:00:03.970000+00:00 | The cause of death has not yet been revealed. | en | /pf/resources/images/nj/favicon.ico?d=1375 | nj | https://www.nj.com/entertainment/2024/03/legendary-country-music-bands-member-dies-played-with-icons-for-40-years.html | Gene Elders, a mandolin and fiddle player for George Strait’s band Ace in the Hole Band, has died though no cause of death has been reported. He was 66.
It was also the second tragic death in Strait’s life following the news of his manager, Erv Woolsey, who passed away recently.
“Hard to believe we lost two of our music family members on the same day,” Strait, 71, wrote on a post on X, formerly Twitter. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.”
He also shared the post on his Instagram and Facebook accounts.
According to Elders’ official site, he has played in Strait’s band since 1984. He also played in Lyle Lovett’s Large Band for 11 years, and also recorded with artists like Joan Baez, Lucinda Williams and Dan Fogelberg.
Friends and fans expressed their condolences for Elders following the news of his passing.
“I’ve been fortunate enough to watch Gene Elders play that haunting fiddle outro on ‘Amarillo By Morning’ live several times,” one person wrote. “The arena goes dark except for a long spot light on Gene, it sends chills every time. RIP Gene Elders.”
“One of the finest violin players in the history of Country music,” another fan wrote on Instagram. “I’ll never forget Alan Jackson giving him credit in George’s “cowboy rides away” performance. May God rest his incredible soul.”
More music coverage
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8911 | dbpedia | 0 | 47 | https://www.loopycases.com/ | en | The Original Finger Grip Case to StoptheDrop® | http://www.loopycases.com/cdn/shop/files/shopify_logo_dark_45b7479c-726f-4557-96ed-6360d61e0744.png?v=1704216422 | http://www.loopycases.com/cdn/shop/files/shopify_logo_dark_45b7479c-726f-4557-96ed-6360d61e0744.png?v=1704216422 | [
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] | null | [] | null | Trusted since 2012, Loopy® has 60,000+ five star reviews, risk-free returns, and a lifetime warranty! Tired of dropping your phone? Loopy® has a comfy finger loop that prevents drops, increases grip and reach, and can help you grab and go safely by Multigrasping®! Get in the Loop™ and StoptheDrop® today! | en | //www.loopycases.com/cdn/shop/files/favicon_small_green_2024.png?crop=center&height=32&v=1721160913&width=32 | LoopyCases® | https://www.loopycases.com/ | It's time to StoptheDrop®
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8911 | dbpedia | 2 | 3 | https://www.countrythangdaily.com/ace-in-the-hole-band/ | en | Ace in the Hole Band: The Legendary Group that Always Got George Strait’s Back | [
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"Arden Lambert"
] | 2020-06-29T10:28:55+00:00 | Unknown to most of us, the Ace in the Hole Band came before George Strait started his career. | en | /favicon.ico | Country Thang Daily | https://www.countrythangdaily.com/ace-in-the-hole-band/ | Few were those backup bands that are able to gain much fame as the artists they’re playing with. Still, none could come as famous as the ‘Ace in the Hole Band’ which backed George Strait for the length of his career.
Ace in the Hole Band
Unknown to most of us, the Ace in the Hole Band came before George Strait started his career. During the early ‘70s, a group of skillful students at the Southwest Texas State University, now Texas State University, started a band and named it ‘Stoney Ridge.’ When the band members graduated in 1975, most of the members left the band. Those that remained were Ron Cabal, Mike Daily, and Terry Hale. They decided to continue their quest and created a new band that focused entirely on traditional country music.
The band needed a vocalist so they tried looking around the campus. They started passing around fliers with the message that says “country band looking for a singer” with their contact number on it. In came a young science major student, George Strait who eventually became the band’s lead.
For their debut show at the Kent Finlay’s honky-tonk Chatham Street Warehouse on October 13, 1975, the band has officially changed their name to ‘Ace in the Hole.’ After some time of mastering their skill in Central Texas, Strait started to make trips to Nashville. He was accompanied by Finlay and finally signed with MCA Records. This marked a greater beginning for both Strait and ‘Ace in the Hole.’ And even when given the chance to choose from a huge selection of musicians in Nashville, Strait still chose to go with his road warrior band.
The Key Players
Ron Cabal was one of the founding members of the band and the one who also played the guitar. He stayed with the band for 8 years before leaving the group. Sadly, Cabal passed away in a hit-and-run accident in Austin.
Another founding member was steel guitarist Mike Daily. Daily has continued to play for Strait over the years. Mike’s father, Pappy Daily, has also played a very important role in the band’s success in the early days as he arranged the band’s first few songs.
Tommy Foote, who was originally Stoney Ridge’s drummer, returned from Houston in 1975 to rejoin the new band and stayed until 1893. He stepped up as the band’s road manager and still is today.
In 1987, Mike Kennedy joined and played until his recent passing. He played the drums for 30 years before his unfortunate death due to car crash.
Another person that played a vital role during the band’s earlier days is Terry Hale, the band’s bassist. Hale remained as Strait’s bassist even to this day.
All throughout the ‘80s, the group has added some more key players including keyboardist Ronnie Huckaby, Rick McRae, and Benny McArthur on lead guitar and Gene Elders who played the fiddle. All of them played for Strait for more than 30 years.
Where Are They Now?
The band has continued to record singles with Strait in the studio. The band even recorded some songs without Strait doing the vocals. One worth remembering was the 1994 record which featured guest vocals from the legendary Mel Tillis and Darrell McCall.
In 2015, they took off on ‘The Cowboy Rides Away‘ tour along with George Strait’s retirement. About 100,000 fans attended their last gig in June 2014. That was the highest recorded attendance for a concert. | ||||
8911 | dbpedia | 2 | 2 | https://www.countrymusichalloffame.org/erv-woolsey-1944-2024 | en | Country Music Hall of Fame and Museum | [
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] | null | [] | 2024-03-22T14:34:40+00:00 | en | /images/favicon.ico | Country Music Hall of Fame and Museum | https://www.countrymusichalloffame.org/erv-woolsey-1944-2024 | “Without the savvy and determination of Erv Woolsey, we may never have heard of George Strait. Erv heard Strait in a Texas bar in 1975 and was an immediate fan and proponent, when others said the singer sounded too traditional. Later, as an MCA Records exec, Erv pushed the label to sign Strait in 1981. And when execs urged Strait to change his image and his sound, Erv as his manager backed Strait’s resolve to stay true to himself. You know the rest. Strait became a superstar who filled stadiums, and together Strait and Erv helped lead country music back to its traditions. All of us owe Erv Woolsey an enormous debt of gratitude for leading with his convictions and always supporting artists and new talent.”
—Kyle Young, CEO
Country Music Hall of Fame and Museum
Pictured from left: Bruce Hinton of MCA Nashville, George Strait, and Erv Woolsey, 1991. Photo by Beth Gwinn
About Erv Woolsey
Erv Woolsey met George Strait in 1975 after hearing him lead the Ace in the Hole band in San Marcos, Texas, at the Prairie Rose, a dancehall Woolsey owned. Impressed by Strait’s vocal talent and easy-going charisma, Woolsey introduced himself, beginning a relationship that proved crucial to the careers of both men and to the skyrocketing success country music reached for more than four decades.
Woolsey died March 20, in Clearwater, Florida, after a series of medical complications following surgery in December. He was eighty years old.
A veteran music industry promotion man, Woolsey worked for the Decca and ABC labels before joining the promotion staff at MCA Records in 1980. Frustrated by a series of trips to Nashville that resulted only in rejection from Nashville record labels, Strait contacted Woolsey to see if he knew of any labels that might take a chance on him.
Woolsey pushed Nashville label chief Jim Foglesong and A&R head Ron Chancey to give Strait a hearing, and Woolsey even helped arrange demo sessions for the young singer. With Woolsey’s persistent encouragement, MCA agreed to release one song, “Unwound,” as a single. Woolsey hand-delivered the song to a San Antonio radio station. He and Strait sat outside in a pickup truck, waiting to hear the song.
“Erv said they were going to play it, but it was still shocking,” Strait later said. “I mean, hearing your first record on the radio, after trying for so long. I couldn’t believe it. It was emotional for me.”
Fueled by Woolsey’s promotion expertise, the song climbed to #6 on the country charts. The battles weren’t over yet. Some MCA executives pressured Strait to adopt a more contemporary sound and image. “Your songs need to be more pop, that’s the market now,” Strait said he was told. “Take the hat off. Drop the starched shirt and jeans, nobody wears those anymore, they’re too old-fashioned.”
In 1984, Woolsey left MCA to manage Strait’s career. His support and knowledge of the record industry gave Strait the freedom to choose his material and record songs the way he wanted. With time, their close-knit relationship grew tighter as they navigated the growth of one of the most remarkably enduring careers in modern American entertainment.
The Erv Woolsey Company managed other important country music artists, including Dierks Bentley, Ronnie Milsap, Clay Walker, and Lee Ann Womack. Always looking for new talent, Woolsey in recent years managed contemporary artists Kylie Frey, Triston Marez, Ian Munsick, and Leftover Salmon founder Vince Herman, among others.
Woolsey eventually returned to the bar business, launching Losers, a bar franchise that has expanded to four locations, including Las Vegas. Woolsey’s nightclub business grew to include two more Nashville clubs, Winners and the Dawghouse.
A horse-racing enthusiast, Woolsey developed thoroughbreds in a business with Strait. Their horse Super Stock ran in the Kentucky Derby in 2021. “We will miss him so very much and will never forget all the time we had together,” Strait said. “Won’t ever be the same without him.” | |||||
8911 | dbpedia | 0 | 11 | https://birthplaceofwesternswing.com/strait.html | en | Cowtown Birthplace of Western Swing | [
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George Harvey Strait Sr. (born May 18, 1952) is a living legend of Western Swing and Traditional Texas Country music singer, bandleader, actor, and music producer. George is known as the "King of Country Swing" and is considered one of the most influential and popular recording artists of all time in any genre. He is known for his devout love of Texas born Western Swing, traditional singing style, authentic cowboy persona, and being one of the first artists to bring country music back to its Texas roots and away from the polished Nashville pop country era of the 1980s.
The push and pull between his longing for privacy on one hand, and his love of music and pleasing his public on the other, have defined George Strait. That balance has sustained him through one of country music's most remarkable careers. For over two decades, he has set the standard.
In that time, others have had bigger-selling albums, but none has hit the bull's-eye with fans and critics alike so consistently. Others have been media darlings, but none has matched his mysterious, man-of-few-words allure. Others have had bigger hits, but no one has found as many wonderful songs, or sung them so well, so smoothly, so perfectly.
The road behind Strait's legendary career began in "The Strawberry Capital of the World," Poteet, Texas about 25 miles south of San Antonio where George Harvey Strait was born on May 18, 1952. He grew up on his family's cattle ranch in nearby Pearsall, located along the beautiful Frio River.
"It wasn't exactly a country-music upbringing," chuckles George. "My dad didn't even have a record player. When he listened to the radio, it was usually for the news or the cow market reports."
George and older brother Buddy were mostly raised by their father, John. His parents split when George was in the fourth grade, and his mother left, taking his sister with her. But John, a junior-high math teacher and rancher, was devoted to his sons. From him, George learned to rope cows and ride horses long before he ever wrapped his hands around a guitar neck.
But slowly, music began seeping into his life. By the time high school rolled around, George was playing drums and singing in garage bands.
One of his fellow students at Pearsall High School was pretty Norma Voss, two years his junior. "Norma was the first girl I ever loved," recalls George. "We knew each other forever, growing up in a small town." George asked her out, but the two drifted apart after only one date. "Then one day I thought, 'I'm missing the boat here!' " he says. "So I called her up, and we started dating again."
George graduated from high school in 1970 and headed to Southwest Texas State University in San Marcos, near San Antonio. After one semester, he and Norma, fueled by idealism and hormones, friskily headed south of the border to Mexico and got married only to remarry more formally in December of 1971 to please their parents.
Young George had every intention of becoming a rancher, taking over from his dad. But first, George decided he should do his bit for his country by joining the Army and almost impossibly, that turned out to be a decision that would put him on the path to superstardom.
When asked where he'd like to be assigned, George said Hawaii, "What the hell, try it," he recalled reasoning. He never dreamed he'd actually be stationed on the island paradise, but that's exactly where Uncle Sam put the lucky new recruit. "Man, I got my orders to go to Hawaii, and I just could not believe it!" he says.
Newlyweds George and Norma enjoyed the tranquility of the Hawaiian islands but while he was there, George found something else that literally changed his life. It was an album: Merle Haggard's 1970 salute to Western swing legend Bob Wills, A Tribute To The Best Damn Fiddle Player In The World. "That really turned me on to Bob Wills' music," says George.
Soon George began to immerse himself, listening to countless Bob Wills records dating back to the early 1940s. He was beginning to wonder if he might be able to follow in the footsteps of guys like Wills, Tommy Duncan and Haggard. He had always enjoyed singing, so he bought a cheap guitar and a couple of Bob Wills and Hank Williams songbooks, and was on his way. Again, George lucked out when the base commander decided to form a band to entertain the troops. He tried out for the lead-singer position and nabbed it. Singing for the soldiers was good practice for the lifetime of stage work he didn't know yet was in store for him. "It gave me the time I needed to learn all about playing in front of people," he says.
One more beautiful thing entered George's life in Hawaii. He and Norma had a daughter, Jenifer, in 1972. The new family attempted to stay in the islands after George's Army stint ended in 1975, but after six months the cash-strapped Straits went back home.
Returning to Texas, they set up house in San Marcos, and George re-enrolled at college at Southwest Texas State, studying agriculture with the help of the G.I. Bill. He was still leaning toward a ranching or rodeo career, but music had become important enough to place an ad on a bulletin board looking for a new band. After hearing his perfect country voice, a local group made up of George's fellow college students eagerly signed him on.
At 23, George was the oldest member of the Ace In The Hole Band, which debuted in October 1975 at the Cheatham Street Warehouse in San Marcos. They soon became a regular fixture at all the local clubs. "There were a lot of places we could play, and we played most of them," recalls George matter-of-factly.
For his part, George was just enjoying the honky-tonk circuit, playing traditional country and Western Swing every night in dancehalls and bars for little money. The Ace In The Hole Band caught a break in 1976 when they got the chance to record several songs for small, independent D Records including some of George's own tunes. "I tried to write them like what I thought was a good country song," he says, but it was the first and last time George focused on songwriting.
Then, another break: George was invited to Nashville to sing on some demo recordings. But, he was met with resistance from industry gatekeepers who felt his voice was "too traditional" for the polished Music City mainstream.
George went back home, earning his agriculture degree in 1979 and going to work as ranch manager at the Hart Ranch in Martindale, Texas. "I was doing the ranching to supplement my income," he explains. "I really liked it, but it sure was hard."
George was now 27, and he and Norma were expecting their second child George Jr., or "Bubba," Strait, who would come along in 1981. With domestic pressures piling up, George's musical career was beginning to look like a pipe dream. "I felt like I was spinning my wheels," he says. "I didn't want to be 42 years old and still playing the bars and honky-tonks. I was beginning to think I wasn't good enough, and maybe ought to try ranching full time."
Strait decided to give up his dream of stardom. He broke the news to his Ace In The Hole buddies that he was packing it in and signed on for a full-time job in Uvalde with a company that designed cattle pens.
But almost immediately, Norma saw a change in her husband. George became difficult to get along with, and was moping around their San Marcos home like a defeated man. "I figured I didn't want to live in Uvalde with him like that," she remembers. "I wanted him to give it one more chance."
Norma talked George into giving music another year so a week before he was supposed to report to his new job, George called and told his prospective employer that he wouldn't be coming. "Norma has always been very encouraging and supportive," says George. "Success is something she always wanted for me, because she knew how bad I wanted it."
Soon George made another important call, this time to a former nightclub manager, Erv Woolsey. Woolsey had owned the Prairie Rose, one of the many dancehalls George had played in Texas, and was now an executive at the MCA Nashville record label. "Isn't there some producer up there in Nashville that you can get to do a session on me?" asked George.
Erv hooked his old friend up with producer Blake Mevis, and George returned to Nashville to record with him. The pair laid down several songs, but the response from the Music City brass was already familiar: too country. "I went home with my tail between my legs," says George.
But once again, George picked himself up, dusted himself off and had another try. George and Erv convinced another MCA exec to come to San Marcos and hear the Ace In The Hole band in its element: a honky-tonk dancehall. It worked! George was offered the chance to record one single for MCA; if that was a hit, maybe he could make an album. "I had my fingers crossed," says George.
But almost immediately, Nashville began trying to change George. "When I came to town wearing my Cowboy hat, all I ever heard was, 'Take the hat off,' " he recalls. "But I never would do it. They were trying to make me into something else, but I was too Texan, too hardheaded."
No matter. George and Erv had already found a killer song a little heartbroken drinkin' number called "Unwound" and were ready to go. It was released and began getting radio play. It entered the charts on May 16, 1981, two days before George's 29th birthday, while he was still working his day job as a ranch foreman in San Marcos. "Here I was driving around the ranch, and I'd hear it on the radio as it went up the chart," he says. "I was shocked!"
"Unwound" wound its way to No. 6, and George got the go-ahead to make a full-fledged album. Now his appetite for success had been whetted. One day he walked into the MCA offices and looked at the gold albums hanging on the wall. "You think I'll ever get one of those?" he asked Erv. "I don't know," replied Erv. "We'll have to see."
Until an unproven newcomer, George didn't have much control over his debut album, Strait Country, and unsuccessfully resisted the pop touches producer Blake Mevis added. "The songs that we chose for that first album, I didn't have just a hell of a lot to say about," he says. "I did think that the majority of the songs we cut on there were good songs, but there are some songs that, if I were to go back right now, I'd try to say, 'No, we're not gonna do that.' "
George may not have liked some of the material, but it worked. He was establishing a foothold on the charts "If You're Thinking You Want A Stranger (There's One Coming Home)" got all the way to No. 3, and "Fool Hearted Memory" finally brought him to the top. For "You Look So Good In Love" soon to be his third No. 1 George agreed to make his first video. "It was embarrassing, corny, syrupy, gag me," he says.
George's dislike of the clip set the tone for his entire career, which has only included only a handful of videos in two decades. "I've never cut one that I really liked," he confirms. "I've probably done it a little halfheartedly, because I never really wanted to do it. That's probably why they came off the way they did you know, you get pretty much what you put into it."
His dislike of this new promotional tool wasn't the only way George was straining at the Nashville leash. His patience was growing thin with the pop sheen being added to his records, when his heart was with the hard-core Texas country and Western Swing he was still cranking out with the Ace In The Hole guys on the road night after night.
Finally, when his fourth album was almost finished, tensions came to a head. "I've got 10 tracks and I'm never going to put my voice on them," he declared to the new head of MCA, Jimmy Bowen. Until then, George had been too intimidated in the studio to stick up for the way he wanted to do things but now, with several No. 1 hits and an ACM Male Vocalist of the Year award under his belt, the balance of power had changed.
To his relief, George's new boss agreed with him and never again would George Strait put his name on an album that didn't meet his standards. And moving to a more traditional-country sound didn't even mean a speed bump for George's chart numbers. On the contrary, he was spinning out smashes left and right: "The Fireman," "Does Fort Worth Ever Cross Your Mind," "The Chair" even one of the ill-fated songs from his first Nashville recording experience in 1977, "Nobody In His Right Mind Would've Left Her," was re-recorded and sent on its way to No. 1 in May 1986.
George Strait was on top of the world. Then the world crumbled beneath him. On June 25, 1986, his 13-year-old daughter, Jenifer, was killed in a car crash south of San Marcos. George relied on family, friends and religion to get him through the horror of losing his firstborn child. He also buried his grief in work and was back on the road only three weeks later.
But George refused to give interviews for a year, and to this day has said little publicly about his daughter's death. An already-private man shut the door to his home life even more tightly.
"I got even more private after I lost my daughter," he says. "That's when I really shut things down. I didn't feel like talking to anybody that wasn't really close to me." After the tragedy, getting publicity by chatting up the press meant little to him. "I had the attitude that nothing worse could probably happen," he says, "and so this is the way I'm going to do things."
It could have been a disastrous career decision but in George's case, the opposite became true. The less his fans knew about what was on his mind, the less they heard him speak, the more they longed to get close to him. His next album, Ocean Front Property, became the first ever to debut at No. 1 on the country albums chart.
George put his nose to the grindstone and kept at his work. In 1989 he won the CMA's Entertainer of the Year award for the first time, an award that he really seemed hungry for and one that seemed impossibly out of his reach a decade earlier. "I really wanted that thing," he says. For George, it was the biggest professional honor he could get.
The extent of his pride could be seen right on the cover of his next album, Livin' It Up: there was George decked out in a tuxedo, set off by a belt buckle reading "Entertainer of the Year." It was a rare show of swagger from a humble man.Having reached the pinnacle of country music, George now began to take seriously something former Elvis Presley manager Col. Tom Parker had been telling him that the handsome country star could be a movie star as well. But George was still skeptical. "I didn't want country music people to look like hillbilly hicks," he explains, "because they're not."
George found what he'd been looking for in Pure Country, the story of a country star who abandons stardom's glamour for the simple pleasures of ranch life. It was certainly something George could relate to, and he threw himself into the role with gusto. The movie took in $15 million upon its 1992 release not a blockbuster, but a good start for George's movie career.
Now George was himself a monument in country music. He was more popular than ever, and his influence could be heard all over its new generation of stars. Guys like Alan Jackson, Clint Black and Garth Brooks credited George with inspiration. Garth declared that hearing "Unwound" back in 1981 inspired him to become a country singer.
When he teamed with one of those admirers, Alan Jackson, the two sparked a controversy. Their 2000 duet, "Murder On Music Row," was a stinging indictment of the country music business' abandonment of traditional sounds, and it became an anthem for music fans who felt the same way.
By then, George was the perennial headliner on the George Strait Country Music Festival, a traveling all-day extravaganza that filled stadiums across America. But even as his power to draw concert crowds grew in fact, practically from the moment he became a superstar in the 1980s George was slowly cutting back on the number of shows he played. He loves the time spent onstage, but the travel keeps him away from home and family. "I'll be a country singer until I die," he says, "but I know for sure I won't be touring 'til I die. Not unless I die touring."
In the 2000s, Strait was named Artist of the Decade by the Academy of Country Music, was elected into the Country Music Hall of Fame, and won his first Grammy award for the album Troubador. Strait was named CMA Entertainer of the Year in 1989, 1990 and 2013, and ACM Entertainer of the Year in 1990 and 2014. He has been nominated for more CMA and ACM awards and won more in both categories than any other artist.
By 2009, he broke Conway Twitty's previous record for the most number-one hits on Billboard's Hot Country Songs chart when his 44 number one singles surpassed Twitty's 40. Counting all music charts, Strait has amassed a whopping total of 60 number-one hits, breaking a record also previously set by Twitty, and giving him more number one songs than any other artist in any genre of music.
Strait is also known for his touring career when he designed a 360-degree configuration and introduced festival style tours. For example, the Strait Tours earned $99 million in three years. His concert at AT&T Stadium in Arlington, Texas, in June 2014 drew 104,993 people, marking a new record for the world's largest indoor concert. Strait was successful innovating country music and returning it to the Bob Wills Texas born Western Swing sound, as well as attracting millions of fans from across several genres of popular music.
Strait has sold more than 100 million records worldwide, making him one of the best-selling music artists of all time. His certifications from the RIAA include 13 multi-platinum, 33 platinum, and 38 gold albums. His best-selling album is Pure Country (1992), which sold 6 million (6xPlatinum). His highest certified album is Strait Out of the Box (1995), which sold 2 million copies (8xPlatinum due to being a box set with four CDs). According to the RIAA, Strait is the 12th best-selling album recording artist in United States history.
For the moment, the balance in George Strait's life between home and the road, between the spotlight and the ranch, between the roar and the quiet is just right. He spends enough time on the road to satisfy his fans, but not enough to burn out. He makes an album every year, but even that takes a minimum of fuss he carefully considers song choices for months, but can knock out a flawless studio set in a few days' work.
The rest of the time, he's out on the lake, hearing those crickets. At home, hearing the warm voices of Norma and his son Bubba's family. Or out on his ranch, hearing that clop, clop, clop of horse's hooves beneath him, carrying him forward into a still-unfolding future. One day they'll carry him into the sunset but not yet.
"I feel real comfortable with my situation now," concludes George. "As long as people want to see me, I'm going to keep going."
STRAIT TO YOU
"We're going back to playing the arenas and I'm really looking forward to it"
George Strait is gearing up for his exciting fall tour with a brand new game plan: playing arenas, instead of massive stadiums, to give his show a more intimate feel.
For the past ten years, George headlined the George Strait Country Music Festival, a swirling extravaganza that played huge outdoor venues and featured a full day of music, a large festival area and a carnival atmosphere. It was country's only all-stadium tour, setting a high standard for the multi-act festivals of Brooks & Dunn and other stars.
While his stadium tours have busted attendance records, George misses the personal contact with his fans. "We're going back to playing the arenas and I'm really looking forward to it," says George. "We definitely had a great time doing the stadiums, but I'm excited about seeing some faces again. You can tell a difference, and I think it will be a fun change of pace."
And every year, fans excitedly look forward to George's road shows. Since he vaulted to superstardom in the mid-1980s, George has consistently ranked as country's top-drawer concert act.
"It's so great to have fans like that," says George with a smile. "It's just unbelievable to me that they're still coming out to the shows."
George really shouldn't be that surprised. He supplies what the fans demand a catalog of classic hits, delivered in a smooth, easygoing style and without the over-the-top theatrics that mark many of today's live music events.
"I'm not a comedian," observes George of his no-nonsense approach to performing. "I can't even tell a good joke. The people come out to hear me sing, so that's what I go out and do."
And there's plenty of surefire material to deliver. Over his near 40-year career, George has racked up a whopping 60 No. 1 hits, more than any artist in any genre. All of his past albums have sold at least one million copies each.
Get ready for a magical evening when George Strait takes his spectacular show to an arena near you. As George himself promises: "We're going to give the fans their money's worth!"
RANCHER AND ROPER "I can't make any money ranching," says George, "but I raise horses because I love it." George Strait relishes life on the range with his family in south Texas.
BY LARRY HOLDEN
George Strait wears the role of cowboy just as easily as he slips into his Wranglers each morning. That's because he is a cowboy with well-honed riding and roping skills and a true love of ranching.
"I ride every day when I'm home," reveals George of the time he spends on his sprawling south Texas ranch, away from performing and recording. "When I'm off," he confesses, "I have my other life, my own life, that I choose to live."
That life revolves around George's passion for ranching and team roping, a rodeo event in which he actually competes. "I raise horses," drawls George, adding, "I raise cattle because I love it. If I can get some money back for it, that's good. But if I can't, I'd still do it."
The steers he raises are for the George Strait Team Roping Classic, a premier two-day team roping event held each year in Texas. It's important to George that the top rodeo stars competing in the San Antonio event have the best steers to rope. "We started providing our own stock," notes George. "That's worked out better for us. Before, every year we got something a little different. Now we know exactly what type of stock we're getting."
"I love to rope," confesses George, seen here getting his lariat around a calf in 1999. George an excellent team roper himself with a razor-sharp competitive spirit and his older brother Buddy started the George Strait Team Roping Classic 20 years ago. He and Buddy compete each year in the event, along with George's 21-year-old son, George Jr., and Buddy's sons, Trey and Walker.
"I love to rope," confesses George, seen here getting his lariat around a calf in 1999. George's love of ranching has been passed on to George Jr. They spend sun drenched days and starry nights side by side running the ranch. "It's fun doing everything I can with my son," declares proud papa George.
And, like father, like son George Jr. is an accomplished team roper, excelling first on the high school rodeo circuit and now as a member of the Texas A&M University rodeo team. George and Norma, his wife of 30 years, are fixtures at George Jr.'s team roping events. "I just love watching him," gushes George. "He's very good."
The Strait riding and roping talents are natural. George grew up in Pearsall, Texas, with ranching in his blood. Long before he thought about singing a note, his heart was set on being a rancher like his dad, John Strait, who taught George the finer points of horsemanship.
"About the time most young men were playing Little League baseball," recalls George, "I was learning to rope and ride."
George looked forward to spending weekends on the family ranch in nearby Big Wells. As he grew into a young man, he embraced the idea of being a full-time rancher. Even as he put his high-flying country music dream in motion playing area honky-tonks, he kept his feet on the ground by managing a cattle ranch from sunrise to sunset. And he studied agricultural science at Southwest Texas State University in San Marcos the perfect degree for a successful rancher.
Tractor Supply Company hired George to tout their product line George's real-life rancher image has made him the perfect pitchman for advertisers, including Wranglers and Tractor Supply Company. And George's "like a rock" dependability as artist and rancher has matched seamlessly with General Motors' Chevy Truck Division for close to a decade. Chevy considers George the most dependable, longest lasting country music performer. George has appeared in numerous ads for Chevy Trucks, and Chevy, in turn, sponsored his George Strait Country Music Festival stadium tours.
With his career, family life, ranching and team roping hitting on all cylinders, George is proof that there truly is a difference in living and living well, as his latest No. 1 proclaims.
"I'm real fortunate right now," he admits with a satisfied smile, "to have the time to do all the things I really want to do and enjoy myself." | ||||||
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8911 | dbpedia | 0 | 50 | https://vucommodores.com/roster/gordon-sargent/ | en | Gordon Sargent | [
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Student-Athlete Features
VUCommodores.com — A Champion’s Drive
VUCommodores.com — V150
The Anchor Podcast
PGATour.com — Gordon Sargent is Ready for Masters Spotlight
Honors
NCAA individual national champion (’22)
Became the first person to earn their PGA TOUR Card through PGA TOUR University Accelerated (October, 2023)
Mark H. McCormack Medal (’23)
Golfweek Men’s National Player of the Year (’23)
Phil Mickelson Outstanding Freshman Award (’22)
Three-time GCAA Division I PING First Team All-American (’22, ’23, ’24)
Three-time Golfweek First Team All-American (’22, ’23, ’24)
Three-time GCAA Division I PING All-Region (Southeast) (’22, ’23, ’24)
SEC Player of the Year (’23)
SEC Freshman of the Year (’22)
Three-time Haskins Award finalist (’22, ’23, ’24)
Two-time Ben Hogan Award finalist (’23, ’24)
Jack Nicklaus Award Finalist (’23)
Three-time All-SEC first team (’22, ’23, ’24)
SEC All-Freshman Team (’22)
February 2023 SwingU College Player of the Month
Six-time SEC Golfer of the Week (Oct. 5, 2022, Nov. 2, 2022, Feb. 8, 2023, Feb. 22, 2023, April 19, 2023, April 10, 2024)
Three-time SEC Freshman of the Week (March 31, April 7, April 14)
Two-time SEC Academic Honor Roll (’23, ’24)
First-Year SEC Academic Honor Roll (’22)
Vanderbilt Career
Announced that he will be returning to Vanderbilt for his senior season (2024-25) on April 18, 2024
Vanderbilt’s leader in career wins with six
Tied with Brandt Snedeker and Hunter Stewart for most wins in a season with three in 2022-23
Currently Vanderbilt’s career scoring average leader at 69.45
Holds Vanderbilt’s single-season scoring average record at 68.51 in 2022-23
Helped the Commodores collect 19 teams wins in three seasons
Tied with Luke List and Cole Sherwood for the lowest 18-hole score in program history at 62
Tied with Cole Sherwood for the program’s lowest round score vs. par at 10-under
Holds the program’s lowest 54-hole total with Cole Sherwood at 196
Tied with Cole Sherwood for the program’s 54-hole score vs. par at 17-under
Golden Dores Male Player of the Year (’23)
As a Junior (2023-24):
Ranked No. 1 in the World Amateur Golf Rankings at the conclusion of the 2024 NCAA Championship
Played in 11 tournaments and helped the Commodores win six team titles
Helped Vanderbilt win its first NCAA Regional in program history at the 2024 NCAA West Lafayette Regional
Second on the team in stroke average at 70.15 through 34 rounds
Finished under par in a team-best 21 rounds and carded in the 60s in 16 rounds
Won the 2024 Mason Rudolph Championship with a score of 11-under 202
Became the second golfer to win the Mason Rudolph Championship in back-to-back seasons (’23, ’24)
Tied for second at the NCAA West Lafayette Regional after finishing 6-under 210
Finished inside the top five in six tournaments and in the top-10 seven times
Earned his PGA TOUR Card in October through PGA TOUR University Accelerated
Guided the U.S. to victory at the 2023 World Amateur Team Championships in Abu Dhabi, where he finished at 13-under 275 to tie for fifth
Went a perfect 4-0-0 the 49th Walker Cup at St Andrews Links to help the U.S. win its fourth-straight Walker Cup
Awarded the 2023 Mark H. McCormack Medal as the world’s top men’s amateur player
By winning the McCormack Medal, he received exemptions into the 2024 U.S. Open at Pinehurst Resort and The Open Championship at Royal Troon
Held a 3-1-0 record at the 2024 Arnold Palmer Cup to help the United States win its first Palmer Cup on International soil for the first time since 2018
Qualified for the 2024 U.S. Amateur Championship
As a Sophomore (2022-23)
Ranked No. 1 in final 2023 Palmer Cup Rankings and No. 2 in GolfStat Ratings
Low amateur at the 123rd U.S. Open with a four-round total of 4-over 824
One of seven amateurs to play in the 2023 Masters Tournament
Played in 12 tournaments and helped Vanderbilt collect seven team wins
His three wins tied the program’s single-season record for wins with three (East Lake Cup, John Hayt Invitational, Mason Rudolph)
Set the program’s single-season scoring average at 68.51 through 35 rounds
His 17-under 196 performance to win the 2023 Mason Rudolph Championship tied the program record for the lowest 54-hole score in Vanderbilt history
Became Vanderbilt’s career leader in wins at the 2023 Mason Rudolph Championship
Took medalist honors at the 2023 John Hayt Invitational at 15-under-par 201
Won the individual stroke play championship at the 2022 East Lake Cup with a 4-under 68
Tied the course record at the Sawgrass Country Club during the second round of the John Hayt Invitational carding 8-under 64
Recorded career-low 18-hole score of 10-under 62 in Round 2 of the 2022 Frederica Cup
Finished under par in 29 rounds and carded in the 60s in 21 rounds
Part of Team USA’s third-place finish at the 2022 World Amateur Team Championship
Advanced to match play at the 2022 U.S. Amateur Championship
Held a 3-0-1 record at the 2023 Arnold Palmer Cup to help the United States win the Palmer Cup
As a Freshman (2021-22):
Carded even par 280 through four rounds of stroke play at the 2022 NCAA Championships before winning a four-way playoff to win the individual national title
Helped Vanderbilt set the program-best for most team wins in a season with eight
Won two tournaments during his debut season (2022 Mossy Oak Collegiate, 2022 NCAA Championship)
Placed inside the top five in six tournament and finished in the top-10 nine times
Played in 11 events for the Commodores with a 70.03 scoring average through 34 rounds
Finished under par in 21 rounds and carded in the 60s in 15 rounds
Posted his season-best 54-hole total at 12-under 204 to win the Mossy Oak Collegiate
Carded a season-low 18-hole of 8-under 64 in Round 2 at the Mossy Oak Collegiaete
2022 SEC Championships runner-up at 5-under-par 205
In his Vanderbilt debut, carded 4-under 212 to tie for sixth at the 2021 Carmel Cup
Represent Team USA at the 2022 Arnold Palmer Cup and went 3-1-0
The Sargent File
No. 1-ranked player in state of Alabama
No. 2-ranked player in class of 2021
Three-time Rolex Junior All American
2021 Western Amateur runner-up
2021 USA TODAY Male Golfer of the Year
2021 Alabama Golf Association Amateur Player of the Year
2020 recipient of the Paul S. Simon Character Award (Sage Valley Invitational)
Co-founder and three-time host of the Alabama Cup charity event, which has raised more than $150,000 for the AJGA Ace Grant and Alabama charities
Two-time Alabama boys Junior Player of the Year
Two-time AJGA champion
2020 Alabama State Amateur champion
2019 Alabama State Junior champion
Competed in 2019 US Junior
Competed in 2020 US Amateur
Ranked No. 3 nationally by Golfweek, Junior Golf Scoreboard and Rolex | ||||||
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] | null | [] | 2019-09-27T19:47:35+00:00 | This FAQ (Frequently Asked Questions) answers various questions regarding hurricanes, typhoons and tropical cyclones that have been posed | en | /wp-content/uploads/2018/09/NOAA_logo_512x512-150x150.png | NOAA's Atlantic Oceanographic and Meteorological Laboratory | https://www.aoml.noaa.gov/hrd-faq/ | Prior to the 20th century, hurricane names were inspired by everything from saints’ feast days, ship names, to unpopular politicians. In 1950, the National Hurricane Center officially began designating Atlantic hurricanes with code names and then women’s names. In 1979, naming responsibility was passed to a committee of the World Meteorological Organization who used alternating men and women’s names following the practice adopted by Australia’s Bureau of Meteorology three years earlier in 1975.
Currently, there are six yearly lists used in rotation found here. If a particularly damaging storm occurs, the name of that storm is retired. Storms retired in 2017 include Harvey, Irma, Maria, and Nate. If there are more storms than names on the list in a given season, an auxiliary name list is used. Lastly, if a storm happens to move across basins, it keeps the original name. The only time it is renamed is in the case that it dissipates to a tropical disturbance and then reforms.
In the Atlantic basin, tropical cyclone names are “retired” (not to be used again for a new storm) if it is deemed to be quite noteworthy because of the damage and/or deaths it caused. This is to prevent confusion with a historically well-known cyclone with a current one in the Atlantic basin. Sometimes names are removed for other reasons, such as cultural considerations or politics.
History of Hurricane Naming
For much of history, tropical cyclones were only given designations post facto. After they had come ashore and done much destruction, they would be commemorated by being named either for the Saint’s feast day they happened on (such as the San Felipe hurricanes in 1876 & 1928) or by some characteristic (the Salty hurricane 1810, the Yankee hurricane 1935).
The first use of a proper name for a tropical cyclone was by Clement Wragge, an Australian forecaster late in the 19th century. He first designated tropical cyclones by the letters of the Greek alphabet, then started using South Sea Island girls’ names. When the newly constituted Australian national government failed to create a federal weather bureau and appoint him director, Wragge began naming cyclones “after political figures whom he disliked. By properly naming a hurricane, the weatherman could publicly describe a politician (who perhaps was not too generous with weather-bureau appropriations) as ‘causing great distress’ or ‘wandering aimlessly about the Pacific.’ (Dunn and Miller 1960)
Although Wragge’s naming practice lapsed when his Queensland weather bureau closed in 1903, forty years later the idea inspired author George R. Stewart. In his 1941 novel “Storm”, a junior meteorologist named Pacific extratropical storms after former girlfriends. The novel was widely read, especially by US Army Air Forces and Navy meteorologists during World War II. When Reid Bryson, E.B. Buxton, and Bill Plumley were assigned to a USAAF base on Saipan in 1944 they had to forecast any tropical cyclones affecting operations. They decided (à la Stewart) to name them after their wives. In 1945, the armed services publicly adopted a list of women’s names for typhoons of the western Pacific using the names of officers’ wives assigned to forward forecast centers on Guam and the Philippines. However, the Air Forces were unable to persuade the U.S. Weather Bureau (USWB) to adopt a similar practice for Atlantic hurricanes.
Starting in 1947, the Air Force Hurricane Office in Miami began designating tropical cyclones of the North Atlantic Ocean using the Army/Navy phonetic alphabet (Able-Baker-Charlie-etc.) in internal communications. During the busy 1950 hurricane season there were three hurricanes occurring simultaneously in the Atlantic basin, causing considerable confusion. Grady Norton of the USWB’s Miami Hurricane Warning Center then decided to use the Air Force’s naming system in public bulletins and in his year-end summary. By the next year, these names began appearing in newspaper articles.
This practice proved popular. However, in 1952 a new International phonetic alphabet was adopted (Alpha-Beta-Charlie-etc.) which caused some confusion about which names were to be used. So in 1953, the US Weather Bureau finally acceded to the Armed Services’ practice of using women’s names. This was both controversial and popular. In 1978, under political pressure, the US National Hurricane Center (NHC) requested that the WMO’s Region IV Hurricane Committee (which had just taken control of the list) switch to a hurricane name list that alternated men’s and women’s names following the practice adopted by Australia’s Bureau of Meteorology in 1975. This was first implemented in the eastern Pacific then in 1979 in the Atlantic.
A rare hurricane near Hawaii in 1950 was called Hiki (Hawai’ian for Able). In 1957, three storms were detected in the Central Pacific, and the military forecast centers called them Kanoa, Della and Nina. In 1959, another hurricane threatened the islands and the Weather Bureau designated it “Dot”. The next year an official name list for tropical cyclones was drawn up for the Northeast Pacific basin. In 1978, both men’s and women’s names were utilized, and in 1979 a separate list was created for the Central Pacific (from 140°W to 180°W) using Hawaiian names.
The Northwest Pacific basin tropical cyclones were given women’s names officially starting in 1945 and men’s names were also included beginning in 1979. As of 1 January 2000, tropical cyclones in the Northwest Pacific basin are now being named from a new and very different list. The new names contributed by all the nations and territories that are members of the WMO’s Typhoon Committee. These newly selected names have two major differences from the rest of the world’s tropical cyclone name rosters.
The names by and large are not personal names. There are a few men’s and women’s names, but the majority are names of flowers, animals, birds, trees, or even foods, etc, while some are descriptive adjectives.
The names will not be allotted in alphabetical order, but are arranged by contributing nation with the countries being alphabetized.
The Philippine weather service PAGASA maintains their own separate list of names for any tropical system that threatens their archipelago.
For many years the Indian Ocean cyclones were given alphanumeric designators. The Southwest Indian Ocean tropical cyclones were first named during the 1960/1961 season. The North Indian Ocean region tropical cyclones were named as of 2006.
The Australian and South Pacific region (east of 90E, south of the equator) started giving women’s names to the storms for the 1964/1965 season and both men’s and women’s names for the 1974/1975 season. For the 2008/2009 season the three separate name lists of the different BoM forecast centers were consolidated into one list.
A rare South Atlantic storm in 2004 was post facto given the name Catarina. Another such system in 2010 was designated Anita after the fact. Starting in 2011, a name list was begun for the South Atlantic basin using mostly Brazilian designations.
Reference:
Dunn, G.E. and B.I. Miller (1960): Atlantic Hurricanes, Louisiana State Univ. Press, Baton Rouge, Louisiana, 377pp
Skilton, Liz, (2019): Tempest, Louisiana State Univ. Press, Baton Rouge, Louisiana, 306pp
Since 1978, the United Nations’ World Meteorological Organization, a group representing some 120 different countries, has used pre-determined lists of names for tropical storms for each ocean basin of the world. The Atlantic basin, which falls under Regional Association IV, has a six year supply of names with 21 names for each year. Why 21 names? Well, the letters Q, U, X, Y and Z are not used because names beginning with those letters are in short supply (you would need at least 3 male and 3 female names for each letter, plus a backup supply for those retired). Think about it; how many men and women do you know whose names begin with these letters?
When a damage or casualty producing storm like Mitch, Andrew, or Katrina strikes, the country most affected by the storm may recommend to the World Meteorological Organization’s Regional Association that the name be “retired.” Retiring a name is an act of respect for its victims, and reduces confusion in the insurance, legal or scientific literature. A retired name is replaced with a like-gender name beginning with the same letter. For example, Honduras recommended (1998) the name Mitch be retired and proposed the replacement name, Matthew, for consideration (and vote) by the 25-member countries of the Regional Association-IV. Eighty-three names have been retired in the Atlantic basin.
The names used on the list must meet some fundamental criteria. They should be short, and readily understood when broadcast. Further the names must be culturally sensitive and not convey some unintended and potentially inflammatory meaning. The potential for misunderstanding increases when you figure that in the Atlantic basin there are twenty-four countries, reflecting an international mix of English, Spanish and French cultures.
Typically, over the historical record, about one storm each year causes so much death and destruction that its name is considered for retirement. This means that in a “normal” year, the odds are about 1 in 8 of requiring a replacement name, given that over the last 57 years (of reliable record) we’ve averaged slightly over 8 tropical storms and hurricanes per season (actually 8.6). So, it’s more likely that letters/ names toward the front of the alphabet (letters A through H) might be retired.
The Region IV Naming Committee has a rather large file folder of nominated names that have already been submitted. The next time the need arises and it’s a storm affecting mainly the United States, the Committee will be casting about for a replacement tropical cyclone name. They will take out this file to make a selection. But as we say, it’s pure chance from there.
The Automated Tropical Cyclone Forecast (ATCF) system was developed for the Joint Typhoon Warning Center in 1988. It is used by computer software to identify tropical cyclones and assist in the generation of forecast messages. In order to distinguish different tropical cyclones that might be occurring simultaneously, a distinct alphanumeric code is assigned to each cyclone once it develops a closed circulation. This code system was adopted by other warning centers in order to facilitate the passing of storm information and reduce confusion.
The code designation consists of two letters designating the oceanic basin (“AL” for Atlantic, “EP” for Eastern Pacific, “CP” for Central Pacific and “WP” for Western Pacific), a two-digit number designating the sequential number of that particular cyclone for that basin in the year, and lastly a four-digit year number. So, the first depression to form in the Atlantic for 2001 would be AL012001, the third depression for the Central Pacific in 1999 would be CP031999.
A cyclone retains its ATCF code designation as long as it remains a distinct tropical vortex. Even if it becomes a named tropical storm or hurricane the software will still track it by its ATCF code.
AL90, AL92, 92L from the Tropical Discussions
Oftentimes, hurricane specialists become curious about disturbances in the tropics long before they form into tropical depressions and are given a tropical cyclone number. In order to alert forecasting centers that they are investigating such a disturbance and that they wish to have it tracked by the various forecast models, the specialist will attach a 9-series number to it. The first such disturbance of the year will be designated 90, the next 91, and so on until 99. After that, they restart the sequence with 90 again. The purpose of these numbers is to clarify which disturbance they are tracking as there are often more than one happening at the same time.
To further clarify matters, each number is accompanied by a two-letter code designating which tropical cyclone basin the disturbance is in. “AL” is used for the Atlantic basin (including the Caribbean Sea and Gulf of Mexico), “EP” for the Eastern Pacific, “CP” for Central Pacific, and “WP” for the Western Pacific.
In discussions, these designations will be shortened to 90L, 91L, and so forth. They may also be referred to as ‘Invest 90L’. However, once a disturbance is designated a tropical depression this 9-series number will be dropped and an ATCF code number will be assigned in its place.
You may also occasionally see an 8-series number, such as AL82. This means that this is a test investigation. There is no particular disturbance that the specialists are interested in, they’re just running a test of the system to make sure communications and software are running properly.
In order for a tropical cyclone to form, several atmospheric and marine conditions must be met.
Temperature & Humidity: Ocean waters should be 80° Fahrenheit at the surface and warm for a depth of 150 feet, because warm ocean waters fuel the heat engines of tropical cyclones. They also need an atmosphere which cools fast enough with increasing height so that the difference between the top and bottom of the atmosphere can create thunderstorm conditions. A moist mid-troposphere (3 miles high) is also needed because dry air ingested into thunderstorms at mid-level can kill the circulation.
Spin & Location: The Coriolis force is an apparent force that deflects movement to the right coming from the Northern hemisphere and to the left coming from the Southern hemisphere. The force is greatest at the poles and zero at the equator, so the storm must be at least 300 miles from the equator in order for the Coriolis force to create the spin. This force causes hurricanes in the Northern hemisphere to rotate counter-clockwise, and in the southern hemisphere to rotate clockwise. This spin may play some role in helping tropical cyclones to organize. (As a side note: the Coriolis force is not strong enough to affect small containers such as in sinks and toilets. The notion that the water flushes the other way in the opposite hemisphere is a myth.)
Wind: Low vertical wind shear (the change of wind speed and direction with height) between the surface and the upper troposphere favors the thunderstorm formation, which provides the energy for tropical cyclones. Too much wind shear will disrupt or weaken the convection.
Having these conditions met is necessary but not sufficient, as many disturbances that appear to have favorable conditions do not develop. Past work (Velasco and Fritsch 1987, Chen and Frank 1993, Emanuel 1993) has identified that large thunderstorm systems (called mesoscale convective complexes) often produce an inertially stable, warm core vortex in the trailing altostratus decks of the MCC. These mesovortices have a horizontal scale of approximately 100 to 200 km [75 to 150 mi], are strongest in the mid-troposphere (5 km [3 mi]) and have no appreciable signature at the surface. Zehr (1992) hypothesizes that genesis of the tropical cyclones occurs in two stages:
stage 1 occurs when the called mesoscale convective complex produces a mesoscale vortex. Stage 2 occurs when a second blow up of convection at the mesoscale vortex initiates the intensification process of lowering central pressure and increasing swirling winds.
References: Graham, N. E., and T. P. Barnett, 1987: Sea surface temperature, surface wind divergence, and convection over tropical oceans. Science, No.238, pp. 657-659.
Gray, W.M. (1968): “A global view of the origin of tropical disturbances and storms” Mon. Wea. Rev., 96, pp.669-700
Gray, W.M. (1979): “Hurricanes: Their formation, structure and likely role in the tropical circulation” Meteorology Over Tropical Oceans. D. B. Shaw (Ed.), Roy. Meteor. Soc., James Glaisher House, Grenville Place, Bracknell, Berkshire, RG12 1BX, pp.155-218
Chen, S.A., and W.M. Frank (1993): “A numerical study of the genesis of extratropical convective mesovortices. Part I: Evolution and dynamics” J. Atmos. Sci., 50, pp.2401-2426
Emanuel, K.A. (1993): “The physics of tropical cyclogenesis over the Eastern Pacific. Tropical Cyclone Disasters J. Lighthill, Z. Zhemin, G. J. Holland, K. Emanuel (Eds.), Peking University Press, Beijing, 136-142
Palmen, E. H., 1948: On the formation and structure of tropical cyclones. Geophysica , Univ. of Helsinki, Vol. 3, 1948, pp. 26-38.
Velasco, I., and J.M. Fritsch (1987): “Mesoscale convective complexes in the Americas” J. Geophys. Res., 92, pp.9561-9613
Zehr, R.M. (1992): “Tropical cyclogenesis in the western North Pacific. NOAA Technical Report NESDIS 61, U. S. Department of Commerce, Washington, DC 20233, 181 pp.
In addition to hurricane-favorable conditions such as temperature and humidity, many repeating atmospheric phenomenon contribute to causing and intensifying tropical cyclones. For example, African Easterly Waves (AEW) are winds in the lower troposphere (ocean surface to 3 miles above) that originate and travel from Africa at speeds of about 3-mph westward as a result of the African Easterly Jet. These winds are seen from April until November. About 85% of intense hurricanes and about 60% of smaller storms have their origin in African Easterly Waves.
The Saharan Air Layer (SAL) is another significant seeding phenomenon affecting tropical storms. It is a mass of dry, mineral-rich, dusty air that forms over the Sahara from late spring to early fall and moves over the tropical North Atlantic every 3-5 days at speeds of 22-55mph (10-25 meters per second). These air masses are 1-2 miles deep and exist in the lower troposphere. They can be as wide as the continental US and have significant moderating impacts on tropical cyclone intensity and formation because the dry, intense air can deprive the storm of moisture and wind shear can interfere with its convection. However, disturbances on the periphery of the Saharan Air Layer can receive a boost in their convection and spin.
An upper atmospheric perturbation known as the Madden-Julian Oscillation (MJO) can travel around the globe on a time-scale of weeks. As its positive phase passes over an area it can bring favorable conditions for convection, while its negative phase can suppress it. This can affect forming tropical cyclones either giving them a boost or hindering them.
The climatic fluctuation in the Pacific Ocean known as the El Niño-Southern Oscillation (ENSO) can affect Atlantic tropical cyclone development by increasing or decreasing (depending on ENSO phase) the vertical wind shear over the western side of the basin.
The Pacific Decadal Oscillation (PDO) and Atlantic Multi-decadal Oscillation (AMO) are oceanic temperature fluctuations occurring over tens of years. They can have a profound influence on the overall tropical cyclone activity over the world’s tropical oceans. For example, when the tropical North Atlantic Ocean is warmer than usual, hurricanes tend to form more often and become stronger. See more in the Tropical Cyclone Climatology Section on Atlantic Multi-decadal Variability.
Cape Verde-type hurricanes are Atlantic basin tropical cyclones that develop into tropical storms fairly close (<1000 km [600 mi] or so) to the Cape Verde Islands and then become hurricanes before reaching the Caribbean. Typically, this may occur in August and September, but in rare years (like 1995) this may occur in late July and/or early October. The numbers range from none to around five per year – with an average of 2 per year.
References: Dunn, G. E., 1940: “Cyclogenesis in the tropical Atlantic” Bull. Amer. Meteor. Soc., 21, pp.215-229
Riehl, H., 1945: “Waves in the easterlies and the polar front in the tropics” Misc. Rep. No. 17, Department of Meteorology, University of Chicago, 79 pp.
Burpee, R. W., (1972): “The origin and structure of easterly waves in the lower troposphere of North Africa” J. Atmos. Sci., 29, pp.77-90
Burpee, R. W., (1974): “Characteristics of the North African easterly waves during the summers of 1968 and 1969” J. Atmos. Sci., 31, pp.1556-1570
Landsea, C.W. (1993): “A climatology of intense (or major) Atlantic hurricanes” Mon. Wea. Rev., 121, pp.1703-1713
Avila, L. A., and R. J. Pasch, 1995: “Atlantic tropical systems of 1993” Mon. Wea. Rev., 123, pp.887-896
When a tropical disturbance organizes into a tropical depression, the thunderstorms will begin to line up in spiral bands along the inflowing wind. The winds will begin to increase, and eventually the inner bands will close off into an eyewall, surrounding a central calm area known as the eye. This usually happens around the time wind speeds reach hurricane force. When the hurricane reaches its mature stage, eyewall replacement cycles may begin. Each cycle will be accompanied by fluctuations in the strength of the storm. Peak winds may diminish when a new eyewall replaces the old, but then re-strengthen as the new eyewall becomes established.
If the storm passes through an area of high vertical wind shear or dry air the storm could be weakened. However, if it continues to pick up moisture from a warm environment, then it could become a major hurricane.
Hurricanes are driven by larger scale circulation patterns. The predominant pattern in the tropics is the Subtropical ridge, a semi-permanent high pressure cell roughly located near the Tropic of Cancer or Capricorn (23°26′ N or S). In the Atlantic this ridge is often called the Bermuda High due to its location. South of the ridge the circulation drives tropical cyclones westward with a slight poleward component. But when the cyclone reaches the westward edge of the ridge it will tend to move around the high first poleward then easterly. This is known as recurvature.
This motion means that many Atlantic hurricanes may recurve back out to sea without ever making landfall. If a hurricane reaches the mid-latitudes, it can interact with fronts. Often the energy and moisture of tropical cyclones will be absorbed into such fronts, transitioning into extratropical low pressure storms. Studies have shown that this process can increase the unpredictability of mid-latitude weather downstream for days following.
However, some hurricanes will make landfall. Striking an island, especially a mountainous one, could cause its circulation to break down. If it hits a continent, a hurricane will be cut off from its supply of warm, moist maritime air. It will also begin to draw in dry continental air, which combined with increased friction over land leads to the weakening and eventual death of the hurricane. Over mountainous terrain this will be a quick end. But over flat areas, it may take two to three days to break down the circulation. Even then you are still left with a large pocket of tropical moisture which can cause substantial inland flooding. There have been studies on the rate of storm decay once they make landfall (Demaria Kaplan Decay Model).
References: Willoughby, H.E. (1990a): “Temporal changes of the primary circulation in tropical cyclones” J. Atmos. Sci., 47, pp.242-264
Willoughby, H.E., J.A. Clos, and M.G. Shoreibah (1982): “Concentric eye walls, secondary wind maxima, and the evolution of the hurricane vortex” J. Atmos. Sci., 39, pp.395-411
Powell, M.D., and S.H. Houston, 1996: “Hurricane Andrew’s wind field at landfall in South Florida. Part II: Applications to real -time analysis and preliminary damage assessment” Wea. Forecasting, 11, pp.329-349
Tuleya, R.E. (1994): “Tropical storm development and decay: Sensitivity to surface boundary conditions” Mon. Wea. Rev., 122, pp.291-304
Tuleya, R.E. and Y. Kurihara (1978): “A numerical simulation of the landfall of tropical cyclones” J. Atmos. Sci., 35, pp.242-257
Storm surge is an abnormal rise of water generated by a storm’s winds blowing onshore.
Storm tide is the combination of the storm surge and astronomical tide as a result of a storm. Storm surge is caused by the force of high wind speeds acting on the ocean surface combined with the forward speed of the storm. The height of a storms surge is determined by the approaching angle of the storm as well as the coastline characteristics, such as the shape of the continental shelf and local geographic features, such as inlets.
The degree of vulnerability of any stretch of coast is dependent on a number of factors which includes the central pressure, intensity, forward speed, storm size, angle of approach, width and slope of the off-shore continental shelf, and local bays and inlets. The figure above illustrates the degree of storm surge threat for a “worst case scenario” Category 4 hurricane normalized along the coastline of the eastern and Gulf coasts of the United States.
The SLOSH Model
The Sea, Lake, and Overland Surges from Hurricanes (SLOSH) model is the computer model utilized by the National Oceanic and Atmospheric Administration (NOAA) for coastal inundation risk assessment and the operational prediction of storm surge.
The eastern seaboard and Gulf Coast of the United States, Puerto Rico, the Bahamas, the Virgin Islands, and Hawaii, are subdivided into 39 regions or “basins.” These areas represent sections of the coastline that are centered upon particularly susceptible features: inlets, large coastal centers of population, low-lying topography, and ports. The SLOSH model computes the maximum potential impact of the storm in these “computational domains” based on storm intensity, track, and estimates of storm size provided by hurricane specialists at the National Hurricane Center (NHC).
Currently, SLOSH basins are being updated at an average rate of 6 basins per year. SLOSH basin updates are ultimately governed by the Interagency Coordinating Committee on Hurricanes (ICCOH). ICCOH manages hazard and post-storm analysis for the Hurricane Evacuation Studies under FEMA’s Hurricane Program. Updates are driven by a number of different factors such as: changes to a basin’s topography/bathymetry due to a hurricane event, degree of vulnerability to storm surge, availability of new data, changes to the coast, and the addition of engineered flood protection devices (e.g. levees).
Sometimes these updates include higher grid size resolution to improve surge representation, increasing areas covered by hypothetical tracks for improved accuracy, conversion to updated vertical reference datums, and including the latest topography or bathymetric data for better representation of barrier, gaps, passes, and other local features.
The SLOSH model can generate several different products:
Deterministic runs
This is an operational product based on the official NHC track and intensity forecast of a tropical cyclone. Operational SLOSH runs are generated whenever a hurricane warning is issued, approximately 36 hours prior to arrival of tropical storm winds. It is run every 6 hours coinciding with the full advisory package. This is a single run product which can result in uncertainty because it is STRONGLY dependent on the accuracy of the storm track and timing. This product is intended to provide valuable surge information in support of rescue and recovery efforts.
Probabilistic (P-surge) runs
This is a graphical product using an ensemble of many SLOSH runs to create a Probabilistic Storm Surge (P-Surge) product. This is intended to be used operationally so it is based on NHC’s official advisory. P-Surge uses SLOSH-based simulations which are based on statistics of past performance of the advisories. These different SLOSH simulations are based on the distribution of:
Cross-track error (impacts landfall location)
Along-track error (impacts forward speed and timing)
Intensity error (impacts pressure)
Size error (impacts size)
P-Surge is available whenever a hurricane watch or warning is in effect. It is posted on the NHC webpage within approximately 30 minutes after the advisory release time.
Maximum Envelope of Water (MEOW) runs
This is an ensemble product representing the maximum height of storm surge water in a given basin grid cell using hypothetical storms run with the same:
Category (intensity)
Forward speed
Storm trajectory
Initial tide level
Internally a number of parallel SLOSH runs with same intensity, forward speed, storm trajectory, and initial tide level are performed for the basin. The only difference in runs is that each is conducted at some distance to the left or to the right of the main track (typically at the center of the grid). Each component run computes a storm surge value for each grid cell. For example, five parallel runs may yield storm surge values of 4.1, 7.1, 5.3, 6.3, and 3.8 feet. In this case, the MEOW for the cell is 7.1 ft. It is unknown (to the user) which track generated the MEOW for a particular cell, so it is entirely possible that the MEOW values for adjacent cells may have come from different runs. MEOWs are used to incorporate the uncertainties associated with a given forecast and help eliminate the possibility that a critical storm track will be missed in which extreme storm surge values are generated. MEOWs provide a worst case scenario for a particular category, forward speed, storm trajectory, and initial tide level incorporating uncertainty in forecast landfall location. The results are typically generated from several thousand SLOSH runs for each basin. Over 80 MEOWs have been generated for some basins. This product provides useful information aiding in hurricane evacuation planning.
Maximum of MEOW (MOM) runs
This is an ensemble product of maximum storm surge heights for all hurricanes of a given category regardless of forward speed, storm trajectory, landfall location, etc. MOMs are created internally by pooling all the MEOWs for a given basin separated by category and tide level (zero/high), and selecting the MEOW with the greatest storm surge value for each basin grid cell regardless of the forward speed, storm trajectory, landfall location, etc. This procedure is done for each category of storm. Essentially, there is 1 MOM per storm category and tide level (zero/high). MOMs represent the worst case scenario for a given category of storm under “perfect” storm conditions. The MOMs provide useful information aiding in hurricane evacuation planning and are also used to develop the nation’s evacuation zones.
Strengths and limitations of SLOSH
The SLOSH model is computationally efficient resulting in fast computer runs. It is able to resolve flow through barriers, gaps, and passes and model deep passes between bodies of water. It also resolves inland inundation and the overtopping of barrier systems, levees, and roads. It can even resolve coastal reflections of surges such as coastally trapped Kelvin waves. However it does not model the impacts of waves on top of the surge, account for normal river flow or rain flooding, nor does it explicitly model the astronomical tide (although operational runs can be run with different water level anomalies to model conditions at the onset of operational runs).
Surprisingly, not much lightning occurs in the inner core (within about 100 km or 60 mi) of the tropical cyclone center. Only around a dozen or less cloud-to-ground strikes per hour occur around the eyewall of the storm, in strong contrast to an overland mid-latitude mesoscale convective complex which may be observed to have lightning flash rates of greater than 1000 per hour maintained for several hours.
Hurricane Andrew’s eyewall had less than 10 strikes per hour from the time it was over the Bahamas until after it made landfall along Louisiana, with several hours with no cloud-to-ground lightning at all (Molinari et al. 1994). However, lightning can be more common in the outer cores of the storms (beyond around 100 km or 60 mi) with flash rates on the order of 100s per hour.
This lack of inner core lightning is due to the relative weak nature of the eyewall thunderstorms. Because of the lack of surface heating over the ocean ocean and the “warm core” nature of the tropical cyclones, there is less buoyancy available to support the updrafts. Weaker updrafts lack the super-cooled water (e.g. water with a temperature less than 0° C or 32° F) that is crucial in charging up a thunderstorm by the interaction of ice crystals in the presence of liquid water (Black and Hallett 1986). The more common outer core lightning occurs in conjunction with the presence of convectively-active rainbands (Samsury and Orville 1994).
One of the exciting possibilities that recent lightning studies have suggested is that changes in the inner core strikes – though the number of strikes is usually quite low – may provide a useful forecast tool for intensification of tropical cyclones. Black (1975) suggested that bursts of inner core convection which are accompanied by increases in electrical activity may indicate that the tropical cyclone will soon commence a deepening in intensity. Analyses of Hurricanes Diana (1984), Florence (1988) and Andrew (1992), as well as an unnamed tropical storm in 1987 indicate that this is often true (Lyons and Keen 1994 and Molinari et al. 1994).
References: Molinari, J., P.K. Moore, V.P. Idone, R.W. Henderson, and A.B. Saljoughy (1994): “Cloud-to-ground lightning in Hurricane Andrew” J. Geophys. Res., pp.16665-16676
Black, R.A., and J. Hallett (1986): “Observations of the distribution of ice in hurricanes” J. Atmos. Sci., 43, pp.802-822
Samsury, C.E., and R.E. Orville, 1994: “Cloud-to-ground lightning in tropical cyclones: A study of Hurricanes Hugo (1989) and Jerry (1989)” Mon. Wea. Rev., 122, pp.1887-1896
Black, P.G., (1975): “Some aspects of tropical storm structure revealed by handheld-camera photographs from space” Skylab Explores the Earth, NASA, pp.417-461
Lyons, W.A., and C. S. Keen (1994): “Observations of lightning in convective supercells within tropical storms and hurricanes” Mon. Wea. Rev., 122, pp.1897-1916
The ocean’s primary direct response to a hurricane is a cooling of the sea surface temperature (SST). How does this occur? When the strong winds of a hurricane move over the ocean they churn-up much cooler water from below. The net result is that the SST of the ocean after storm passage can be lowered by several degrees Celsius (up to 10° Fahrenheit).
A warmer ocean can have intensifying effects because the warmer an ocean is, the easier it is for the liquid water to become vapor and fuel the storm’s clouds.
Figure 1 shows SSTs ranging between 25-27°C (77-81°F) several days after the passage of Hurricane Georges in 1998. As Figure 1 illustrates, Georges’ post-storm ‘cold wake’ along and to the right of the superimposed track is 3-5°C (6-9°F) cooler than the undisturbed SST to the west and south (i.e. red/orange regions are ~30°’C [86°’F]). The magnitude and distribution of the cooling pattern shown in this illustration is fairly typical for a post-storm SST analysis.
One important caveat to realize however is that most of the 3-5°C (6-9°F) ocean cooling shown in Figure 1 occurs well after the storm has moved away from the region (in this case several days after Georges made landfall). The amount of ocean cooling that occurs directly beneath the hurricane within the high wind region of the storm is a much more important question scientists would like to have answered. Why? Hurricanes get their energy from the warm ocean water beneath them. However, in order to get a more accurate estimate of just how much energy is being transferred from the sea to the storm, scientists need to know ocean temperature conditions directly beneath the hurricane. Unfortunately, with 150kph+ (100mph+) winds, 20m+ (60ft+) seas and heavy cloud cover being the norm in this region of the storm, direct (or even indirect) measurement of SST conditions within the storm’s “inner core” environment are very rare.
Thankfully in this case “very rare” does not mean “once in a lifetime”. Recently, scientists in AOML’s Hurricane Research Division (HRD) were able to get a better idea of how much SST cooling occurs directly under a hurricane by looking at many storms over a 28 year period. By combining these rare events, HRD scientists put together a “composite average” of ocean cooling directly under the storm.
Figure 2 illustrates that, on average, cooling patterns are a lot less than the post storm 3-5°C (6-9°F) cold wake estimates shown in Figure 1. In most cases, the ocean temperature under a hurricane will range somewhere between 0.2 and 1.2°C (0.4 and 2.2°F) cooler that the surrounding ocean environment. Exactly how much depends on many factors including ocean structure beneath the storm (i.e. location), storm speed, time of year and to a lesser extent, storm intensity (Cione and Uhlhorn 2003).
While the estimates in Figure 2 represent a dramatic improvement when it comes to more accurately representing actual SST cooling patterns experienced under a hurricane, even small errors in inner core SST can result in significant miscalculations when it comes to accurately assessing how much energy is transferred from the warm ocean environment directly to the hurricane. With all other factors being equal, being “off” by a mere 0.5°C (1°F) can be the difference between a storm that rapidly intensifies and one that falls apart! With that much at stake, scientists at HRD and other government and academic institutions are working to improve our ability to accurately estimate, observe and predict “under-the-storm” upper ocean conditions. These efforts include statistical studies, modeling efforts and enhanced observational capabilities designed to help scientists better assess upper ocean thermal conditions under the storm. It is believed that future forecasts of tropical cyclone intensity change will be significantly improved.
Reference:
Cione, J. J., and E. W. Uhlhorn, 2003: Sea Surface Temperature Variability in Hurricanes: Implications with Respect to Intensity Change. Monthly Weather Review, 131, 1783-1796.
The Eye is a roughly circular area of fair weather found at the center of a severe tropical storm. The eye is the region of the lowest pressure at the surface and the warmest temperatures at the top. Eye size ranges from 5-120 miles across, but most are 20-40 miles in diameter. Understanding exactly how the eye forms has been controversial. Some scientists believe the radial spreading of the wind creates a warm dry down flow from the upper atmosphere, and this forms the cloud-free eye. Others have think the latent heat release in the eyewall forces the subsidence in the storm center creating the eye.
The Eyewall is a ring of deep convection bordering the eye of the storm. This area has the highest surface winds in the tropical cyclone. Because air in the eye is slowly sinking, it creates an updraft in the eyewall. In particularly strong storms, concentric eyewall circles (or an “eyewall replacement cycle”) can occur. Eyewall replacement happens when a storm reaches its intensity threshold and the eye contracts to a smaller size (5-15 miles). Strong rain bands in the outer storm move inward towards the eye, robbing the inner eyewall of its moisture and momentum and weakening the storm.
Spiral Bands are long, narrow bands of rain and thunderstorms that are oriented in the same direction as the wind movement. They are caused by convection (the vertical movement of air masses) and they spiral into the center of the tropical cyclone. In contrast, the Moat of a storm usually refers to the region between the eyewall and an outer spiral band where rainfall is relatively lighter. Not all hurricanes have moats.
References: Hawkins, H.F., and D.T. Rubsam (1968): “Hurricane Hilda, 1964 : II Structure and budgets of the hurricane on October 1, 1964” Mon. Wea. Rev., 104, pp.418-442
Weatherford, C. and W.M. Gray (1988): “Typhoon structure as revealed by aircraft reconnaissance. Part II: Structural variability” Mon. Wea. Rev., 116, pp.1044-1056
Smith, R.K. (1980): “Tropical Cyclone Eye Dynamics.” J. Atmos. Sci., 37 (6), pp.1227-1232.
Willoughby, H.E. (1979): “Forced secondary circulations in hurricanes” J. Geophys. Res., 84, pp.3173-3183
Shapiro, L.J. and H.E. Willoughby (1982): “The Response of Balanced Hurricanes to Local Sources of Heat and Momentum” J. Atmos. Sci., 39 (2), pp.378-394
Willoughby, H.E. (1990a): “Temporal changes of the primary circulation in tropical cyclones” J. Atmos. Sci., 47, pp.242-264
Willoughby, H.E. (1995): “Mature structure and evolution. Global Perspectives on Tropical Cyclones, R.L. Elsberry (ed.). World Meteorological Organization, Report No. TCP-38; Geneva, Switzerland, 62 pp.
The energy released from a hurricane can be explained in two ways: the total amount of energy released by the condensation of water droplets (latent heat), or the amount of kinetic energy generated to maintain the strong, swirling winds of a hurricane. The vast majority of the latent heat released is used to drive the convection of a storm, but the total energy released from condensation is 200 times the world-wide electrical generating capacity, or 6.0 x 1014 watts per day.
If you measure the total kinetic energy instead, it comes out to about 1.5 x 1012 watts per day, or ½ of the world-wide electrical generating capacity. It would seem that although wind energy seems to be the most obvious energetic process, it is actually the latent release of heat that feeds a hurricane’s momentum.
To Calculate:
Method 1 – Total energy released through cloud/rain formation: An average hurricane produces 1.5 cm/day (0.6 inches/day) of rain inside a circle of radius 665 km (360 n.mi) (Gray 1981). (More rain falls in the inner portion of hurricane around the eyewall, less in the outer rainbands.) Converting this to a volume of rain gives 2.1 x 1016 cm3/day. A cubic cm of rain weighs 1 gm. Using the latent heat of condensation, this amount of rain produced gives 5.2 x 1019 Joules/day or 6.0 x 1014 Watts.
Method 2 – Total kinetic energy (wind energy) generated: For a mature hurricane, the amount of kinetic energy generated is equal to that being dissipated due to friction. The dissipation rate per unit area is air density times the drag coefficient times the wind speed cubed (See Emanuel 1999 for details). One could either integrate a typical wind profile over a range of radii from the hurricane’s center to the outer radius encompassing the storm, or assume an average wind speed for the inner core of the hurricane. Doing the latter and using 40 m/s (90 mph) winds on a scale of radius 60 km (40 n.mi.), gets a wind dissipation rate (wind generation rate) of 1.3 x 1017 Joules/day (1.5 x 1012Watts).
Reference: Emanuel, K. A., (1999): “The power of a hurricane: An example of reckless driving on the information superhighway” Weather, 54, 107-108
The Atlantic hurricane season is June 1st to November 30th. In the East Pacific, it runs from May 15th to November 30th. Hurricane Awareness week runs from May 25th through May 31st and is a great time to get your hurricane kit and plans up to date. NOAA’s seasonal outlook is published here: NOAA Seasonal Outlook
Hurricanes have occurred outside of the official six month season , but these dates were selected to encompass the majority of Atlantic tropical cyclone activity (over 97%). When the Weather Bureau organized its new hurricane warning network in 1935 it scheduled a special telegraph line to connect the various centers to run from June 15th through November 15th. Those remained the start and end dates of the ‘official’ season until 1964, when it was decided to end the season on November 30th, and in 1965, when the start was moved to the beginning of June. These changes made the Atlantic hurricane season six months long and easier for people to remember.
Atlantic Ocean tropical cyclone activity over a year
The Atlantic basin shows a very peaked season from August through October, with 78% of the tropical storm days, 87% of the minor hurricane days, and 96% of the major hurricane days occurring then (Landsea (NHC) 1993). Maximum activity occurs in early to mid September. “Out of season” tropical cyclones primarily occur in May or December.
East Pacific Ocean tropical cyclone activity over a year
The Northeast Pacific basin has a broader peak with activity beginning in late May or early June and going until late October or early November with a peak in storminess in late August/early September. The National Hurricane Center’s official dates for this basin are from May 15th to November 30th.
West Pacific Ocean tropical cyclone activity over a year
The Northwest Pacific basin has tropical cyclones occurring all year round regularly. There is no official definition of typhoon season for this reason. There is a distinct minimum in February and the first half of March, and the main season goes from July to November with a peak in late August/early September.
The North Indian basin has a double peak of activity in May and November though tropical cyclones are seen from April to December. The severe cyclonic storms (>33 m/s winds [76 mph]) occur almost exclusively from April to June and late September to early December.
The Southwest Indian and Australian/Southeast Indian basins have very similar annual cycles with tropical cyclones beginning in late October/early November, reaching a peak in activity from mid-January to early May. The Australian/Southeast Indian basin February lull in activity is a bit more pronounced than the Southwest Indian basin’s lull.
The Australian/Southwest Pacific basin begin with tropical cyclone activity in late October/early November, reaches a single peak in March, and then fades out in early May.
Globally, September is the most active month and May is the least active month. (Neumann 1993)
References: Neumann, C.J., B.R. Jarvinen, C.J. McAdie, and J.D. Elms (1993): Tropical Cyclones of the North Atlantic Ocean, 1871-1992, Prepared by the National Climatic Data Center, Asheville, NC, in cooperation with the NHC, Coral Gables, FL, 193pp.
The mean annual damage from hurricanes in the US is 9.5 billion dollars, when we adjust not only for inflation but for the increase in value of real goods in average households. Hurricane damage varies greatly from year to year, depending on the number and strength of hurricanes making landfall, but there does not seem to be a long-term trend in adjusted damage over the last century.
There is very little association between the physical size of a hurricane and its intensity. A big hurricane does not have to be an intense one and vice versa. The damage a hurricane can cause is a function of both its maximum sustained wind and the extent of the hurricane force winds. A broad, weak storm may cause as much damage as a small, strong one.
It is false to think that damage is linear with wind speed, that a 150-mph winds will cause twice the damage as a 75-mph winds. The relationship is exponential, and not linear. A category 5 storm could cause up to 250 times the damage of a category 1 hurricane of the same size.
Intensity Cases Median Damage Potential Damage * Tropical/Subtropical Storm 118 < $1,000,000 0 Hurricane Category 1 45 $33,000,000 1 Hurricane Category 2 29 $336,000,000 10 Hurricane Category 3 40 $1,412,000,000 50 Hurricane Category 4 10 $8,224,000,000 250 Hurricane Category 5 2 $5,973,000,000 500
Mean annual damage in mainland US is $4,900,000,000.
The worst U.S. hurricane damage – after normalizing to today’s population, wealth and dollars – is no longer Hurricane Andrew, but is instead the 1926 Great Miami Hurricane. If this storm hit in the mid-1990s, it is estimated that it would cause over $70 billion in South Florida and then an additional $10 billion in the Florida panhandle and Alabama.
The United States has at least a 1 in 6 chance of experiencing losses related to hurricanes of at least $10 billion on average.
Even though the major hurricanes (the category 3, 4 and 5 storms) comprise only 21% of all US landfalling tropical cyclones, they account for 83% of all of the damage.
Damages have not been on the increase once one normalizes for inflation, wealth, and coastal population changes. Instead one sees that hurricane damages that were fairly low during the first two decades of the 20th Century, are quite high in the 1920s and 1940s to 1960s, and substantially lower in the 1970s and 1980s. Only during the early 1990s does damage approach the high level of impacts seen back in the 1940s through the 1960s. Thus recent hurricane damages are not unprecedented.
References: Weatherford, C. and W.M. Gray (1988): “Typhoon structure as revealed by aircraft reconnaissance. Part II: Structural variability” Mon. Wea. Rev., 116, pp.1044-1056
Pielke, Jr. R. A., and C. W. Landsea, 1998: “Normalized Atlantic hurricane damage 1925-1995” Wea. Forecasting, 13, pp.621-631
Hurricane forecasters estimate tropical cyclone strength from satellite using a method called the Dvorak technique. Vern Dvorak developed the scheme in the early 1970s using a pattern recognition decision tree (Dvorak 1975, 1984). Utilizing the current satellite picture of a tropical cyclone, one matches the image versus a number of possible pattern types: Curved band Pattern, Shear Pattern, Eye Pattern, Central Dense Overcast (CDO) Pattern, Embedded Center Pattern or Central Cold Cover Pattern. If infrared satellite imagery is available for Eye Patterns (generally the pattern seen for hurricanes, severe tropical cyclones and typhoons), then the scheme utilizes the difference between the temperature of the warm eye and the surrounding cold cloud tops. The larger the difference, the more intense the tropical cyclone is estimated to be.
From this one gets a “T-number” and a “Current Intensity (CI) Number”. CI numbers have been calibrated against aircraft measurements of tropical cyclones in the Northwest Pacific and Atlantic basins. On average, the CI numbers correspond to the following intensities:
Current Intensity Numbers CI Number Maximum Sustained
One Minute Winds
(kts) Central Pressure
(mb) Atlantic NW Pacific 0.0 <25 —- —- 0.5 25 —- —- 1.0 25 —- —- 1.5 25 —- —- 2.0 30 1009 1000 2.5 35 1005 997 3.0 45 1000 991 3.5 55 994 984 4.0 65 987 976 4.5 77 979 966 5.0 90 970 954 5.5 102 960 941 6.0 115 948 927 6.5 127 935 914 7.0 140 921 898 7.5 155 906 879 8.0 170 890 858
Note that this estimation of both maximum winds and central pressure assumes that the winds and pressures are always consistent. However, since the winds are really determined by the pressure gradient, small tropical cyclones (like the Atlantic’s Andrew in 1992, for example) can have stronger winds for a given central pressure than a larger tropical cyclone with the same central pressure. Thus caution is urged in not blindly forcing tropical cyclones to “fit” the above pressure- wind relationships. (The reason that lower pressures are given to the Northwest Pacific tropical cyclones in comparison to the higher pressures of the Atlantic basin tropical cyclones is because of the difference in the background climatology. The Northwest Pacific basin has a lower background sea level pressure field. Thus to sustain a given pressure gradient and thus the winds, the central pressure must accordingly be smaller in this basin.)
The errors for using the above Dvorak technique in comparison to aircraft measurements taken in the Northwest Pacific average 10 mb with a standard deviation of 9 mb (Martin and Gray 1993). Atlantic tropical cyclone estimates likely have similar errors. Thus an Atlantic hurricane that is given a CI number of 4.5 (winds of 77 kt and pressure of 979 mb) could in reality be anywhere from winds of 60 to 90 kt and pressures of 989 to 969 mb. These would be typical ranges to be expected; errors could be worse. However, in the absence of other observations, the Dvorak technique does at least provide a consistent estimate of what the true intensity is.
While the Dvorak technique was calibrated for the Atlantic and Northwest Pacific basin because of the aircraft reconnaissance data ground truth, the technique has also been quite useful in other basins that have limited observational platforms. However, at some point it would be preferable to re-derive the Dvorak technique to calibrate tropical cyclones with available data in the other basins.
Lastly, while the Dvorak technique is primarily designed to provide estimates of the current intensity of the storm, a 24 h forecast of the intensity can be obtained also by extrapolating the trend of the CI number. Whether this methodology provides skillful forecasts is unknown.
References: Dvorak, V.F., 1975: “Tropical cyclone intensity analysis and forecasting from satellite imagery” Mon. Wea. Rev., 103, pp.420-430
Dvorak, V.F., 1984: “Tropical cyclone intensity analysis using satellite data” NOAA Tech. Rep. NESDIS 11, 47pp
Fitzpatrick, P.J., J.A. Knaff, C.W. Landsea, and S.V. Finley (1995): “A systematic bias in the Aviation model’s forecast of the Atlantic tropical upper tropospheric trough: Implications for tropical cyclone forecasting” Wea. Forecasting, 10, pp.433-446
Martin, J.D., and W.M. Gray (1993): “Tropical cyclone observation and forecasting with and without aircraft reconnaissance” Wea. Forecasting, 8, pp.519-532
The U.S. Government once supported research into methods of hurricane modification, known as Project STORMFURY.
It was an ambitious experimental program of research on hurricane modification carried out between 1962 and 1983. The proposed modification technique involved artificial stimulation of convection outside the eyewall through seeding with silver iodide. The invigorated convection, it was argued, would compete with the original eyewall, lead to the reformation of the eyewall at larger radius, and thus, through partial conservation of angular momentum, produce a decrease in the strongest winds.
Since a hurricane’s destructive potential increases rapidly as its strongest winds become stronger, a reduction as small as 10% would have been worthwhile. Modification was attempted in four hurricanes on eight different days. On four of these days, the winds decreased by between 10 and 30%, The lack of response on the other days was interpreted to be the result of faulty execution of the seeding or of poorly selected subjects.
These promising results came into question in the mid-1980s because observations in unmodified hurricanes indicated:
That cloud seeding had little prospect of success because hurricanes contained too much natural ice and too little supercooled water.
That the positive results inferred from the seeding experiments in the 1960s stemmed from inability to discriminate between the expected results of human intervention and the natural behavior of hurricanes.
For a couple decades NOAA and its predecessor tried to weaken hurricanes by dropping silver iodide – a substance that serves as an effective ice nuclei – into the rainbands of the storms. During the STORMFURY years, scientists seeded clouds in Hurricanes Esther (1961), Beulah (1963), Debbie (1969), and Ginger (1971). The experiments took place over the open Atlantic far from land. The STORMFURY seeding targeted convective clouds just outside the hurricane’s eyewall in an attempt to form a new ring of clouds that, hopefully, would compete with the natural circulation of the storm and weaken it. The idea was that the silver iodide would enhance the thunderstorms of a rainband by causing the supercooled water to freeze, thus liberating the latent heat of fusion and helping a rainband to grow at the expense of the eyewall. With a weakened convergence to the eyewall, the strong inner core winds would also weaken quite a bit. For cloud seeding to be successful, the clouds must contain sufficient supercooled water (water that has remained liquid at temperatures below the freezing point, 0°C/32°F). Neat idea, but in the end it had a fatal flaw. Observations made in the 1980s showed that most hurricanes don’t have enough supercooled water for STORMFURY seeding to work – the buoyancy in hurricane convection is fairly small and the updrafts correspondingly small compared to the type one would observe in mid-latitude continental super or multicells.
In addition, it was found that unseeded hurricanes form natural outer eyewalls just as the STORMFURY scientists expected seeded ones to do. This phenomenon makes it almost impossible to separate the effect (if any) of seeding from natural changes. The few times that they did seed and saw a reduction in intensity was undoubtedly due to what is now called “concentric eyewall cycles.” Thus nature accomplishes what NOAA had hoped to do artificially. No wonder the first few experiments were thought to be successes. Because the results of seeding experiments were so inconclusive, STORMFURY was discontinued. A special committee of the National Academy of Sciences concluded that a more complete understanding of the physical processes taking place in hurricanes was needed before any additional modification experiments. The primary focus of NOAA’s Hurricane Research Division today is better physical understanding of hurricanes and improvement of forecasts. To learn about the STORMFURY project as it was called, read Willoughby et al. (1985).
Reference: Willoughby, H.E., D.P. Jorgensen, R.A. Black, and S.L. Rosenthal (1985): “Project STORMFURY: A scientific chronicle 1962-1983” Bull. Amer. Meteor. Soc., 66, cover and pp.505-514
There have been numerous techniques that have been considered over the years to modify hurricanes: seeding clouds with dry ice or silver iodide, reducing evaporation from the ocean surface with thin-layers of polymers, cooling the ocean with cryogenic material or icebergs, changing the radiational balance in the hurricane environment by absorption of sunlight with carbon black, flying jets clockwise in the eyewall to reverse the flow, exploding the hurricane apart with hydrogen bombs, and blowing the storm away from land with giant fans, etc. As carefully reasoned as some of these suggestions are, they all share the same shortcoming: They fail to appreciate the size and power of tropical cyclones. For example, when Hurricane Andrew struck South Florida in 1992, the eye and eyewall devastated a swath 20 miles wide. The heat energy released around the eye was 5,000 times the combined heat and electrical power generation of the Turkey Point nuclear power plant over which the eye passed. The kinetic energy of the wind at any instant was equivalent to that released by a nuclear warhead.
Human beings are used to dealing with chemically complex biological systems or artificial mechanical systems that embody a small amount (by geophysical standards) of high-grade energy. Because hurricanes are chemically simple –air and water vapor – introduction of catalysts is unpromising. The energy involved in atmospheric dynamics is primarily low-grade heat energy, but the amount of it is immense in terms of human experience.
Attacking weak tropical waves or depressions before they have a chance to grow into hurricanes isn’t promising either. About 80 of these disturbances form every year in the Atlantic basin, but only about 5 become hurricanes in a typical year. There is no way to tell in advance which ones will develop. If the energy released in a tropical disturbance were only 10% of that released in a hurricane, it is still a lot of power. The hurricane police would need to dim the whole world’s lights many times a year.
Maybe the time will come when men and women can travel at nearly the speed of light to the stars, and we will then have enough energy for brute-force intervention in hurricane dynamics.
Until then, perhaps the best solution is not to try to alter or destroy the tropical cyclones, but just learn to co-exist with them. Since we know that coastal regions are vulnerable to the storms, building codes that can have houses stand up to the force of the tropical cyclones need to be enforced. The people that choose to live in these locations should be willing to shoulder a fair portion of the costs in terms of property insurance – not exorbitant rates, but ones which truly reflect the risk of living in a vulnerable region. In addition, efforts to educate the public on effective preparedness needs to continue. Helping other nations in their mitigation efforts can also result in saving countless lives. Finally, we need to continue in our efforts to better understand and observe hurricanes in order to more accurately predict their development, intensification, and track.
References: Simpson, R.H. and J. Simpson (1966): “Why experiment on tropical hurricanes ?” Trans. New York Acad. Sci., 28, pp.1045-1062
Gray, W.M., W.M. Frank, M.L. Corrin, C.A. Stokes (1976): “Weather modification by carbon dust absorption of solar energy” J. Appl. Meteor., 15, pp.355-386
Gray, W.M., W.M. Frank, M.L. Corrin, C.A. Stokes, 1976: Weather Modification by Carbon Dust Absorption of Solar Energy, J. of Appl. Meteor., 15 4, pp. 355-386.
Woodcock, A.H., D.C. Blanchard, C.G.H. Rooth, 1963: Salt-Induced Convection and Clouds, J. of Atmos. Sci., 20, 2, pp. 159-169.
Blanchard, D.C., A.H. Woodcock, 1980: The Production, Concentration, and Vertical Distribution of the Sea-salt Aerosol, Ann. NY Acad. Sci., 338, 1, p. 330-347.
In the Atlantic basin (Atlantic Ocean, Gulf of Mexico, and Caribbean Sea) and in the eastern and central Pacific, as required, hurricane reconnaissance is carried out by two government agencies, the U.S. Air Force Reserves’ 53rd Weather Reconnaissance Squadron and NOAA’s Aircraft Operations Center (AOC). The U.S. Navy stopped flying hurricanes in 1974.
The 53rd WRS is based at Keesler AFB in Mississippi and maintains a fleet of ten WC-130 planes. These cargo airframes have been modified to carry weather instruments to measure wind, pressure, temperature and dew point as well as drop instrumented sondes and make other observations.
AOC is presently based at Linder Airfield in Lakeland, Florida and among its fleet of planes has two P-3 Orions, originally made as Navy sub hunters, but modified to include three radars as well as a suite of meteorological instruments and dropsonde capability. Starting in 1996 AOC added to its fleet a Gulfstream IV jet that is able to make observations from much higher altitudes (up to 45,000 feet).
The USAF planes are the workhorses of the hurricane hunting effort. They are often deployed to a forward base, such as Antigua, and carry out most of the reconnaissance of developing waves and depressions. Their mission in these situations is to look for signs of a closed circulation and any strengthening or organizing that the storm might be showing. This information is relayed by satellite to the hurricane specialists who evaluate this information along with data from other platforms.
The NOAA planes are more highly instrumented and are primarily used for scientific research on storms, but they may also be called upon for reconnaissance of mature hurricanes when they are threatening landfall, especially on U.S. territory.
The planes carry between six to fifteen people, both the flight crew and the weather crew. Flight crews consist of an aircraft commander, co-pilot, flight engineer, navigator, and electrical and data technicians. The weather crew might consist of a flight meteorologist, lead project scientist, cloud physicist, radar scientist, and dropsonde quality scientist.
The primary purpose of reconnaissance is to track the center of circulation, these are the co-ordinates that the National Hurricane Center issues, and to measure the maximum winds. But the crews are also evaluating the storm’s size, structure, and development and this information is also relayed to hurricane specialists via satellite link. Most of this data, which is critical in determining the hurricane’s threat, cannot be obtained from satellite.
The purposes of research are more varied. Onboard scientists direct the aircraft to those parts of the storm of interest, which might not be near the eye of the hurricane. Experiments might be planned to examine the outer rainbands or the hurricane’s interaction with the environment.
The NOAA G-IV jet usually does NOT penetrate the hurricane eye, but is assigned to fly synoptic scale patterns AROUND the storm, deploying dropsondes along the way, in order to profile the environmental flow that is moving the hurricane. In certain circumstances, a USAF WC-130 will also be assigned to fly a similar pattern in coordination with the G-IV to increase the coverage of this synoptic flow mission.
Whatever the mission’s purpose, information from all of these flights are shared via satellite with land-based forecasters to keep them current on the storm’s status. Radar and probe data are sent in real-time to be ingested into a variety of computer forecast models to ensure the best quality forecast.
The most incredible sight that I’ve ever seen is in the middle of a strong hurricane. One might not believe this, but most hurricane flights are fairly boring. They last 10 hours, there are clouds above you and clouds below – so all you see is gray, and you don’t feel the winds swirling around the hurricane.
But what does get interesting is flying through the hurricane’s rainbands and the eyewall, which can get a bit turbulent. The eyewall is a donut-like ring of thunderstorms that surround the calm eye. The winds within the eyewall can reach as much as 200 mph [325 km/hr] at the flight level, but you can’t feel these aboard the plane. But what makes flying through the eyewall exhilarating and at times somewhat scary, are the turbulent updrafts and downdrafts that one hits. Those flying in the plane definitely feel these wind currents (they sometimes makes us reach for the air-sickness bags). These vertical winds may reach up to 50 mph [80 km/hr] either up or down, but are actually much weaker in general than what one would encounter flying through a continental supercell thunderstorm. But once the plane gets into the calm eye of a hurricane like Andrew or Gilbert, it is a place of powerful beauty: sunshine streams into the windows of the plane from a perfect circle of blue sky directly above the plane, surrounding the plane on all sides is the blackness of the eyewall’s thunderstorms.
Directly below the plane peeking through the low clouds one can see the violent ocean with waves sometimes 60 feet high [20 m] crashing into one another. The partial vacuum of the hurricane’s eye (where one tenth of the atmosphere is gone) is like nothing else on earth. I would much rather experience a hurricane this way – from the safety of a plane – than being on the ground and having the hurricane’s full fury hit without protection.
The USAFR 53rd Hurricane Hunters have a ‘cyber flight’ through a hurricane. Visit the page here.
Hurricanes form both in the Atlantic basin (i.e. the Atlantic Ocean, Gulf of Mexico and Caribbean Sea) to the east of the continental U.S. and in the Northeast Pacific basin to the west of the U.S. However, the ones in the Northeast Pacific almost never hit the continental U.S., while the ones in the Atlantic basin strike the U.S. mainland just less than twice a year on average. There are two main reasons. The first is that hurricanes tend to move toward the west-northwest after they form in the tropical and subtropical latitudes. In the Atlantic, such a motion often brings the hurricane into the vicinity of the U.S. east coast. In the Northeast Pacific, a west-northwest track takes those hurricanes farther off-shore, well away from the U.S. west coast.
In addition to the general track, a second factor is the difference in water temperatures along the U.S. east and west coasts. Along the U.S. east coast, the Gulf Stream provides a source of warm (> 80°F or 26.5°C) waters to help maintain the hurricane. However, along the U.S. west coast, the ocean temperatures rarely get above the lower 70s, even in the midst of summer. Such relatively cool temperatures are not energetic enough to sustain a hurricane’s strength. So for the occasional Northeast Pacific hurricane that does track back toward the U.S. west coast, the cooler waters can quickly reduce the strength of the storm. You may have remnants of such storms move over the Southwestern United States bringing heavy rainfall.
Recently Chenoweth and Landsea (2004), re-discovered that a hurricane struck San Diego, California on October 2, 1858. Unprecedented damage was done in the city and was described as the severest gale ever felt to that date nor has it been matched or exceeded in severity since. The hurricane force winds at San Diego are the first and only documented instance of winds of this strength from a tropical cyclone in the recorded history of the state. While climate records are incomplete, 1858 may have been an El Niño year, which would have allowed the hurricane to maintain intensity as it moved north along warmer than usual waters. Today if a Category 1 hurricane made a direct landfall in either San Diego or Los Angeles, damage from such a storm would likely be few to several hundred million dollars. The re-discovery of this storm is relevant to climate change issues and the insurance/emergency management communities risk assessment of rare and extreme events in the region.
Reference: Chenoweth, M., and C.W. Lansea (2004): “The San Diego hurricane of October 2, 1858” Bull. Amer. Meteor. Soc., 85, pp.1689-1697
The vast majority of Atlantic activity takes place during August-September-October, the climatological peak months of the hurricane season. The overall number of named storms (hurricanes) occurring in June and July (JJ) correlates at an insignificant r = +0.13 (+0.02) versus the whole season activity. In fact, there is a slight negative relationship between early season storms (hurricanes) versus late season – August through November – r = -0.28 (-0.35). Thus, the overall early season activity, be it very active or quite calm, has little bearing on the season as a whole. These correlations are based on the years 1944-1994.
A significant number of pre-season (April-May) and early season (JJ) storms are hybrid systems (neither fully tropical nor midlatitude lows). So their formation mechanisms are very different from fully tropical systems that form in the Main Development Region (MDR). So conditions favoring hybrid storm formation can be very different from those favoring tropical cyclone formation.
As shown in (Goldenberg 2000), if one looks only at the June-July Atlantic tropical storms and hurricanes occurring south of 22°N and east of 77°W (the eastern portion of the MDR for Atlantic hurricanes), there is a strong association with activity for the remainder of the year. According to the data from 1944-1999, total overall Atlantic activity for years that had a tropical storm or hurricane form in this region during JJ have been at least average and often above average. So it could be said that a JJ storm in this region is pretty much a “sufficient” (though not “necessary”) condition for a year to produce at least average activity. (I.e., Not all years with average to above-average total overall activity have had a JJ storm in that region, but almost all years with that type of JJ storm produce average to above-average activity.) The formation of a storm in this region during June-July is taken into account when the August updates for the Bill Gray and NOAA seasonal forecasts are issued.
Recent research describes two distinct types of Atlantic climate drivers: 1) Internal variability is caused by natural processes within the atmosphere and ocean climate system. 2) External variability is caused by forces outside of the atmosphere/ocean climate system.
Examples of natural internal forces are oceanic oscillations such as ENSO, meridional overturning circulation, and Saharan dust storms that blow mineral dust over the tropical Atlantic. The effects of the El Nino/Southern Oscillation are discussed in another section in detail.
Examples of external climate forcing agents are solar variability, cosmic radiation changes, and air pollution such as industrial particulate and sulfur emissions.
The Atlantic meridional overturning circulation, which transports ocean heat from the tropics to higher latitudes and can cause substantial climate swings in the Atlantic region and beyond as this circulation increases or decreases.
Saharan dust storms have a similar effect on the Atlantic climate as the dust blows westward in the trade-winds off the African continent and blocks sunlight from reaching the ocean surface. Saharan dust storms are strongly seasonal, but can also exhibit multi-decadal swings that can cause similar swings in Atlantic ocean temperatures.
Our sun has 11-year and 22-year cycles in sunspot and magnetic activity, which affects the solar wind and Earth’s magnetic field. It may also exhibit longer scale variability in its output. Along with changes in comic ray activity, this may alter Earth’s cloud cover in subtle ways and drive changes in ocean heat content.
Volcanic eruptions cause a transient cooling of ocean temperatures as they tend to block some of the incoming sunlight from reaching the surface. These natural eruptions tend to occur randomly and don’t exhibit any clear multi-decadal swings.
Finally, there is human-caused particulate and sulfate air pollution, which tends to block incoming sunlight similarly to volcanic eruptions and mineral dust. Human-caused sulfate pollution over the Atlantic exhibits a pronounced variability over time. Prior to the various Clean Air Acts and Amendments instituted by the United States and European countries in the 1970s, industrial sulfate emissions were much less regulated and air quality had become progressively worse. As the concentration of sulfate pollution over the Atlantic Ocean increased from the 1940s through 1970s, a cooling effect was noted as the pollution blocked incoming sunlight. According to some studies, as sulfate pollution concentrations decreased during and after the 1970s, the offsetting cooling effect is believed to have been reduced.
Hurricanes: Their Nature and Impacts on Society
An excellent introductory text into hurricanes (and tropical cyclones in general), this book by R.A. Pielke, Jr. and R.A. Pielke, Sr. provides the basics on the physical mechanisms of hurricanes without getting into any mathematical rigor. The book also discusses hurricane policy, vulnerability and societal responses and ends with an in-depth look at Hurricane Andrew’s forecast, impact and response. Roger A. Pielke, Jr. is a Sociologist at the Environmental and Societal Impacts Group at the National Center for Atmospheric Research in Boulder, Colorado, USA. Roger A. Pielke, Sr. is a Professor of Atmospheric Science at Colorado State University (USA).
John Wiley & Sons, Chichester, UK, 1997, 279 pp.
Meteorology Today for Scientists and Engineers
This paperback book is designed to accompany C. Donald Ahrens’ introductory book “Meteorology Today.” For a concise mathematical description of hurricanes that has NO calculus and NO differential equations, then I would suggest obtaining a copy of this book by Rolland B. Stull
West Publ. Co., Minneapolis/St. Paul, MN, 2000, 385 pp.
Chapter 16 Hurricanes p.289-304.
Global Perspectives on Tropical Cyclones: From Science to Mitigation
edited by Johnny C. L. Chan and Jeffrey D. Kepert
This book is a completely rewritten, updated and expanded new edition of the original Global Perspectives on Tropical Cyclones published in 1995. It presents a comprehensive review of the state of science and forecasting of tropical cyclones together with the application of this science to disaster mitigation, hence the tag: From Science to Mitigation.Since the previous volume, enormous progress in understanding tropical cyclones has been achieved. These advances range from the theoretical through to ever more sophisticated computer modeling, all underpinned by a vast and growing range of observations from airborne, space and ocean observation platforms. The growth in observational capability is reflected by the inclusion of three new chapters on this topic. The chapter on the effects of climate change on tropical cyclone activity is also new, and appropriate given the recent intense debate on this issue. The advances in the understanding of tropical cyclones which have led to significant improvements in forecasting track, intensity, rainfall and storm surge, are reviewed in detail over three chapters. For the first time, a chapter on seasonal prediction is included. The book concludes with an important chapter on disaster mitigation, which is timely given the enormous loss of life in recent tropical cyclone disasters.
World Scientific, 2010, 448 pp.ISBN: 978-981-4293-47-1 or 978-981-4293-48-8 (ebook).
Global Guide to Tropical Cyclone Forecasting
For the tropical cyclone forecaster and also of general interest for anyone in the field and those with a non-technical interest in the field, the loose-leaf book Global Guide to Tropical Cyclone Forecasting(1993) by G.J. Holland (ed.), World Meteorological Organization, WMO/TD-No. 560, Report No. TCP-31 is a must get.
North Carolina’s Hurricane History, Florida’s Hurricane History
These two books are an amazing documentaries of the hurricanes which have struck the states of North Carolina and Florida from 1526 until 1996 and 1546-1995, respectively. The author Jay Barnes – Director of the North Carolina Aquarium – tells the stories of the hurricanes and their effects upon the people of the state in an easily readable style with numerous photographs.
University of North Carolina Press, Chapel Hill, NC, 1998, 330pp.
Atlantic Hurricanes
A classic book describing tropical cyclones primarily of the Atlantic basin, but also covering the physical understanding of tropical cyclone genesis, motion, and intensity change at the time. Written in 1960, by Gordon E. Dunn and Banner I. Miller, this book provides insight into the knowledge of tropical cyclones as of the late 1950s. It is interesting to observe that much of what we know was well understood at this pre-satellite era. Gordon E. Dunn was the Director of the National Hurricane Center and Banner I. Miller was a research meteorologist with the National Hurricane Research Project.
Louisiana State Press, 1960, 326pp (revision 1964)
Hurricanes, Their Nature and History
Before Dunn and Miller’s book, Ivan Ray Tannehill came out with an authoritative reference on the history, structure, climatology, historical tracks, and forecasting techniques of Atlantic hurricanes as was known by the mid-1930s. This is one of the first compilations of yearly tracks of Atlantic storms – he provides tracks of memorable tropical cyclones all the way back to the 1700s and shows all the storm tracks yearly from 1901 onward. The first edition came out in 1938 and the book went through at least nine editions (my book was published in 1956). Mr. Tannehill was engaged in hurricane forecasting for over 20 years and also lead the Division of Synoptic Reports and Forecasts of the U.S. Weather Bureau.
Princeton University Press, 1956, 308 pp.
Into the Hurricane
(Published in Britain as “The Devil’s Music”)
Author Pete Davies spent the summer of 1999 looking at Atlantic hurricanes, traveling to Honduras to see the aftermath of Hurricane Mitch, and flying on research missions with NOAA’s Hurricane Research Division. He explores the science of why the storms occur and how to predict them, and recounts the impacts of Hurricane Floyd.
Henry Holt and Company. 2000, 264 pp., ISBN: 0-8050-6574-1.
The Divine Wind
(translated into Chinese) Hurricanes are presented in verse, art, history, and science in this all-encompassing book of the science and culture of hurricanes. Author Kerry Emanuel discusses hurricane forecasting, historical events and human impacts. The book includes many artworks, figures, and photographs, plus a description of flying into hurricanes.
Oxford University Press, 2005, 296 pp.,ISBN-10: 0195149416.
A Global View of Tropical Cyclones
(A revised version of this book is Global Perspectives on Tropical Cyclones listed above.)
A very thorough book dealing with the technical issues of tropical cyclones for the state of the science in the mid-1980s by Elsberry, Holland, Frank, Jarrell, and Southern.
University of Chicago Press, 1987,195 pp.
The Hurricane
(1997 revision titled “Hurricanes: Their Nature and Impacts on Society” by Pielke and Pielke is listed above.)
A very good introductory text into hurricanes (and tropical cyclones in general), this book by R.A. Pielke provides the basics on the physical mechanisms of hurricanes without getting into any mathematical rigor. This first version is just 100 pages of text with another 120 pages devoted toward all of the tracks of Atlantic hurricanes from 1871-1989. Roger A. Pielke is a professor of Atmospheric Science at Colorado State University.
Routledge Publishing, New York, 1990, 279 pp. (revision 1997)
Hurricanes
An introductory text book for young readers on hurricanes by Sally Lee.
Franklin Watts Publishing, New York, 1993, 63 pp.
Cyclone Tracy, Picking up the Pieces
Twenty years after Cyclone Tracy, this book recreates, by interviews with survivors, the events during and after the cyclone that nearly destroyed Darwin, Australia by B. Bunbury
Fremantle Arts Centre Press, South Fremantle, Australia, 1994, 148 pp.
Beware the Hurricane!
This book tells “the story of the cyclonic tropical storms that have struck Bermuda and the Islanders’ folk-lore regarding them” by Terry Tucker.
The Island Press Limited, Bermuda, 1995, 180 pp.
Florida Hurricanes and Tropical Storms, Revised Edition
This recent book provides a historical perspective of Florida Hurricanes extending from 1871 to 1996 by J.M. Williams and I. W. Duedall
Florida Sea Grant College Program, University of Florida Press, Gainesville, FL, 1997, 146 pp.
Hurricanes of the North Atlantic
This book by J. B. Elsner and A. B. Kara focuses on the statistics and variability of Atlantic hurricanes as well as detailed discussions on how hurricanes impact the insurance industry and how integrated assessments can be made regarding these storms. The book provides very valuable information on hurricane frequencies, intensities and return periods that are not easily available elsewhere. Also sections are devoted on the development of seasonal (and longer) hurricane forecast models and their performance.
Oxford University Press, New York/Oxford, 1999, 488 pp.
Natural Disasters – Hurricanes
This reference book by P. J. Fitzpatrick provides a very useful compilation of a wide range of topics on Atlantic hurricanes. Of particular interest is the chronology of advances in the science and forecasting of hurricanes along with biographical sketches of researchers and forecasters prominent in the field. This book is an excellent resource in answering questions on many issues in the field.
ABC-CLIO, Santa Barbara, CA, 1999, 286 pp.
Tropical Cyclones of the North Atlantic Ocean, 1851-2006
Researchers and those who follow Atlantic hurricanes should all have a copy of the atlas. Previous versions:
Tropical Cyclones of the North Atlantic Ocean, 1871-1998
Tropical Cyclones of the North Atlantic Ocean, 1871-1992
Tropical Cyclones of the North Atlantic Ocean, 1871-1986
Tropical Cyclones of the North Atlantic Ocean, 1871-1980
Tropical Cyclones of the North Atlantic Ocean, 1871-1977
Tropical Cyclones of the North Atlantic Ocean, 1871-1963
North Atlantic Tropical Cyclones, 1886-1958
National Climatic Data Center, Asheville, NC, in cooperation with the Tropical Prediction Center/National Hurricane Center, Miami, FL, 2006, 238 pp.
Hurricanes and Florida Agriculture
Dr. John A. Attaway, former Scientific Research Director of the Florida Department of Citrus, wrote this well-researched history and litany of the impacts that hurricanes have had upon agriculture in Florida.
Florida Science Source, Inc., Lake Alfred, FL, 1999, 444 pp. | ||||
8911 | dbpedia | 0 | 0 | https://en.wikipedia.org/wiki/Ace_in_the_Hole_Band | en | Ace in the Hole Band | [
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] | 2009-06-07T06:00:13+00:00 | en | /static/apple-touch/wikipedia.png | https://en.wikipedia.org/wiki/Ace_in_the_Hole_Band | Backup band for country music performer George Strait
Ace in the Hole Band is the backup band for American country music performer George Strait, who was the band's lead singer before beginning his solo career in the early 1980s. The band formed at San Marcos, Texas in the 1970s, and recorded several singles for "D Records" including the Strait-penned "I Just Can't Go On Dying Like This" and "I Don't Want To Talk It Over Anymore". After Strait attained status as the "King of Country", the group released an album of its own in 1995 featuring vocals from Darrell McCall and Mel Tillis.
The band, originally known as "Stoney Ridge", performs such styles of traditional country music as honky-tonk and western swing and were influenced by such performers as Bob Wills, Johnny Bush, and The Strangers. Contemporaries of the band include Asleep at the Wheel and Jerry Jeff Walker.
Background
[edit]
Origins
[edit]
The Ace in the Hole Band derived from the band "Stoney Ridge," which was composed of Southwest Texas State University (now Texas State) students Ron Cabal (lead guitar), Mike Daily (steel guitar), Terry Hale (Bass guitar), Tommy Foote (drums) and Jay Dominguez (lead vocals). Dominguez and Foote left the band after graduating in 1975, prompting a search for a new singer. The band members posted bulletins around the campus of Southwest Texas.[1] One was noticed by an agricultural science student, George Strait. He contacted the band and was hired after an audition. Soon after, the group was renamed "Ace in the Hole" and George quickly became the lead singer.[1]
The band regularly performed at Cheatham Street Warehouse in San Marcos, Texas, where they debuted on October 13, 1975 along with new member Ted Stubblefield, who temporarily replaced Foote as the drummer. Acts such as Asleep at the Wheel and Jerry Jeff Walker also played at the forum. The band appeared at the locale nearly every week until the early 1980s, when they began touring with Strait. Drummer Foote returned to the lineup late in 1975[1] and remained as drummer until 1983 when he relinquished his position to become the band's road manager, a position he holds to this day.[2] Tommy Foote died in May 2024.
Recording
[edit]
In 1976, Pappy Daily, the grandfather of band member Mike Daily, decided to record the group for his "D Records" label at a studio in Houston, Texas. At the first session, the band recorded Dallas Frazier's "Honky Tonk Downstairs" (later recorded on Strait's 1981 debut album Strait Country) and the Strait-penned "I Just Can't Go on Dying Like This" (later recorded on Strait's 2013 album Love Is Everything). The songs were released to radio stations in Texas and Oklahoma. In 1977, Bill Mabry was added to the lineup as a fiddle player and the band recorded their second single, which featured the songs "Lonesome Rodeo Cowboy" (later recorded on Strait's 1990 album Livin' It Up) and "That Don’t Change the Way I Feel About You" which was written by Strait. The next year, the band recorded the songs "Right or Wrong," and "Little Liza Jane",[1] which were later included on the 2005 D Records label release Complete D Singles Collection, Vol. 6: The Sounds of Houston, Texas.[3] Strait re-recorded "Right or Wrong" in 1983 for his album Right or Wrong and took it to number one on the country charts. "The Loneliest Singer in Town" and Strait's "I Don’t Want to Talk It Over Anymore" also came out of this session. The three songs composed by Strait were later released on his 1995 compilation album Strait Out of the Box.[4]
In 1981, after Strait signed with MCA Records, the band began to tour with him and played the instrumentals on his recordings. They were honored in 1991 with the SRO's "Touring Band of the Year."[5] Four years later, the band released an album without vocals from Strait, featuring singers Darrell McCall and Mel Tillis.[1]
Style
[edit]
The band plays in a honky-tonk and western swing style, and credits such performers as Bob Wills, Hank Williams, Johnny Bush, George Jones, Merle Haggard and The Strangers as influences.[1] Allmusic describes the band's styles as Alternative country, Neotraditional and Western swing revival.[5] Because of the group's traditional style, performances in the city of Austin, Texas did not occur often due to the city's demand for progressive sounds.[1] Strait traveled to Nashville in 1977 with hopes of beginning a career, but most in the industry passed on him, shunning his traditional approach for pop-influenced sounds popular in country music during the late 1970s Urban Cowboy era.[1]
Members
[edit]
Current members
[edit]
Mike Daily - steel guitar (1975–present)
Terry Hale – bass (1975–present)
Ron Huckaby – piano (1983–present)
Rick McRae – lead guitar (1984–present)
Benny McArthur – rhythm guitar, backing vocals, occasional fiddle (1984–present)
Marty Slayton – backing vocals (2000–present)
Joe Manuel - acoustic guitar, backing vocals (2005–present)
John Michael Whitby – keyboards (2006–present)
Bobby Jarzombek - drums (2021-present)
Tony King - backing vocals (2024–present)
Former Members
[edit]
Ron Cabal - lead guitar (1975–1983)
George Strait – lead vocals, acoustic guitar (1975–1980)
Ted Stubblefield – drums (1975)
Tommy Foote – drums (1976–1982)
Bill Mabry - fiddle (1977–1979)
Richard Casanova - fiddle (1980–1984)
Roger Montgomery – drums (1983–1986)
Gene Elders – fiddle, mandolin (1985–2024; his death)
David Anthony - acoustic guitar (1985–2002)
Phillip Fajardo - drums (1987)
Phil Fisher - drums (1988–1990)
Mike Kennedy - drums (1991–2018; died 2018)[6]
Liana Manis – backing vocals (1999)
Wes Hightower - backing vocals (1999-2006; 2016–2023)
Jeff Sturms - acoustic guitar, mandolin (2002–2007); backing vocals (1998-2007); keyboards (1998-2002)
Anthony Bazzani - keyboards (2002–2005)
Thom Flora – backing vocals (2007–2016)
Lonnie Wilson - drums (2019–2020)
Timeline
[edit]
Discography
[edit]
Singles
[edit]
Year Single Album 1977 "I Just Can't Go On Dying Like This" Strait Out of the Box (George Strait album)[4] "Honky Tonk Downstairs" Complete D Singles Collection, Vol. 6: The Sounds of Houston, Texas[3] "Lonesome Rodeo Cowboy" "(That Don't Change The) Way I Feel About You" Strait Out of the Box[4] 1978 "I Don't Want To Talk It Over Anymore" "Loneliest Singer In Town" Complete D Singles Collection, Vol. 6: The Sounds of Houston, Texas[3]
Albums with George Strait
[edit]
Ocean Front Property, 1987
Livin' It Up, 1990
Chill of an Early Fall, 1991
Holding My Own, 1992
Strait Out of the Box, 1995
For the Last Time, 2003
Live at Texas Stadium, 2007
The Cowboy Rides Away, 2014
Hit Singles with George Strait
[edit]
"Lovesick Blues", 1991
"Gone as a Girl Can Get", 1992
Ace in the Hole Band (album)
[edit]
Ace in the Hole BandStudio albumReleasedApril 16, 1995GenreWestern swingLength30:13LabelTexas WorldProducerBilly Stull, Lucky Tomblin
The Ace in the Hole Band released their self-named debut album in 1995.[7] Among its many covers, the album features the song "You're Something Special to Me," which was recorded by George Strait on his 1985 album Something Special.[8]
Track list
References
[edit] | ||||||
8911 | dbpedia | 1 | 67 | https://michaelcorcoran.substack.com/p/strait-outta-san-marcos | en | Strait Outta San Marcos | [
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] | 2021-10-04T14:17:14+00:00 | King George has had an Ace in the Hole for 46 years | en | https://substackcdn.com/icons/substack/favicon.ico | https://michaelcorcoran.substack.com/p/strait-outta-san-marcos | “Country band looking for singer” was all it said, with a phone number. From that seed of torn paper stuck on the cluttered bulletin board at the Southwest Texas State University student center in August 1975 grew a chapter of country music history that’s still a page-turner.
The first person to answer the ad, placed by three students who had been fired from the band Stoney Ridge by singer Jay Dominguez, was an agriculture major just back from a hitch in the Army.
“I remember that audition like it was yesterday,” steel guitarist Mike Daily said of the day George Strait walked into his life. “George sang two lines, and it was over.”
Forty-six years later, Strait, 69, is an unprecedented country music success story, with 44 No. 1 Billboard singles, more than any other act of any genre. And Daily and original bassist Terry Hale are still in Strait’s aptly named Ace in the Hole Band, regarded in the industry as the best road group in country music, until Strait stopped touring a few years ago.
“They’re probably the greatest ambassadors of honky-tonk music ever, in terms of the number of people they’ve played in front of,” said Austin songwriter Monte Warden, who has had a song recorded by Strait.
“George wants to concentrate on his singing, so he surrounds himself with professionals, ” said Tom Foote, who played drums for the Ace in the Hole Band from January 1976 until he switched to tour manager in 1983. “Some acts have a lot of rules for the band, but we have only one: Be on time.”
Directed by Austin-based keyboardist Ronnie Huckaby, the Ace in the Hole Band today is an 11-piece marvel of musicianship, with the ability to play both Western swing and lush country ballads. But in the beginning, it was more of a bar band, with Daily, Hale, Foote and lead guitarist Ron Cabal (who died in a 1996 car accident) backing Pearsall native Strait, who had begun performing in the early 1970s when he was stationed at Schofield Barracks in Hawaii and fronted a band of homesick country boys.
Originally, the San Marcos group was billed as “The Ace in the Hole Band with George Strait,” but as the frontman’s good looks, charisma and pure country voice made him a star, the billing was simplified to “George Strait.” But you’ll hear no complaints from the band, which released a lone album under its name in 1995.
“We didn’t even know what success was in the music business or how to get it,” Foote said of the group’s early years. “But the first time I heard George sing, I thought, ‘Well, this my chance to find out.’ “
Ace in the Hole Band played Texas dives, roadhouses and dance halls for six years before Strait got a record deal. Foote’s uncle, writer Horton Foote, modeled the upstart band in his Oscar-winning script for 1983’s “Tender Mercies” on the band’s early days.
The group’s first show was at San Marcos’ ramshackle Cheatham Street Warehouse on Oct. 13, 1975. A year later, they were regularly packing Gruene Hall. But breaking into the Austin market was a challenge. The “outlaw country” movement was the rage in the ’70s, but even as major labels were signing just about every singing hippie in a cowboy hat from Texas, Strait refused to modify his traditional country style.
“We had a hellish time getting booked in Austin,” said Daily, the grandson of George Jones mentor Pappy Daily. “Finally, James White gave us a shot at the Broken Spoke, and we started building up a following.”
Foote recalled that Spoke debut, opening for Alvin Crow and the Pleasant Valley Boys. “We got everybody from Cheatham Street to cheer us on, so Mr. White would think we were a big draw,” he said. White booked the band once a month for $400 to $500 a gig.
Unlike his bandmates, Strait was married and had a young child to support when he joined the band. Growing up, he loved working on his family’s ranch near Big Wells, so Strait had a tough decision to make when he graduated from college in 1977 and was offered a job with an agriculture company in Uvalde.
“He had the ambition to be what he is now,” Daily said, “so he decided to give the music business one more shot.”
In the summer of ’77, Cheatham Street Warehouse owner Kent Finlay, songwriter Daryl Staedtler and Strait drove a two-seat cargo van from San Marcos to Nashville, Tenn., taking turns sleeping on the Army cot in the back.
“George really needed a record deal,” Finlay said, “so we loaded up 10 cases of Coors beer and brought a six-pack to each label. You couldn’t get Coors in Nashville back then, so it made it easier to get a foot in the door.”
Ironically, Strait got his big break in San Marcos, when the band played at Erv Woolsey’s Prairie Rose nightclub in the late ’70s. After about a year of running the club, Houston native Woolsey returned to his job at MCA Nashville, where he persuaded the other execs to sign the singer from San Marcos. Woolsey eventually quit his label job to manage Strait, who rarely does interviews.
Strait’s first single, “Unwound,” reached the top 10 in 1981. The first No. 1 hit came the next year with “Fool Hearted Memory.” Strait has had at least one No. 1 single a year since. In 2006, Strait was inducted into the Country Music Hall of Fame, and he’s the only member still recording No. 1 hits.
The Ace in the Hole Band rarely plays on Strait’s albums, as his Nashville-based producer Tony Brown prefers to work with session players. But live is where the players, whose training ranges from honky-tonk taught to fiddler Gene Elders’ classical background, find room to shine. Like Willie Nelson’s Family, formed just a couple of years before the Ace in the Hole Band, there is an almost telepathic connection among the players.
Many of the San Marcos haunts of the band’s early years, including the Cheyenne Social Club (formerly the Getaway), the house on Uhland Street where Strait auditioned, and George and Norma Strait’s house, directly across Riverside Drive from Herbert’s Taco Hut, have been torn down. But the band born from such humble beginnings has kept its musical passion alive. Sometimes during shows, the members will grin at each other as if to say, “Can you believe we’re getting paid to do this?”
The hit 1992 movie Pure Country, in which the band members played themselves, helped keep Strait’s career vibrant during the Garth Brooks-led “young country” boom. In the film, Strait plays Dusty, a fame-warped country singer who lost his way, playing his music behind garish special effects. Eventually he returns to his traditional country roots. But Strait’s real career path has never been anything but simple and steady.
“If I had to use just one word to describe George Strait, it’s ‘authentic,’ ” said Foote. “There’s nothing contrived about him. When the label folks wanted George to move to Nashville, he stayed in Texas because that was home. When they wanted him to take off his cowboy hat, he kept it on because it felt comfortable. “
There was also pressure from Nashville for Strait to replace the Ace in the Hole Band with more seasoned Nashville players.
“George resisted, giving everyone the chance to grow into their position,” Foote said.
And the Ace in the Hole Band has never stopped growing. They backed Strait in the Friday headlining slot at ACL Fest, filling the fields of Zilker with pure Texas country music. | |||||
8911 | dbpedia | 2 | 24 | https://www.umgnashville.com/george-strait-announces-to-indy-crowd-i-broke-down-and-did-another-record/ | en | [] | [] | [] | [
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8911 | dbpedia | 1 | 51 | https://www.wikiwand.com/en/Ace_in_the_Hole_(George_Strait_song) | en | Ace in the Hole (George Strait song) | [] | [] | [] | [
""
] | null | [] | null | "Ace in the Hole" is a song written by Dennis Adkins, and recorded by American country music artist George Strait. George's touring band is called "The Ace in the Hole Band." It was released in July 1989 as the third single from his album Beyond the Blue Neon. It became his 18th #1 single as well as his 11th in a row. | en | Wikiwand | https://www.wikiwand.com/en/Ace_in_the_Hole_(George_Strait_song) | "Ace in the Hole" is a song written by Dennis Adkins, and recorded by American country music artist George Strait. George's touring band is called "The Ace in the Hole Band." It was released in July 1989 as the third single from his album Beyond the Blue Neon. It became his 18th #1 single as well as his 11th in a row. | |||||
8911 | dbpedia | 1 | 5 | https://www.allmusic.com/artist/ace-in-the-hole-band-mn0000494647 | en | Music Search, Recommendations, Videos and Reviews | [
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8911 | dbpedia | 2 | 12 | https://www.oregonlive.com/entertainment/2024/06/country-music-world-mourning-the-16th-death-of-a-key-figure-this-year.html | en | Country music world mourning the 16th death of a key figure this year | [
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] | 2024-06-20T23:05:17.560000+00:00 | Country music has had a heartbreaking year. | en | /pf/resources/images/oregonlive/favicon.ico?d=1375 | oregonlive | https://www.pennlive.com/entertainment/2024/06/country-music-world-mourning-another-death-as-tragic-trend-continues.html | The country music world shockingly lost Jeremy Tepper on Friday to a heart attack.
That alone would have been heartbreaking, but it was the second death announced in a week involving a prominent country music figure. And, for the year, it continued a trend with the industry losing 16 performers or key figures.
Here is a look at the tragic losses the community has suffered so far in 2024:
Norah Lee Allen
It has been an emotional year for The Oak Ridge Boys, and things took a particularly heartbreaking turn on Easter.
According to Taste of Country, Norah Lee Allen, the wife of lead singer Duane Allen, died Sunday morning after battling an illness for “an extended period of time.” The site reported that she had been at Vanderbilt Hospital when she died.
Allen reportedly shared the news on social media Sunday.
“This morning, my wife of 54 years and 8 months took her last breath of air on planet Earth,” he wrote. “Norah Lee went to be with Jesus at 7:28 am, Easter morning. She had not been feeling well for some time. Her family all spent the night with her last night at Vanderbilt Hospital. We took time singing with and to her, telling her stories, and loving her every second that God let us share her here on this Earth.”
The Grand Ole Opry took time to remember Allen, too.
“During (Wednesday’s show), we paused to remember a beloved member of our Opry family we lost earlier this week, Norah Lee Allen,” a post on the Opry’s X page, formerly Twitter, read. “For decades, Norah Lee added her voice to Opry performances as one of our background vocalists, our Opry Singers.
“She was also a member of our family as the wife of Duane Allen of Opry group The Oak Ridge Boys,” the post continued. “She will be lovingly remembered by all who knew her and all who knew her voice here at the Grand Ole Opry.”
More country music news
Honky-tonk legend recovering after emergency quadruple bypass surgery
Country music legend announces final tour, talks about why he’s retiring
Country music star announces changes to shows because of her heart condition
Fran Boyd
Fran Boyd, a country music groundbreaker and champion of the genre, died March 9, according to Billboard.
She was 84.
Billboard said that Boyd “played a key role in shaping and advancing the (Academy of Country Music) from its early years in California in the late 1960s, through the start of the millennium.”
Boyd was reportedly the first paid employee of the ACM, coming onboard in 1968 as executive secretary. She worked her way all the way up to executive director. Per Billboard, she “oversaw nearly every aspect of the annual (ACM) awards” show.
She worked for the ACM for more than three decades before retiring in 2002.
“Fran Boyd played an essential part in the Academy’s history, stretching way back to the 1960s and steering the ship through decades of change, innovation, and growth, all while fostering an incredible passion for country music,” Gayle Holcomb, ACM Board Sergeant-At-Arms told Billboard. “Fran will always be remembered as a champion for our industry, its artists, and this organization.”
Larry Collins
Larry Collins, a former country music child star turned legendary guitarist and song writer, died on Jan. 5.
He was 79. Per reports, Collins died of natural causes.
He first made his splash in country music alongside his older sister, Lorrie, when they formed the “The Collins Kids” duo when Larry was just 9 years old. They recorded a series of hits — “Hop, Skip and Jump,” “Hoy Hoy,” and “Beetle Bug Bop” — with music catering to children. They became regulars on “Town Hall Party” in 1954 and performed together into the 60s.
Per reports, Lorrie had her first child in 1961 and stepped away from music to focus on family. The duo did reunite years later in the 90s.
While Lorrie, who died in 2018, focused on building her family, Larry moved on to a solo career where he made, perhaps, his biggest mark as a songwriter. He is credited as the co-writer for “Delta Dawn,” which became Tanya Tucker’s first hit song, among other songs.
Allison Cornell
Allison Cornell died in February.
She was a part of Shania Twain’s band for years.
“Allison Cornell was such a talented and wonderful person,” Twain wrote on X, formerly Twitter. “It was a privilege, as an artist, to have her on stage with me through a lot of my touring career. Feeling very sad. Allison’s memory will live on but sadly another beautiful human has gone too soon. Rest in Peace (heart emoji).”
A post on Cornell’s artist management page also addressed her death.
“It is with great sadness that we say farewell to Allison Shropshire Cornell,” the post began. “Rest in Peace. Heaven has opened up its gates to an incredible talent!”
Gene Elders
Gene Elders, a longtime fiddle player in Country Music Hall of Famer George Strait’s legendary Ace in the Hole Band, died March 20.
He was 66 years old, and no cause of death was reported.
It was the second heartbreaking death to rock Strait in a day’s time after his manager, Erv Woolsey, also passed away.
“Hard to believe we lost two of our music family members on the same day,” Strait posted on X, formerly Twitter. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.”
Elders’ website said he played in Strait’s band since 1984. It said he also played in Lyle Lovett’s Large Band for 11 years and played on recordings for Joan Baez, Lucinda Williams and Dan Fogelberg.
Fans took to social media following the news to remember Elders.
“I’ve been fortunate enough to watch Gene Elders play that haunting fiddle outro on ‘Amarillo By Morning’ live several times,” one person wrote. “The arena goes dark except for a long spotlight on Gene, it sends chills every time. RIP Gene Elders.”
Tom Foote
Tom Foote, a former drummer for Strait’s Ace in the Hole band and the singer’s longtime road manager, died April 29.
“We lost another one of our good friends and a huge part of our musical journey yesterday,” Strait wrote on X, formerly Twitter. “Tom Foote, our one-time drummer and long-time road manager for around 48 years, suddenly passed away at his home after our rehearsal. The band and I were with him most of the afternoon, and he was great. Just doing what he loved to do which was making sure we were taken care of. 2024 is taking its toll on the Ace in the Hole group. We’re all heartbroken to say the least. Rest in peace brother Tom. You will be hugely missed. I’ll see you down the road amigo.”
Foote was reportedly the drummer for a band that hired Strait to be its new singer back in 1975. That band eventually became the Ace in the Hole Band. He reportedly stayed on as drummer through 1983 when he moved into his role as road manager.
Wayland Holyfield
Wayland Holyfield might not be a name that most country music fans know, but that probably should not be the case.
Because the guy was an icon.
Holyfield died on May 6, according to multiple reports. He was 82.
Holyfield was one of the greatest songwriters country music has ever seen. He helped write 14 No. 1 hits and had more than 40 songs reach the Top 10 during his time, according to Taste of Country.
The site said Holyfield wrote songs for some of country music’s most legendary performers including George Strait, George Jones, the Judds, Brooks & Dunn, Randy Travis, Reba McEntire, Waylon Jennings, Conway Twitty and many more.
“Wayland Holyfield — who died May 6 — wrote sons of unflagging devotion, including the Don Williams hit ‘You’re My Best Friend’ and Anne Murray’s ‘Could I Have this Dance,’” the Country Music Hall of Fame and Museum said in a post on X, formerly Twitter. “Holyfield was devoted to his wife, to the craft of songwriting, and to advocating for the rights of his peers.”
Mark James
Mark James, a legendary songwriter and hitmaker, died on June 8.
He was 83.
James, who was a Houston native, died at his home in Nashville.
James won a pair of Grammys in 1983 for “Always on My Mind,” which was performed by Willie Nelson. He also wrote the hits “Hooked on a Feeling” and “Suspicious Minds.” He is a member of the Songwriters Hall of Fame.
“Mark’s legacy and zest for life will live on in the hearts of those who loved him; and through his timeless lyrics and melodies that have been the soundtrack of lovers for generations,” his family said according to the Hollywood Reporter.
Along with Nelson, James wrote hits for the likes of Elvis Presley, B.J. Thomas and Brenda Lee.
Toby Keith
Toby Keith died on Feb. 5 following a battle with stomach cancer.
He was 62.
It was tragic news, especially, for a man who battled so bravely such a horrible disease, but if there’s any solace to be found for his fans, it could be in some of his final words. Because, in his final days, Keith sat down with News 9 in Oklahoma to talk about his journey.
He called cancer a “long dark hallway,” but he also approached the subject in a way that only a man at complete peace could. And that is something he pinned on faith.
“You take it for granted on the days that things are good, and you lean on it when days are bad,” he said. “It has taught me to lean on it a little more every day.”
And that is when Keith talked about thinking about, at times, the possibility that he might die.
“I was going through all the chemo, radiation, surgery, and I got to the point where I was comfortable with whatever happened,” he said. “I had my brain wrapped around it, and I was in a good spot either way.”
That, he said, was a point that people with faith are not able to so easily get to.
Mojo Nixon
The headline in Rolling Stone called Mojo Nixon an “unabashed outlaw cult hero,” and if you dig into the story you quickly find out that’s just about a perfect way to sum the guy up.
Nixon was one heckuva interesting guy.
He died on Feb. 7 at the age of 66, and even how he went was out of the ordinary. He was a host aboard the Outlaw Country Cruise and his family said he suffered a cardiac event, that took his life.
“How you should live is how you should die,” the family told Rolling Stone. “Mojo Nixon was full-tilt, wide-open rock hard, root hog, corner on two wheels + on fire. Passing after a blazing show, a raging night, closing the bar, taking no prisoners + a good breakfast with bandmates and friends.
“A cardiac event on the Outlaw Country Cruise is about right… & that’s just how he did it, Mojo has left the building,” they added. “Since Elvis is everywhere, we know he was waiting for him in the alley out back. Heaven help us all.”
Rolling Stone wrote that Nixon “enjoyed a supremely weird yet singular career.”
His big break came in 1987 with his hit novelty song “Elvis is Everywhere,” that became a regular on MTV.
He put out six albums alongside Skid Roper, and five more solo projects. He also served as a DJ for SiriusXM’s Outlaw Country for years.
Margo Smith
Margo Smith might not be a name that most young country music fans know, but if you Google her you will see “legend” right there next to her name.
Sadly, the headlines will also mention that she has died at the age of 84. According to multiple reports, Smith passed away on Jan. 23. A cause of death has not been reported.
Smith was reportedly a kindergarten teacher in Ohio for about a decade before her career took off.
Known as “The Tennessee Yodeler,” she churned out 18 studio albums between 1971 and 2005.
Smith was named ASACP Country Artist of the Year in 1979 and won the CCMA Living Legend Award in 2001.
Jo-El Sonnier
Jo-El Sonnier might not be a name that most fans of modern country music would know well, but read up and it doesn’t take long to realize the guy was a legend.
He put his heart and soul into a show, and apparently, he did that right up until the end. Sonnier died on Jan. 13 after a performance.
Louisiana Music Hall of Fame Executive Director Mike Shepard told WWL Radio New Orleans that the 77-year-old Sonnier “died doing what he loved.”
“Jo-El’s death on stage after a successful encore is actually the only way a musician should go out,” he said.
The station reported that Sonnier, a singer/songwriter who played the accordion, had a long list of accolades that included a Grammy in 2015 and an ACM Male Vocalist of the Year nomination. He was reportedly inducted into seven different Music Hall of Fames and worked as a studio musician for a long list of stars including Dolly Parton and Johnny Cash.
“He loved the idea of being honored for his music,” Shepard told WWL, “being honored for what he loved to do, pure as his heart.”
Roni Stoneman
Country music legend Roni Stoneman died on Feb. 22.
She was 85. No cause of death was given.
Stoneman was known as the “first lady of the banjo” and was a popular performer on the hit TV show “Hee Haw.”
Stoneman was a native of Washington, D.C.
She was the daughter of Ernest “Pop” Stoneman, who was reportedly one of the first performers to make a career of recording country music.
Country Music Hall of Fame and Museum CEO Kyle Young said country music was “a birthright and her life’s work.”
“The second youngest of 23 children born to Hattie and Ernest ‘Pop” Stoneman, Roni was an integral part of a bedrock country music family, who were longtime fixtures in the country music scene of Washington D.C.” Young said. “For 18 years on ‘Hee Haw,’ she stole scenes as both a skillful banjo player and as a comical, gap-toothed country character. She was a great talent and a strong woman.”
Banjo News said Stoneman said she glued picks to her fingers so she could play the banjo faster.
Jeremy Tepper
Jeremy Tepper, a legend in the country music world, died on June 14.
He was 60.
Tepper reportedly suffered a heart attack. Variety reported that his wife, singer Laura Cantrell, announced that he died on social media.
Tepper occupied multiple roles across his years, working as a musician, journalist, executive and finally the program director of SiriusXM’s “Outlaw Country,” according to Variety.
Variety referred to Tepper as a “music lifer.” According to the site, that trek began when he was the frontman for the band World Famous Blue Jays and then co-founded the record label Diesel Only in 1990. He also served as the country music critic for Pulse! Magazine and was the editor of the Journal of Country Music, per Variety.
The site said he had been the format manager for SiriusXM’s Outlaw Country channel since 2004. It noted that he also worked with the “Willie’s Roadhouse” and “Road Dog Trucking” channels.
Erv Woolsey
Legendary country music figure Eugene Ervine “Erv” Woolsey died March 20.
He was 80.
Woolsey reportedly died Wednesday from complications following surgery, according to multiple reports.
Woolsey was one of country music’s most influential managers. Most notably, he was the long-time manager of Country Music Hall of Famer George Strait, as well as stars Lee Ann Womack, Dierks Bentley, Ronnie Milsap and Clay Walker.
Strait posted about Woolsey on X, formerly Twitter.
“My manager for around 45 years and most importantly my friend for even longer, Erv Woolsey, passed away this morning,” he wrote. “He had complications from surgery and just couldn’t overcome it. He was a very tough man, and fought hard, but sadly it was just too much. We will miss him so very much and will never forget all the time we had together. Won’t ever be the same without him.”
According to a Billboard report, Woolsey worked for several labels before moving to Nashville in 1973 and become the head of promotions for ABC Records. The site said that Woolsey helped guide the careers of several top artists there, but it was during his time as the owner of The Prairie Rose, a club in Texas, that he first met Strait and began to book him for regular shows.
Billboard said Woolsey worked for MCA in the 1980s and helped artists such as Loretta Lynn, Tanya Tucker, Conway Twitty and the Oak Ridge Boys find radio success. And, then in 1981, he reportedly got MCA records to sign Strait.
He wasn’t just a manager, though.
Per Billboard, Woolsey wrote “In Too Deep” for Strait and also had a hot country chart topper that he wrote, “I Can Still Make Cheyenne.”
Arch Yancey
Arch Yancey, a Country Radio Hall of Famer, died March 4.
He was 88. No cause of death was reported.
Country Air Check said that Yancey got his first break way back in 1955 when he beat out Johnny Cash for a job at WBIP in Boonesville, Mississippi. The site reported that just three years later, Yancey was at Top 40 KNUZ-AM in Houston.
He reportedly spent 31 years on the air before retiring in 1989.
Country Air Check reported that, among his awards, he won Gavin Country Personality of the Year in 1971 and was ACM Personality of the Year in 1982.
It said he was inducted into the Country Radio Hall of Fame in 2006. | ||||
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] | null | [] | null | null | There are a few sounds in this world that George Strait likes to hear more than any other: the stillness of a Texas lake, interrupted only by the chirp of crickets or the plop! of his fishing line's sinker hitting the water. The swoop of his golf club, followed by the pop when it meets the ball. The reassuring clop, clop, clop of his horse's hooves hitting solid ground. These are satisfying sounds for George for they signify solitude and peace, timelessness and escape.
But then there is another sound, one that he cannot seem to leave behind: the roar of a crowd. Whether it's at a concert or a rodeo, the screams of fans continue calling to him, luring him.
The push and pull between his longing for privacy on one hand, and his love of music and pleasing his public on the other, have defined George Strait. That balance has sustained him through one of country music's most remarkable careers. For over two decades, he has set the standard.
In that time, others have had bigger-selling albums, but none has hit the bull's-eye with fans and critics alike so consistently. Others have been media darlings, but none has matched his mysterious, man-of-few-words allure. Others have had bigger hits, but no one has found as many wonderful songs, or sung them so well, so smoothly, so perfectly.
This still-vibrant legend has a long road ahead, waiting for him. But the road behind him began in "The Strawberry Capital of the World," Poteet, Texas about 25 miles south of San Antonio where George Harvey Strait was born on May 18, 1952. He grew up on his family's cattle ranch in nearby Pearsall, near the Frio River.
"It wasn't exactly a country-music upbringing," chuckles George. "My dad didn't even have a record player. When he listened to the radio, it was usually for the news or the cow market reports."
George and older brother Buddy were mostly raised by their father, John. His parents split when George was in the fourth grade, and his mother left, taking his sister with her. But John, a junior-high math teacher and rancher, was devoted to his sons. From him, George learned to rope cows and ride horses long before he ever wrapped his hands around a guitar neck.
But slowly, music began seeping into his life. By the time high school rolled around, George was playing drums and singing in garage bands.
One of his fellow students at Pearsall High School was pretty Norma Voss, two years his junior. "Norma was the first girl I ever loved," recalls George. "We knew each other forever, growing up in a small town." George asked her out, but the two drifted apart after only one date. "Then one day I thought, 'I'm missing the boat here!' " he says. "So I called her up, and we started dating again."
George graduated from high school in 1970 and headed to Southwest Texas State University in San Marcos, near San Antonio. After one semester, he and Norma, fueled by idealism and hormones, friskily headed south of the border to Mexico and got married only to remarry more formally in Dec.1971 to please their parents.
Young George had every intention of becoming a rancher, taking over from his dad. But first, George decided he should do his bit for his country by joining the Army and almost impossibly, that turned out to be a decision that would put him on the path to superstardom.
Asked where he'd like to be assigned, George asked for Hawaii "What the hell, try it," he recalls reasoning. He never dreamed he'd actually be stationed in the island paradise, but that's exactly where Uncle Sam put the lucky new recruit. "Man, I got my orders to go to Hawaii, and I just could not believe it!" he says.
Newlyweds George and Norma enjoyed the tranquility of the Hawaiian islands but while he was there, George found something else he thought was pretty beautiful. It was an album: Merle Haggard's 1970 salute to Western swing legend Bob Wills, A Tribute To The Best Damn Fiddle Player In The World. "That really turned me on to Bob Wills' music," says George.
By that time, George was already wondering if he might be able to follow in the footsteps of guys like Merle and Bob. He had always enjoyed singing, and now he bought a cheap guitar and a Hank Williams songbook, and he was on his way. Again, George lucked out the base commander decided to form a band to entertain the troops. George tried out for the lead-singer position and nabbed it. Singing for the soldiers was good practice for the lifetime of stage work he didn't know yet was in store for him. "It gave me the time I needed to learn all about playing dates," he says.
One more beautiful thing entered George's life in Hawaii. He and Norma had a daughter, Jenifer, in 1972. The new family attempted to stay in the islands after George's Army stint ended in 1975, but after six months the cash-strapped Straits went back home.
George Strait decided to give up his dream of stardom. He broke the news to his Ace In The Hole buddies that he was packing it in and signed on for a full-time job in Uvalde with a company that designed cattle pens.
But almost immediately, Norma saw a change in her husband. George became difficult to get along with, and was moping around their San Marcos home like a defeated man. "I figured I didn't want to live in Uvalde with him like that," she remembers. "I wanted him to give it one more chance."
Norma talked George into giving music another year so a week before he was supposed to report to his new job, George called and told his prospective employer that he wouldn't be coming. "Norma has always been very supportive," says George. "Success is something she always wanted for me, because she knew how bad I wanted it."
Soon George made another important call, this time to a former nightclub manager, Erv Woolsey. Woolsey had owned the Prairie Rose, one of the many clubs George had played in Texas, and was now an executive at the MCA Nashville record label. "Isn't there some producer up there in Nashville that you can get to do a session on me?" asked George.
Erv hooked his old friend up with producer Blake Mevis, and George returned to Nashville to record with him. The pair laid down several songs, but the response from the Music City brass was already familiar: too country. "I went home with my tail between my legs," says George.
But once again, George picked himself up, dusted himself off and had another try. George and Erv convinced another MCA exec to come to San Marcos and hear the Ace In The Hole band in its element: a honky-tonk nightclub. It worked George was offered the chance to record one single for MCA; if that was a hit, maybe he could make an album. "I had my fingers crossed," says George.
But almost immediately, Nashville began trying to change George. "When I came to town wearing a hat, all I ever heard [was] 'Take the hat off,' " he recalls. "But I never would do it. They were trying to make me into something else, but I was too hardheaded."
No matter. George and Erv had already found a killer song a little heartbroken drinkin' number called "Unwound" and were ready to go.
"Unwound" was released and began getting radio play. It entered the charts on May 16, 1981, two days before George's 29th birthday, while he was still working his day job as a ranch foreman in San Marcos. "Here I was driving around the ranch, and I'd hear it on the radio as it went up the chart," he says. "I was shocked!"
"Unwound" wound its way to No. 6, and George got the go-ahead to make a full-fledged album. Now his appetite for success had been whetted. One day he walked into the MCA offices and looked at the gold albums hanging on the wall. "You think I'll ever get one of those?" he asked Erv. "I don't know," replied Erv. "We'll have to see."
Untill an unproven newcomer, George didn't have much control over his debut album, Strait Country, and unsuccessfully resisted the pop touches producer Blake Mevis added. "The songs that we chose for that first album, I didn't have just a hell of a lot to say about," he says. "I did think that the majority of the songs we cut on there were good songs, but there are some songs that, if I were to go back right now, I'd try to say, 'No, we're not gonna do that.' "
George may not have liked some of the material, but it worked. He was establishing a foothold on the charts "If You're Thinking You Want A Stranger (There's One Coming Home)" got all the way to No. 3, and "Fool Hearted Memory" finally brought him to the top. For "You Look So Good In Love" soon to be his third No. 1 George agreed to make his first video. "It was embarrassing, corny, syrupy, gag me," he says.
George's dislike of the clip set the tone for his entire career, which has only included only a handful of videos in two decades. "I've never cut one that I really liked," he confirms. "I've probably done it a little halfheartedly, because I never really wanted to do it. That's probably why they came off the way they did you know, you get pretty much what you put into it."
His dislike of this new promotional tool wasn't the only way George was straining at the Nashville leash. His patience was growing thin with the pop sheen being added to his records, when his heart was with the hard-core country and Western swing he was still cranking out with the Ace In The Hole guys on the road night after night.
Finally, when his planned fourth album was almost finished, tensions came to a head. "I've got 10 tracks and I'm never going to put my voice on them," he declared to the new head of MCA, Jimmy Bowen. Until then, George had been too intimidated in the studio to stick up for the way he wanted to do things but now, with several No. 1 hits and an ACM Male Vocalist of the Year award under his belt, the balance of power had changed.
To his relief, George's new boss agreed with him and never again would George Strait put his name on an album that didn't meet his standards. And moving to a more traditional-country sound didn't even mean a speed bump for George's chart numbers. On the contrary, he was spinning out smashes left and right: "The Fireman," "Does Fort Worth Ever Cross Your Mind," "The Chair" even one of the ill-fated songs from his first Nashville recording experience in 1977, "Nobody In His Right Mind Would've Left Her," was re-recorded and sent on its way to No. 1 in May 1986.
George Strait was on top of the world. Then the world crumbled beneath him.
On June 25, 1986, his 13-year-old daughter, Jenifer, was killed in a car crash south of San Marcos. George relied on family, friends and religion to get him through the horror of losing his firstborn child. He also buried his grief in work he was back on the road only three weeks later.
But George refused to give interviews for a year, and to this day has said little publicly about his daughter's death. An already-private man shut the door to his home life even more tightly.
"I got even more private after I lost my daughter," he says. "That's when I really shut things down. I didn't feel like talking to anybody that wasn't really close to me." After the tragedy, getting publicity by chatting up the press meant little to him. "I had the attitude that nothing worse could probably happen," he says, "and so this is the way I'm going to do things."
It could have been a disastrous career decision but in George's case, the opposite became true. The less his fans knew about what was on his mind, the less they heard him speak, the more they longed to get close to him. His next album, Ocean Front Property, became the first ever to debut at No. 1 on the country albums chart.
George put his nose to the grindstone and kept at his work. In 1989 he won the CMA's Entertainer of the Year award for the first time, an award that he really seemed hungry for and one that seemed impossibly out of his reach a decade earlier. "I really wanted that thing," he says. For George, it was the biggest professional honor he could get.
The extent of his pride could be seen right on the cover of his next album, Livin' It Up: there was George decked out in a tuxedo, set off by a belt buckle reading "Entertainer of the Year." It was a rare show of swagger from a humble man.
Having reached the pinnacle of country music, George now began to take seriously something former Elvis Presley manager Col. Tom Parker had been telling him that the handsome country star could be a movie star as well. But George was still skeptical. "I didn't want country music people to look like hillbilly hicks," he explains, "because they're not."
George found what he'd been looking for in Pure Country, the story of a country star who abandons stardom's glamour for the simple pleasures of ranch life. It was certainly something George could relate to, and he threw himself into the role with gusto. The movie took in $15 million upon its 1992 release not a blockbuster, but a good start for George's potential movie career.
A decade later, he's still considering pursuing acting further. "I'm not totally against it," he says. "But it's not something I'm out looking around to do."
Three years later, George fulfilled yet another dream when he was asked to sing with one of his idols, Frank Sinatra. "My producer asked me if I'd be interested, and I said, 'Hell, yes!' " he laughs. George and Frank's team-up on "Fly Me To The Moon" wasn't used on Ol' Blue Eyes' album, as planned which left George feeling "really mad and let down," he admits. The track showed up, instead, on George's 1995 4-CD retrospective, Strait Out Of The Box, itself a monument to the growing magnitude of his fame.
Now George was himself a monument country was more popular than ever, and his influence could be heard all over its new generation of stars. Guys like Alan Jackson, Clint Black and Garth Brooks credited George with inspiration Garth declared that hearing "Unwound" back in 1981 inspired him to become a country singer.
When he teamed with one of those admirers, Alan Jackson, the two sparked a controversy. Their 2000 duet, "Murder On Music Row," was a stinging indictment of the country music business' abandonment of traditional sounds, and it became an anthem for music fans who felt the same way.
By then, George was the perennial headliner on the George Strait Country Music Festival, a traveling all-day extravaganza that filled stadiums across America. But even as his power to draw concert crowds grew in fact, practically from the moment he became a superstar in the 1980s George was slowly cutting back on the number of shows he played. He loves the time spent onstage, but the travel keeps him away from home and family. "I'll be a country singer until I die," he says, "but I know for sure I won't be touring 'til I die. Not unless I die touring."
For the moment, the balance in George Strait's life between home and the road, between the spotlight and the ranch, between the roar and the quiet is just right. He spends enough time on the road to satisfy his fans, but not enough to burn out. He makes an album every year, but even that takes a minimum of fuss he carefully considers song choices for months, but can knock out a flawless studio set in a few days' work.
The rest of the time, he's out on that lake, hearing those crickets. At home, hearing the warm voices of Norma and the now 21-year-old Bubba. Or out on his ranch, hearing that clop, clop, clop of horse's hooves beneath him, carrying him forward into a still-unfolding future. One day they'll carry him into the sunset but not yet.
"I feel real comfortable with my situation now," concludes George. "As long as people want to see me, I'm going to keep going."
"We're going back to playing the arenas and I'm really looking forward to it"
George Strait is gearing up for his exciting fall tour with a brand new game plan: playing arenas, instead of massive stadiums, to give his show a more intimate feel.
For the past four years, George headlined the George Strait Country Music Festival, a swirling extravaganza that played huge outdoor venues and featured a full day of music, a large festival area and a carnival atmosphere. It was country's only all-stadium tour, setting a high standard for the multi-act festivals of Brooks & Dunn and other stars.
While his stadium tours busted attendance records, George missed the personal contact with his fans. Most of the shows on this tour will use an in-the-round format, where fans will feel closer to their favorite star.
"We're going back to playing the arenas and I'm really looking forward to it," says George. "We definitely had a great time doing the stadiums, but I'm excited about seeing some faces again. You can tell a difference, and I think it will be a fun change of pace."
George's Chevy-sponsored fall tour hits 21 cities and kicks off Sept. 12 in Detroit. The final stop, Nov. 2 in San Antonio, Texas, promises to be one of the most exciting events of the year. George will be performing the very first show at San Antonio's spanking new, state-of-the-art arena, the SBC Center.
Joining George is special guest Jo Dee Messina. "I am so excited to be asked to be a part of this tour," exclaims Jo Dee. "George Strait is a country music icon and I'm looking forward to hitting the road with him this fall."
And every year, fans excitedly look forward to George's road shows. Since he vaulted to superstardom in the mid-1980s, George has consistently ranked as country's top-drawer concert act.
"It's so great to have fans like that," says George with a smile. "It's just unbelievable to me that they're still coming out to the shows."
George really shouldn't be that surprised. He supplies what the fans demand a catalog of classic hits, delivered in a smooth, easygoing style and without the over-the-top theatrics that mark many of today's live music events.
"I'm not a comedian," observes George of his no-nonsense approach to performing. "I can't even tell a good joke. The people come out to hear me sing, so that's what I go out and do."
And there's plenty of surefire material to deliver. Over his 20-year career, George has racked up 37 No. 1 hits, more than any current country artist. All of his past albums have sold at least one million copies each, and his latest, The Road Less Traveled, is on its way to that magic figure as well.
Get ready for a magical evening when George Strait takes his spectacular show to an arena near you. As George himself promises: "We're going to give the fans their money's worth!"
George Strait relishes life on the range with his family in south Texas
BY LARRY HOLDEN
George Strait wears the role of cowboy just as easily as he slips into his Wranglers each morning. That's because he is a cowboy with well-honed riding and roping skills and a true love of ranching.
"I ride every day when I'm home," reveals George of the time he spends on his sprawling south Texas ranch, away from performing and recording. "When I'm off," he confesses, "I have my other life, my own life, that I choose to live."
That life revolves around George's passion for ranching and team roping, a rodeo event in which he actually competes. "I raise horses," drawls George, adding, "I raise cattle because I love it. If I can get some money back for it, that's good. But if I can't, I'd still do it."
The steers he raises are for the George Strait Team Roping Classic, a premier two-day team roping event held each year in Texas. It's important to George that the top rodeo stars competing in the San Antonio event have the best steers to rope.
"We started providing our own stock," notes George. "That's worked out better for us. Before, every year we got something a little different. Now we know exactly what type of stock we're getting."
"I love to rope," confesses George, seen here getting his lariat around a calf in 1999.
George an excellent team roper himself with a razor-sharp competitive spirit and his older brother Buddy started the George Strait Team Roping Classic 20 years ago. He and Buddy compete each year in the event, along with George's 21-year-old son, George Jr., and Buddy's sons, Trey and Walker.
For over two decades, George Strait has stayed the course and stayed on top
BY CHRIS NEAL
A Strapping young soldier in the Army in Hawaii in 1971
Performing with Ace In The Whole Band members
They set up house in San Marcos, and George re-enrolled at college, studying agriculture with the help of the G.I. Bill. He was still leaning toward a ranching or rodeo career, but music had become important enough to place an ad on a bulletin board looking for a new band. After hearing his perfect country voice, a local group made up of George's fellow college students eagerly signed him on.
At 23, George was the oldest member of the Ace In The Hole Band, which debuted in October 1975 at the Cheatham Street Warehouse in San Marcos. They soon became a regular fixture at all the local clubs. "There were a lot of places we could play, and we played most of them," recalls George matter-of-factly.
For his part, George was just enjoying the honky-tonk circuit, playing traditional country and Western swing every night for not too much cash. The Ace In The Hole Band caught a break in 1976 when they got the chance to record several songs for small, independent D Records including some of George's own tunes. "I tried to write them like what I thought was a good country song," he says, but it was the first and last time George focused on songwriting.
Then, another break: George was invited to Nashville to sing on some demo recordings. For not the last time, he was met with resistance from industry gatekeepers who felt his voice was "too country" for the Music City mainstream.
George went back home, earning his agriculture degree in 1979 and going to work as ranch manager at the Hart Ranch in Martindale, Texas. "I was doing the ranching to supplement my income," he explains. "I really liked it, but it sure was hard."
George was now 27, and he and Norma were expecting their second child George Jr., or "Bubba," Strait would come along in 1981. With domestic pressures piling up, George's musical career was beginning to look like a pipe dream. "I felt like I was spinning my wheels," he says. "I didn't want to be 42 years old and still playing the bars and honky-tonks. I was beginning to think I wasn't good enough, and maybe ought to try something else."
George and wife of 32 years, Norma
Picking up the 1989 CMA Entertainer of the Year award
Sharing the stage with bud Alan Jackson
"I can't make any money ranching," says George, "but I raise horses because I love it."
"I love to rope," confesses George, seen here getting his lariat around a calf in 1999.
George's love of ranching has been passed on to George Jr. They spend sun drenched days and starry nights side by side running the ranch. "It's fun doing everything I can with my son," declares proud papa George.
And, like father, like son George Jr. is an accomplished team roper, excelling first on the high school rodeo circuit and now as a member of the Texas A&M University rodeo team. George and Norma, his wife of 30 years, are fixtures at George Jr.'s team roping events. "I just love watching him," gushes George. "He's very good."
The Strait riding and roping talents are natural. George grew up in Pearsall, Texas, with ranching in his blood. Long before he thought about singing a note, his heart was set on being a rancher like his dad, John Strait, who taught George the finer points of horsemanship.
"About the time most young men were playing Little League baseball," recalls George, "I was learning to rope and ride."
George looked forward to spending weekends on the family ranch in nearby Big Wells. As he grew into a young man, he embraced the idea of being a full-time rancher. Even as he put his high-flying country music dream in motion playing area honky-tonks, he kept his feet on the ground by managing a cattle ranch from sunrise to sunset. And he studied agricultural science at Southwest Texas State University in San Marcos the perfect degree for a successful rancher.
George's real-life rancher image has made him the perfect pitchman for advertisers, including Wranglers and Tractor Supply Company. And George's "like a rock" dependability as artist and rancher has matched seamlessly with General Motors' Chevy Truck Division for close to a decade. Chevy considers George the most dependable, longest lasting country music performer. George has appeared in numerous ads for Chevy Trucks, and Chevy, in turn, sponsored his George Strait Country Music Festival stadium tours.
With his career, family life, ranching and team roping hitting on all cylinders, George is proof that there truly is a difference in living and living well, as his latest No. 1 proclaims.
Tractor Supply Company hired George to tout their product line
"I'm real fortunate right now," he admits with a satisfied smile, "to have the time to do all the things I really want to do and enjoy myself."
THE STRAIT STORY
STRAIT TO YOU
RANCHER AND ROPER
This page was last updated: November 4, 2007 | ||||||||
8911 | dbpedia | 0 | 31 | https://www.liveabout.com/george-strait-biography-931955 | en | Biography of Country Music Legend George Strait | [
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"Shelly Fabian"
] | 2005-10-13T01:10:57-04:00 | George Strait is a country music legend. Discover his discography and biography in a comprehensive profile. | en | /favicon.ico | LiveAbout | https://www.liveabout.com/george-strait-biography-931955 | George Harvey Strait (born on May 15, 1952) is a legendary and prolific country music star. He has amassed a staggering 56 No. 1 hits on the country charts. His last major concert tour, in 2014, was known as The Cowboy Rides Away Tour.
Life Before Stardom
in Poteet, Texas. He was raised on a cattle ranch and spent the summers working on the ranch with his parents, brother and sister. When he was in third grade, his parents divorced. His mother took his sister to live with her, while George and his brother stayed with his father.
During high school, Strait was part of a rock band but soon turned to country music. After high school, he entered college at Southwest Texas State University, but dropped out and eloped with his high school sweetheart, Norma, in Mexico.
Next, George enlisted in the Army and was stationed at Schofield Barracks in Hawaii. He began playing in a country band while in the military. After being honorably discharged in 1975, Strait and his family moved back to Texas, where he enrolled once more in Southwest Texas State University, and he graduated with an agriculture degree in 1979.
It was while he was at college that he joined the Ace in the Hole band, becoming their lead singer. The band played local clubs, and Strait ran a cattle ranch during the day. He also met and became friends with Erv Woolsey, who had once worked for MCA Records. Woolsey used his Music Row connections to invite some execs to Texas to hear the band play. MCA was impressed with Strait and signed him to the label. The Ace in the Hole band continued to play with Strait as his backup band.
It Started with "Unwound"
In 1981, Strait released his first single, "Unwound." The song did very well, reaching the top 10. After a second single stalled, his third single, "If You're Thinking You Want a Stranger (There's One Coming Home)," became his first song in the top three. This began a string of top 10 songs that lasted into the 1990s.
His first No. 1 song was "Fool Hearted Memory," and through the 1990s, he had a total of 31 No. 1 hits. By the mid-1980s, Strait was winning awards, such as the CMA Album of the Year, in 1985, for "Does Ft. Worth Ever Cross Your Mind" to his win for CMA Entertainer of the Year in 1989 and again in 1990.
Acting Bug
Strait has acted in several motion pictures, including a bit part in 1982 in "The Soldier," and probably his most well-known part, as the star of "Pure Country in 1992."
In 1995, Strait released—a four-CD box set. This became the second biggest selling box set ever. Other albums followed annually, starting with "Blue Clear Sky" in 1996, then "One Step at a Time," "Always Never the Same," and George kept going strong, scoring 50 No. 1 hits on the country charts by 2004, and releasing an album celebrating the milestone.
Always a big touring act in the 1990s, he headlined the George Strait Country Music Festival taking rising stars on tour with him, who went on to become superstars themselves—stars such as Tim McGraw, Kenny Chesney, the Dixie Chicks, Faith Hill, and Alan Jackson.
Strait continues to record and tour today, still racking up top five hits left and right. For the man people call "King George," it just comes naturally.
Style and Influences
"I've always wanted to do a totally swing album," George says. "Maybe someday I'll do an album of old Sinatra-flavored swing with a huge band." Still, he performs a mix of traditional and contemporary country, with major influences including Merle Haggard, Bob Wills & His Texas Playboys, Hank Williams, George Jones, Frank Sinatra.
Performing and Songwriting
I've always heard, "Well, he just stands there and sings." Well, what do you want me to do? With the songs that I sing, I can't go running across the stage. And I don't talk a lot onstage, either. But I do play a lot of songs.
George Strait doesn't write his own songs, but he knows how to pick the best songwriters, as witnessed by his 56 No. 1 songs. Some songs that George has recorded over the years are from Byron Hill ("Fool Hearted Memory"), Mack Vickery ("The Fireman"), Steve Bogard ("Carried Away"), Dean Dillon ("The Chair"), Rodney Crowell ("Stars on the Water"), Jim Lauderdale ("We Really Shouldn't Be Doing This"), and Bob DiPiero ("Blue Clear Sky"). | ||||
8911 | dbpedia | 2 | 28 | https://www.rfdtv.com/george-strait-releases-new-song-mia-down-in-mia-from-highly-anticipated-cowboys-and-dreamers | en | George Strait releases new song “MIA Down in MIA” from highly anticipated Cowboys and Dreamers | https://rfdtv.brightspotgocdn.com/dims4/default/ff3afd9/2147483647/strip/true/crop/1920x1078+0+1/resize/730x410!/quality/90/?url=https%3A%2F%2Fbrightspot-go-k1-rfdtv.s3.us-east-1.amazonaws.com%2Fbrightspot%2F44%2F7a%2F1fc76b354a3ba760c686918dd03a%2Fgeorgestrait-cowboysanddreamers-1920x1080.jpg | https://rfdtv.brightspotgocdn.com/dims4/default/ff3afd9/2147483647/strip/true/crop/1920x1078+0+1/resize/730x410!/quality/90/?url=https%3A%2F%2Fbrightspot-go-k1-rfdtv.s3.us-east-1.amazonaws.com%2Fbrightspot%2F44%2F7a%2F1fc76b354a3ba760c686918dd03a%2Fgeorgestrait-cowboysanddreamers-1920x1080.jpg | [
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] | null | [] | 2024-05-17T19:51:20.799000+00:00 | Cowboys and Dreamers set to release on September 6th | en | /apple-touch-icon.png | RFD-TV | https://www.rfdtv.com/george-strait-releases-new-song-mia-down-in-mia-from-highly-anticipated-cowboys-and-dreamers | NASHVILLE, Tenn. (May 17, 2024) – On the heels of sharing the news of his 31st studio album with fans during a sold-out show at Indianapolis’ Lucas Oil Stadium earlier this month, Country Music Hall of Fame member George Strait debuts the first release from Cowboys And Dreamers with “MIA Down in MIA.”
Give It A Listen
Written by Adam Craig and Dean Dillion, and produced by Strait with Chuck Ainlay, “MIA Down in MIA” features the Texas native’s Ace in the Hole Band, including longtime fiddle player Gene Elder.
“I’m dedicating this record to my longtime manager and friend Erv Woolsey and my longtime fiddle player and friend Gene Elders (a player on four of these tracks), who we lost on the same day, March 20, 2024, as well as my longtime friend and road manager Tom Foote, who we lost on April 29, 2024,” shares Strait. “I will never forget all of the good times we had together. May they rest in peace with our Lord Jesus Christ.”
The follow-up to Honky Tonk Time Machine, Strait’s 27th No. 1 Billboard Country album, Cowboys And Dreamers will feature 13 new songs, including “Honky Tonk Hall Of Fame” featuring Chris Stapleton, which the pair debuted during the sold-out show at Lucas Oil Stadium on May 4, and his own rendition of Waylon Jennings’ “Waymore’s Blues.”
The Texas Troubadour will continue his series of stadium shows next Saturday, May 25 at Jack Trice Stadium in Ames, Iowa, followed by additional dates this summer in Charlotte, N.C.; East Rutherford, N.J.; College Station, Texas; Salt Lake City, Utah; Detroit, Mich.; and Chicago, Ill., before supersizing his longstanding Strait to Vegas show with a December date at Las Vegas’ Allegiant Stadium to mark the 37th installment of the engagement.
Pre-Save the Album
Cowboys And Dreamers Tracklist:
(Songwriters in parentheses) | ||
8911 | dbpedia | 1 | 92 | https://www.rollingstone.com/music/music-country/george-straits-longtime-drummer-mike-kennedy-dead-at-59-718454/ | en | George Strait’s Longtime Drummer Mike Kennedy Dead at 59 | [
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"Daniel Kreps"
] | 2018-09-02T03:07:01+00:00 | George Strait's longtime drummer Mike Kennedy was killed Friday in a three-car crash on a highway outside of Lebanon, Tennessee. | en | Rolling Stone | https://www.rollingstone.com/music/music-country/george-straits-longtime-drummer-mike-kennedy-dead-at-59-718454/ | UPDATE: George Strait has released a statement regarding the death of his longtime drummer Mike Kennedy, who was killed in a car accident on Friday. “Hard to put into words how much Mike’s passing has affected us all. Our hearts are broken. It’s going to be very strange not being able to look over and see him there in his spot on stage and very emotional as well I’m sure for all of us and also his fans,” said Strait. “The band will never be the same. A part of us is gone forever. We all loved Mike and will miss him terribly. He was just as solid a friend to us all as he was a drummer, and that was damn solid. Our hearts and prayers are with his family. The Lord has him now. Rest In Peace my friend.”
George Strait‘s longtime drummer Mike Kennedy was killed Friday in a three-car crash on a highway outside of Lebanon, Tennessee. He was 59. Strait’s rep confirmed Kennedy’s death to Rolling Stone.
According to the Tennessee Highway Patrol, the SUV driven by Kennedy hit a tractor-trailer as the two vehicles merged into another lane; the tractor-trailer then careened into another vehicle. Kennedy was not wearing a seatbelt at the time of the accident, the Tennessean reports, but it’s unlikely a seatbelt would have saved his life. No one else was injured in the crash.
Kennedy served as Strait’s drummer for nearly 30 years, first appearing on the King of Country’s 1992 album Holding My Own before taking up residency as Strait’s touring drummer as a member of the entertainer’s famed Ace in the Hole backing band. Kennedy was also credited with working with Jamey Johnson, Ricky Skaggs and Freddie King.
Strait’s tour manager Paul Rogers tweeted following the news of Kennedy’s death, “The heart beat of our band is gone. Not sure how we will get back on stage without him. But we must. Much love and respect my dear friend Mike Kennedy.”
George Strait, who retired from regular touring in 2014, is scheduled to perform in Las Vegas on December 7th. | |||||
8911 | dbpedia | 2 | 23 | https://www.texasmonthly.com/arts-entertainment/this-man-has-written-more-than-fifty-of-george-straits-songs/ | en | This Man Has Written More Than Fifty of George Strait’s Songs | [
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"John Spong",
"View Articles",
"Dan Solomon",
"Amanda O’Donnell",
"Alexa Ura",
"Josh Alvarez",
"Bobbie Jean Sawyer",
"Texas Monthly",
"Michael Hardy",
"Russell Gold"
] | 2014-05-21T13:53:25+00:00 | “Unwound,” “The Chair,” and “Easy Come, Easy Go” have all sprung from the powerful pen of Dean Dillon. | en | /apple-touch-icon.png?v=121421 | Texas Monthly | https://www.texasmonthly.com/arts-entertainment/this-man-has-written-more-than-fifty-of-george-straits-songs/ | For all the supporting players who’ve worked to construct the George Strait empire—Tony Brown, who has produced every album since 1992’s Pure Country soundtrack; Erv Woolsey, who has managed Strait on the same handshake deal since the early eighties; the Ace in the Hole Band, two of whose members played that first Strait gig, in San Marcos in October 1975—some of the most important contributions to Strait’s success came from the person toiling furthest from the spotlight. Songwriter Dean Dillon has composed or co-written 55 songs for Strait, including 19 singles, 11 of which went to number one. Even in a career like Strait’s, the Dillon titles stand out: “Marina del Rey,” “The Chair,” “I’ve Come to Expect It From You,” “Easy Come, Easy Go,” “She Let Herself Go,” and “The Best Day.” His songs all pair instantly catchy melodies with gutbucket country lyrics, signature qualities of a Dillon composition that would also become hallmarks of Strait’s own style and sound. As Brown explained, they are the elements that allow Strait to sound traditional without sounding old-timey.
Dillon, age 59, first arrived in Nashville in 1973, when he was just 17. Six years later, he was working a gig portraying Hank Williams onstage at Opryland USA when he finally got a publishing and recording deal. Through the eighties and early nineties he released six decently received albums, including two duet records with fellow singer-songwriter Gary Stewart that, in retrospect, look like hard-living prototypes to Brooks & Dunn. He also wrote huge hits for artists other than Strait, like George Jones (“Tennessee Whiskey”) and Keith Whitley (“Homecoming ’63”), and more recently he has gotten a slew of cuts by Kenny Chesney (“A Lot of Things Different”) and Toby Keith (“A Little Too Late”).
But it’s the relationship with Strait that has, to a large extent, defined both of their careers. And even in a genre built on great songwriters writing for great singers, there’s never been another team like it. Jimmy Webb wrote some great songs for Glen Campbell, and Bob McDill wrote even more for Don Williams. These days Hillary Lindsey seems to be co-writing Carrie Underwood’s whole career. But none of them come close to matching Dillon and Strait. Below is Dillon’s take on how it happened.
It starts with a guy named Frank Dycus. He was the first songwriter I met when I came to Nashville, in 1973. One day, maybe six years later, I’m over at this place on 20th Avenue called the Third Coast. It was a bar and hotel where all the traveling musicians stayed—the Allman Brothers, Marshall Tucker, Dr. Hook. I’d go hang out with them sometimes. It’d be me and Dickey Betts throwing TVs out of third-floor windows. I was 24 years old, doing crazy shit.
I’d gone there that morning to meet with Shel Silverstein, because I’d conned him into writing with me. We wrote this shitty song. I can’t even remember it, it was so bad. So we finish, and I’m really depressed because the song’s horrible. And as I’m leaving through this garden spot right in front of the hotel, I look up and here comes Dycus through the gate. I hadn’t seen him in four years. I said, “Dycus, it’s me, Dean.” And he goes, “What are you doing, Kid?” They all called me Kid, because I was so much younger than the other writers. And I said, “Man, I’ve got a great song idea. Let’s write it.” He said, “What is it?” I said, “She’s got me wrapped around her finger, but tonight I’m gonna unwind.” And he looked at me and thought for a minute, and he said, “What about this: that woman that I had wrapped around my finger just came unwound?” And I said, “Well, hell, I like that better.” So we sat down at a table on that patio and wrote a song called “Unwound.” In about 45 minutes. And got good and drunk doing it.
So we start hanging out together. Next thing you know, I’m on the front porch of his house on Music Row every day, writing songs. After a while, we started noticing that at about four each afternoon this Budweiser truck would go by, and it would stop at the stop sign right there in front of the house. One day I saw the truck coming and told Dycus, “I bet that old boy would sell some beer if I could stop him.” Dycus said, “That ain’t going to happen.” And I said, “Bullshit. You watch.” Sure enough, I met him at the stop sign, and he sold me a case of beer. I threw it down in on the porch with Dycus, and we both started laughing, popping them tops on them Budweisers, and all of a sudden here came this damn car down the street, just flying. It slid into the curve there in front of the house, and it was Blake Mevis. He rolled his window down and said, “Hey, man, I got to cut this new kid from Texas. Y’all got any songs?” And I said, “Who in the hell is he?” He said, “His name is George Strait.” I said, “Who does he sound like?” He said, “Well, he doesn’t really sound like anybody. He’s kinda got his own Texas thing going on. Y’all got any songs?” I said. “We’ve always got songs. As a matter of fact, we’ve got a song we were gonna pitch to Johnny Paycheck, but he’s in jail, so we’ll give it to you. It’s called ‘Unwound.’” So he came up there on the porch and we played him about four or five things, and he took them back to [George’s manager] Erv Woolsey. And the next day Dycus called and said, “Man, Erv really liked that ‘Unwound’ song.”
Now, back in those days, man, you didn’t pitch songs to an unknown artist. You just didn’t. If you had great songs, you pitched them to Haggard or Jones or Dolly. Nobody that was a songwriter in their right mind would give some twenty-something-year-old kid from Texas, completely unknown, their top-drawer stuff. But I told Dycus, “You know what? This kid sings pretty good. We ought to pitch him everything and the kitchen sink, just to see. He might be a damn good act.” George ended up cutting six of them on his first album.
So “Unwound” was the first single, and it goes top ten. And the next single was another thing me and Dycus wrote, “Down and Out,” and it goes to sixteen. And then his fourth single, “Fool Hearted Memory,” which Mevis wrote, went to number one, and suddenly this kid is selling hundreds of thousands of records. And when he goes to cut a second album, he calls me and says he wants to hear more of my songs. Man. Little did I know when we started popping them Budweiser tops that Blake Mevis was going to pull up and change my life forever.
I’m from a little old town in East Tennessee, about thirty miles north of Knoxville, called Lake City. I was a child of an eighteen-year-old waitress and a forty-year-old truck driver. Two weeks after I was born, that truck driver came to see me for the first time. We lived with my grandparents, and you gotta remember, these are hard people where I’m from. We lived in a shack that my grandfather built, with the ceiling just six feet tall so he could heat it cheaper, with coal. He was a coal miner himself, and my grandmother was a house-cleaner thirty miles down the road, in Oak Ridge. I’m told it cost my grandparents a lot to have me at the hospital, and my dad hadn’t helped pay for it, so when he came to see me for the first time, pulling up in the driveway in a new Cadillac convertible, my grandfather stepped out on the front porch with a double-barrel shotgun and pulled the trigger. He hit him in the arm with the first shot, and then my grandmother knocked the gun up in the air, and he missed him with the second. And my dad pulled out of that driveway, understandably so, and never came back.
That set the stage basically for a pretty good upbringing of upheaval. When I was five, my mom married and moved me to Detroit, taking me away from the only parents I ever really knew, my grandmother and grandfather. Then when I was ten, she moved back from Michigan, but dropped me off in Virginia at my stepdad’s mom’s house. This all had a profound effect on me. Because I got the feeling that I really didn’t belong to anybody.
I got my first guitar when I was seven years old, and I learned to play that sucker. I slept with it. He was my buddy, my friend, my compadre, and any time I got the blues, I could sit down, pick that guitar up, and sing them away or write them away. And by the time I was twelve, thirteen years old, I was writing songs. When I was fourteen, I entered a talent contest in Knoxville. It came down to me and a flaming-baton twirler. She dropped her baton, so I won. True story.
First prize was a guest appearance on a TV show called Star Time hosted by Jim Clayton. I taped it that Friday, and the next week they asked me to come be a regular on that show. So from the time I was fourteen until I graduated at eighteen, I did a show on Friday nights for half of each year. I joined the show’s band, the Kountry Kings, and we played every weekend. And then I just started playing any bar I could get into, and I was writing songs. When I was seventeen, an uncle of mine’s girlfriend knew Merle Haggard’s wife, Bonnie Owens, so when Merle came to Knoxville, she got him to agree to hear my songs. I went over to the Holiday Inn and walked in and, in a room, there sat Bonnie Owens, Merle Haggard, and all the Strangers. Norm Hamlet, Roy Nichols, all of them in Merle’s bedroom. Merle said, “Play me something,” and I played him three or four songs. He looked at me and said, “You’ve got about seven years.” I said, “What do you mean?” He said, “You’ve got about seven years before you’re ready.” The funny thing about all that is, seven years later I had my first number-one record.
I tell you that because to understand where my music comes from, you gotta understand who my idols were. My stepdad played a lot of country music on the radio when he’d get in the car with me. He’d have Cash and Jones and all them cranked up. The lyrical content in Merle Haggard’s songs has everything in the world to do with why I’m the lyricist that I am. Because when I listened to those story songs, man, I could see “my mama’s hungry eyes” and the “shade tree fix-it-man.” It sounded like my world.
But when I was going to high school and going to shows at the Civic Auditorium in Knoxville, we didn’t get any country acts coming through, at least not during the school year. Conway and Haggard might come through in the summertime, but I was always playing shows myself in those months. In the wintertime, all these rock acts would come and play. The Who, Carlos Santana, the Allman Brothers, the Winter Brothers Band, anybody that was anybody.
One weekend I went to see Carole King and James Taylor. I was fourteen or fifteen years old, and I thought, “My God, listen to those melodies.” “You’ve Got a Friend,” “Fire and Rain,” all that stuff. And it just shook me up. I went out and bought all their records because I had to learn those melodies. When I did, all of a sudden I had this wonderful new form for expressing myself melodically. And I just started writing. This crazy well opened up inside me, this stuff just started pouring out. I knew I could take these country lyrics that I was feeling in my bones and put these pop melodies to them and it would be—it just fit me. It’s just who I was. I loved all the rock-and-roll I saw, but I’d has such a tumultuous upbringing, and these melodies Carole King and James Taylor wrote really lent themselves to tears. When I found those, when I learned I could write those chords in a song, along came songs like “The Chair,” “Marina del Rey,” and “Homecoming ’63,” all those haunting melodies.
When George hit, Erv put him on the road, had him booked in every damn beer joint between here and Washington state. So when George called to say he was ready to cut the second album, I hadn’t even met him yet. But he was in town, and Erv hooked us up. So I go over there and he’s this good-looking Texas cowboy with his cowboy hat on, and here I am, maybe three years younger, but just an absolutely wild, young long-haired song-slinger who does not give a shit about anything or anybody but writing songs. I sit down and look at him, and I’m smoking a cigarette and blowing cigarette smoke everywhere. He looks at me and goes, “Man, do you mind putting that cigarette out? Smoke really bothers me.” And I looked at him, took a big drag on that cigarette and blew it out. I said, “Oh, you mean that smoke?”
He looked at Erv and then they both looked at me, and finally, I said, “Alright, I’ll put it out. I was just fucking with you.” Then we sized each other up and down, and it was kinda strange. ’Cause he’s thinking “Who’s this crazy son of a gun?” and I’m actually a little intimidated. It wasn’t anything he did or said but just that he was having huge hits, which is what I wanted for myself. So I think, “I’m gonna roll with this, ’cause I love this guy’s singing.” And I told him so. And from that point on, we always had a mutual respect for each other, but for the longest time, I always kept my distance from George. I’d go to his shows, but I’d stand over in the corner and I wouldn’t say much. But the respect was there, and every album he cut, he’d call me up and say, “Hey, I’m cutting next week. Can you meet me in my office at ten Monday morning? I want to hear your songs.” And we’ve been doing that for 33 years. Every Monday, at ten in the morning, on the week he records, I’m sitting across the table from him, playing him songs. Up until the last few years, which now I Skype with him and phone him or just write with him. But we did that forever.
First thing George listens to is the melody. And if he likes the melody, he’ll play it again and listen to the lyrics. And it was those off-the-wall melodies that I was writing that first grabbed him. Listen to “Marina del Rey,” which epitomizes my songwriting more than any other song, except maybe “The Chair.” “Marina del Rey” was new and fresh and different. It had this pop, Carol King melody, but it also told a great story. That’s because after I learned all those chord progressions and made them my own, one of the greatest songwriters that ever lived entered my life, Hank Cochran. And then the picture gets a whole lot bigger.
I was in a club one night, maybe the Fiddler’s Inn, and Jeannie Sealy walks in. Somebody introduces me to her, and I wind up at a table with her and a bunch of people, and she says, “What do you do?” I say, “I’m a singer-songwriter.” She says, “You gotta meet my ex-husband then.” And I say, “Who’s that?” And she says, “Hank Cochran.” Well, shit, I about just fell out of my chair. She says, “You want to go meet him?” I say, “Hank Cochran? Hell, yeah.”
So I follow her to Hendersonville, Tennessee, to Hank Cochran’s house. We walk in, and I’d guess he was about, I don’t know, one sheet to the wind—not three sheets, just one. I sit down and Jeannie does a spiel on me, and he asks me to play some songs. So I play one, and then he asks for another. And then asks for another again. For four hours I played everything I’d ever written that I could remember, until four in the morning. Finally, he goes, “Okay, I think I’ve heard enough.” And then he looks at me and says, “You ever been to the Bahamas?” I say, “No.” He says, “Do you wanna go?” I say, “Well, yeah.” He says, “The plane leaves at ten in the morning. Be on it.” So I get up the next morning, run to my house and throw some clothes in a little bag, grab my guitar, and then we flew out. We wound up in a place called Green Turtle Cay on his boat, The Legend. And from that point, the game was on. For the next four or five years, when you saw Dean Dillon, you saw Hank Cochran. And vice versa. We went everywhere together, sailed all over the Caribbean on that boat, had some incredible fun and wrote some incredible songs.
On one of those trips, we had Royce Porter fly down for a couple days to write with us. We spent one day working on a couple ideas of mine. I told them, “I wanna write a song called ‘Miami, My Amy,’ and I got another idea called ‘Homecoming ’63.’” So we wrote those two songs, and then Royce went back to Nashville, and Hank and I started celebrating, because we knew those songs were some of the best stuff we’d ever written.
By about four in the morning, I had drunk so much whiskey that I had actually drunk myself sober; I didn’t know you could do that, but I did it. I was tired though, and it was four in the morning again, like it always seemed to be for me and Hank. And I don’t know what happened, but then Hank sat down in a chair across from me, and I looked at him, picked up the guitar, struck a G chord, and started singing, “Well, excuse me, but I think you’ve got my chair.” And he said, “Have you written that song?” I said, “No.” And he said, “Well, we’re about to.” And 45 minutes later, we’d written “The Chair.”
We didn’t really know where we were going when we started with it. We just decided it would be a conversation song. I think one of the great things that happened was we got stuck. We wrote the first half of that first verse in no time. And then we got stuck. Hank, as he often did, got up and walked around the boat. He’d go outside, pull on a Pabst Blue Ribbon, and think. He was out there for fifteen minutes, man, until finally, he comes back in, looks at me, and goes, “What do you think about this? ‘Well, thank you, can I drink you a buy? Aw, listen to me, what I mean is, can I buy you a drink? Anything you please.’” When he said that, I thought to myself—and I never will forget this—I thought, man, that is either the craziest damn thing I ever heard of in my life, or this guy’s brilliant. The more I thought about it, the more it sunk in what Hank was doing in that lyric: here this guy is, so nervous about meeting this girl that he trips over his words and he gets them bass-ackwards. And I thought, man, that’s freaking brilliant for him to think that way. And so when I tell you that Hank showed me more about the craft of writing than anyone did, it’s the truth. Because every single time my ears would always be opened.
But we didn’t stop there. We were on a roll. So Royce, Hank, and me are back in Nashville, in a studio, cutting demos on “Homecoming ’63,” “Miami, My Amy,” and “The Chair.” I’m in the vocal booth singing, and I look around, and Hank and Royce are missing. So I ask the engineer, and he says he thinks they’re in this other room, writing a song. I jerk those headphones off and say, “Not on my damn session they’re not, not without me.” So I go find them, and I open the door to this room, and Hank looks like a kid with his hand in the cookie jar. Then he kinda laughs and says, “Well, we got this idea—what do you think?” And they play what they had of “Ocean Front Property,” which was just a verse. I say, “It sucks. I think it’s horrible, I hate it.” He says, “Do you want in on it?” and I say, “Sure, I’ll help you finish it.”
So we’re writing, and every time we get to the last line of the chorus, Royce would go, “If you’ll buy that, I’ll throw the Golden Gate Bridge in free.” And I’m like, “Royce, you’ve got to quit singing the word ‘bridge.’ First of all, it doesn’t meter out right. Second of all, if a listener doesn’t know what the damn Golden Gate is without the word “bridge,” they ain’t gonna get this song anyway. But for the next thirty minutes, every time he’d sing it down, he’d put that “bridge” in there, until finally, Hank goes, “Royce, don’t do that anymore.” So we got that straightened out and finished the song. I still didn’t like it though. I thought it was funny, but I didn’t want to be known as a guy who wrote funny songs. Because life was not funny to me; I wanted to write serious stuff.
I got that from Hank. My God, the man wrote “Make the World Go Away.” As in, “Get it off my shoulders, say the thing you used to say, and make the world go away.” It doesn’t get any better than that. “You make my eyes run over all the time, you’re happy when I’m out of my mind.” I’d listen to that shit and just go, what?
I remember one time, me and him wrote this song. And Jeannie Sealy came over, and we played it for her. I sang it on the guitar. And when I finished, she looked at us and she went, “You two are pathetic.” We just looked at her. She said, “You all languish in sorrow.” And we kinda smiled and said, “I guess we kinda do, don’t we?” She said, “You’re a perfect match for each other.”
I tried for years to make it as a performer. I recorded for RCA, then I went to Capitol, and then I went to Atlantic. And by the time I got to Atlantic Records, I’d started a family, and I had been juggling that with touring. I’d cut a first album that didn’t do much on Atlantic, and then I’d just finished a second when I get a call from George. He says, “Hey man, meet me Monday morning at ten. I’m cutting another album.” So I go over there, and it’s me and him and Tony Brown. And I start playing songs, and they ain’t liking nothing. For thirty minutes, man, I played him twenty songs, and he ain’t bit on nothing. So I say, “I appreciate the time, but that’s about all I got. Sorry you didn’t like anything.” It really spooked me, because he’d always liked something when I went in there.
So I got up to leave, and George says, “Hey, I’ve heard this song you’ve got called ‘Easy Come, Easy Go.’ I like it.” I say, “Well, George, that’s gonna be my next single. I just finished my new album.” And he says, “Oh.” About that time, Tony says, “Dean, if you let us have that song, I promise you a number-one record.” I say, “You promise?” and George says, “Hell, yeah, a number one.” I think about that for a minute, and I look at George and say, “Okay, you can have it.” And I walked out of the office, got in my car and drove four blocks down to Atlantic Records, walked in the door, went upstairs to Rick Blackburn’s office, and said, “Rick, I got some good news and some bad news. ‘Easy Come, Easy Go’ is gonna be a single, but it ain’t gonna be on me. George Strait’s cutting it. By the way, I quit.”
I’d been thinking about it for a year. I’d had twin baby boys, and my little girl, Peanut, was five years old. And I didn’t like that radio game. Now, I loved going out on the road, I loved it on that bus. Man, I slept like a baby on that bus. And I loved walking out on stage, I loved playing my songs. But I wasn’t good at it. I knew I could never be a superstar. But I was a great songwriter. And I loved writing songs more than anything in the world. So I made a choice that day. I thought to myself, ‘Man, you make a damn good living writing songs, and you can walk into Walmart and nobody knows who the hell you are’—the last time I’d taken Ronnie Dunn fishing, at eleven at night, we’d gone into the shop and fans had just about mobbed him. So I made a conscious decision to concentrate all my interest in writing songs. Some people have said I was only a record or two away from making it, and that could be so. Personally, I don’t give a shit.
And now I actually write with George. He first called me, I guess, four or five years ago to talk about it. That was the first time he’d reached out to me about writing. Over the years, he and I had threatened to do it on several occasions but just never did. But Bubba had been writing some and asked George, “What if we call Dean?” So George asked me to come down to the ranch and write, and I did. And I kinda knew that George would be a good songwriter, because he was such a great song picker. You know, that’s one of the things that has kept his career alive for 33 years, is being the great song picker that he is.
So we’re sitting there, tossing these ideas back and forth, and he told me about this idea. He said, “That’s a hell of a lot to ask of a drinking man,” and we fired it up. Now, he knew I’d had my issues with drinking, so it wasn’t a stretch for me to write something like that. But the song got a lot darker than I expected. He wanted to explore it. But if you stop and think about it, he’s this guy who can drink with no repercussions—George is. He’s not an alcoholic—I am. So maybe he just wanted to try to understand it through that song. I don’t really know.
But I do know this: when we finished the song, he was stoked. He loved it. As a matter of fact, we went back over to the house, and he had me play it for Norma. It’s funny, when we write, he’ll make me sing the damn thing. I’m sitting there, writing this song with George Strait, and he’s making me sing the son of a bitch. | ||||
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"Matt Norlander"
] | 2020-03-22T00:00:00 | A definitive and informative listing of every DMB song in history, complete with a creative and printable bracket that highlights the best of the best in the band’s catalog. | en | https://images.squarespace-cdn.com/content/v1/557884d1e4b0b454e5bc0a18/1441385147580-TPYSW2W8D59F4D9YY8UW/favicon.ico?format=100w | Matt Norlander | http://www.mattnorlander.com/blog/2020/3/22/every-dave-matthews-band-song-ranked | Sometimes a pandemic hits and so you spend weeks thinking about and ranking the songs from your favorite band’s catalog.
I just recently ranked 101 of the best NCAA Tournament games of the modern era, so this was cake by comparison. And as I bide my time waiting for a follow-up interview with Steve Lillywhite — which we hope to get done in podcast form later in 2020 — what better time than now to tackle something so fun and fanatical?
I haphazardly ranked out about 85% of the songs below a few years back and never got around to tweaking. Quarantining, and the abrupt end of all sports across the globe, accelerated the project.
Songs that qualified: Any full studio song on a DMB or Dave Matthews album — officially released or in any other capacity. Album instrumental segues or not fully fleshed live songs (like “Grux,” “bkdkdkdd,” “Pantala Naga Pampa,” "Kill the Preacher,” the abandoned Batson ‘06/’07 sessions, “Mother’s Night,” “Litho Blitho,” etc.) were not under consideration. Random one - or two-offs played by Dave (a la “Falling Off the Roof”) aren’t logged, but any song with at least three live plays was considered, and some were included. Covers were not eligible. I’m not merely accounting for the way the songs were recorded/produced, but the essence of each song.
Posted below the rankings, fun for all the DMB fans who find this: a bracket of the 68 best DMB songs in history, complete with two write-in options. Let’s get to the rankings. It’s rough sledding initially but things pick up about 30-35 songs in. This is but one man’s view of DMB’s canon, and above all else, an elongated appreciation for one of the most successful and distinct bands in American history.
169. Blackjack (unreleased). All of the creative instincts and songwriting quirks that can lead DMB to construct such interesting songs and/or subsections of songs completely backfires and folds in on itself in this gibberish-laden disaster.
168. Steady as We Go (Stand Up). Mawkishly piano-dominant, way out of character, and the crescendo is the most cringeworthy moment the band has ever committed to a proper album.
167. Stand Up (Stand Up). The phrase “STAND UP!” is said/sung AT LEAST 72 TIMES -- there well could be another dozen more mercifully buried in the slapdash mix --- during the studio recording of this.
166. Angel (Everyday). “I call you up, you pick up.” Enough sung. Only salvaged ever so slightly because the guitar riff is somewhat catchy, if not entirely derivative.
165. Smooth Rider (Stand Up). Never have I listened to a song for the first time, thought it was pretty solid, only to have the second, third and fourth listens degrade my opinion as rapidly as salt falling into boiling water.
164. Hunger for the Great Light (Stand Up). A bizarre song about oral sex that combines a desire to pull from the flower-power era and then shoehorns in an alt-rock-lite riff.
163. Time Bomb (Big Whiskey & the GrooGrux King). The instrumental intro was a good idea. Everything after was not.
162. Mother Father (Everyday). Only been played a handful of times, and that stands to reason. Everyday’s songs were famously put together in just over a week’s time back in 2000, and no song from that record is a clearer piece of evidence of how that can be a bad thing than this one.
161. Dreamgirl (Stand Up). Or is it “Dream Girl”? You know what, it doesn’t matter. This song talks about digging a whole all the way to China, unless of course you’re already in China, which in that case you’d best dig your way home. It’s a love song, natch.
160. Grey Blue Eyes (Some Devil). Matthews’ very good solo album nevertheless runs about three songs too long, and this is one of them.
159. Baby Blue (Big Whiskey & the GrooGrux King). Written for the late, great LeRoi Moore, the song is short, quiet and sweet, but that’s about it.
158. Stolen Away on 55th & 3rd (Stand Up). Forgettable, but evidence that a Moore soprano sax line can save almost any DMB tune to a certain degree.
157. Baby (Some Devil). It’s a nice lullaby.
156. Come Tomorrow (Come Tomorrow). Hard to get on board here. Why did they name the album after this one?
155. I Did It (Everyday). The song that changed the direction of DMB’s trajectory forever. The music video remains bizarrely hilarious. Wow, this was so long ago.
154. Belly Full (Away From the World). The weakest link on DMB’s fifth-best album. Nice, but a bit treacly.
153. When I'm Weary (Come Tomorrow). Few songs in the DMB catalog are a match both in title and vocal delivery like this one.
152. Be Yourself (unreleased). Whether this song actually exists anymore remains a little bit of a mystery, as it was clearly manipulated on Come Tomorrow as a segue track and renamed "bkdkdkdd."
151. Death on the High Seas (unreleased). Matthews has tried to expand his songwriting by pushing himself on the keys. There are instances (as evidenced much further down this list) where he’s found some good, but this isn’t one of them.
150. Can't Stop (Come Tomorrow). Tricky to rank because there are two versions of the song; being that the “faster” version is what was cut and stuck to Come Tomorrow, it’s what gets evaluated. The bridge is an abomination and the lyrics are still brutal. But this version of Dave playing it solo on a baritone guitar, in 2007, is the best one.
149. Trouble (Some Devil). Just a bit filler-ish.
148. Break Free (unreleased). A certain section of the fanbase seems to adore this song, but the chorus has always been bothersome. As is the case with a few other Matthews songs that come up a bit short, the tune itself is saved a bit by the main riff.
147. If I Had It All (Everyday). Meh. There’s a parallel world where Everyday doesn’t include this and the studio cut never sees the light of day. (There’s another parallel world where Everyday doesn’t even get made at all.)
146. Where Are You Going (Busted Stuff). Crazy to think that once upon a time this was considered one of the three worst songs in DMB’s index. But that was 2002 and that was a generation ago.
145. Butterfly (unreleased). Simple acoustic tune that’s made here-and-there appearances for almost 17 years.
144. That Girl Is You (Come Tomorrow). The studio cut is bad, but this number works well as a show-opener.
143. Alligator Pie (Big Whiskey & the GrooGrux King). Matthews’ voice is all over the place on this track.
142. American Baby Intro (Stand Up). Song is based around a four-note progression and has like eight different words total but it’s better than everything else you read before it.
141. The Fly (Joshua soundtrack). Unless you’re a diehard fan, you probably don’t know about this song. Check it out.
140. Sweet (Away From the World). Matthews on ukulele. This song features frontman by himself for the first 80% of it before the band comes in, a decision I’ve always thought was a good one.
139. Out of My Hands (Stand Up). Good-enough lyrics, forgettable musical effort.
138. Sister (unreleased). Matthews understandably loves the song, and it’s a fine little tune, but it’s so much better suited to a Dave-and-Tim environment than full-band shows.
137. Everybody Wake Up (Our Finest Hour Arrives) (Stand Up). Song was salvaged — even improved upon — when it was brought back from the dead in 2012 and then promptly dropped again.
136. Build You a House (unreleased/Lillywhite Sessions side song). Almost like a peek in to the treasure chest of who knows how many other soundcheck and studio jams have been left behind over the past 25-plus years.
135. Corn Bread (Little Red Bird EP). Better lyrics would go a long way. There was a lot of hope for this song when it debuted back in 2007, but it never really met its potential.
134. Spotlight (unreleased). Matthews famously grew to hate this song well before DMB ever went mainstream. It’s by no means a standout, but I actually like it more now than I did 15 years ago.
133. If Only (Away From the World). Good music, forgettable lyrical effort. I think I’m lower on this one — much lower — than the average DMB devotee.
132. Here On Out (Come Tomorrow). Matthews has grown fond of a lot of soft tunes as he’s aged, which is understandable.
131. You & Me (Big Whiskey & the GrooGrux King). It’s irrefutably a well-written, catchy song. The progression from verse to chorus to bridge all flows. I get why it connects with the mass audience, but it’s not my bag and the lyrics lack.
130. Everyday (Everyday). Matthews took one of his most buoyant and flexible songs — #36 — stripped its frenetic energy and molded it into “Everyday,” a good-enough song that remains a crowd-pleaser.
129. Louisiana Bayou (Stand Up). “Bye-you!” Doctors recommend this in small, sparing doses.
128. Toy Soldiers (unreleased). Debated whether or not to put this one on the list. Three plays minimum was the rule, and this one clears that bar at exactly three plays all time. Matthews had something here but bailed. No chance he realizes “Toy Soldiers” was once a thing. ’Cause what you don't know / you don't know / that gets you in trouble.
127. Doobie Thing (unreleased). Nine plays to its name, all over a 65-day span in late 1993. Given that a few shows that featured Doobie Thing were liberally traded in the band’s early days, I’ve always thought this song helped build out DMB’s reputation for being a slightly jammier band than they actually were. I’ve a hunch this song sort of played into the Dreaming Tree—>Pig segue song on Before These Crowded Streets.
126. Break For It (unreleased). The rare instance where a song became known through a stealthy soundcheck capture, only for it to be dropped on an unsuspecting audience years later.
125. Mercy (Away From the World). It’s fine. Moving along.
124. Shake Me Like a Monkey (Big Whiskey & the GrooGrux King). Wonderful cut on the album. The dual-horn station has grown to stilt and suffocate DMB’s sound a bit over the past decade, but this is where it works.
123. Dive In (Big Whiskey & the GrooGrux King). Some sleight-of-hand with time signature work here and a nice melody. I’m by no means ranking it in my top 50 or anything, but this one’s not fully appreciated. Nice choral melody.
122. Old Dirt Hill (Stand Up). The studio cut is unquestionably among the bottom six or seven the band’s ever done, but check out a Dave & Tim version and you hear how it’s redeemable.
121. Gaucho (Away From the World). Classic Matthews riff, and a tune that’s become a bit overlooked in recent years due to its absence from setlists.
120. Belly Belly Nice (Away From the World). It’s fun, it’s simple, it’s an alteration — and upgrade — on “Shake Me Like a Monkey.”
119. Sleep to Dream Her (Everyday). Ear-catching, descending guitar part, and the soprano sax — on what could best be described as the post-chorus — is lovely.
118. When the World Ends (Everyday). This tune, creatively, is cut off abruptly on the LP, a practice the band has mimicked in shows ever since the song debuted. But I’ve enjoyed how Dave and Tim have opted in acoustic performance to bust past the intended ending into a more traditional finish.
117. Joyride (Stand Up sessions). The weakest of the five “2004 songs,” Joyride is nonetheless a peek into what kind of album DMB could have released in 2005 in lieu of Stand Up.
116. A Dream So Real (unreleased). Once every 30 or 40 songs, Matthews will come up with a tune that is out of his wheelhouse and still manages to land just right. This is a prime example. Unfortunately it’s only been played 18 times, none since 2009.
111. Kill the King (unreleased). DMB went seven years without playing this, only to take it out of moth balls in November 2018. It lost a little something nice once there was no longer a violin to highlight in the post-bridge chorus. The 6/8 rhythm, driven by Matthews’ tromp-ish baritone guitar line, gives it a real forward-moving feel.
110. Oh (Some Devil). Matthews wrote this because of the love he saw from his grandparents, and it’s a fine little tune. You can practically balance it on your shoulder.
109. Samurai Cop (Oh Joy Begin) (Come Tomorrow). Album-opening track and a really nice later-career effort from Matthews, who’s grown prone to writing about being a father and husband.
108. Christmas Song (Remember Two Things). When you’re at an arena show on a winter tour in December, it is always a pleasure to get this one.
107. Let You Down (Crash). That’s of course the late, great LeRoi Moore whistling on the outro. Easily the weakest song off Crash, it’s nonetheless come a long way — with a much deeper catalog 23 years post helping its case — from being pegged as one of the two or three worst DMB songs.
106. Deed Is Done (unreleased). The definitive version comes from Live at Luther College. If Matthews really did riff that off the top of his head, it’s wildly impressive. The descending guitar riff was later put into one of the BTCS segue songs (or “commercials,” as Steve Lillywhite has referred to them).
105. Spaceman (Big Whiskey & the GrooGrux King). Lithe bass, bouncy chorus, classic Matthews riff and sparky drums. It’s the DMB equivalent of an 15-point, six-rebound, three-assist, one-steal game. It gets the job done.
104. Up and Away (Some Devil). Have always wanted to know the story and circumstances behind when and how Matthews wrote this song. It’sbouncy, inventive and disgracefully never been played with DMB!
103. Seven (Big Whiskey & the GrooGrux King). While DMB has played this one with changing-of-the-seasons dependability ever since it came out in 2009, no version has ever topped the studio one, mostly due to Matthews’ satiny delivery on the first verse that he can’t replicate in a live setting.
102. Little Red Bird (Little Red Bird EP). There are 10-or-so songs Matthews has written that you can fit in your back pocket, that show his ability to write with an economy of words. This is a sample of that.
101. Save Me (Some Devil). A great distillation of how Matthews, Tim Reynolds and Trey Anastasio can come together to record a really good song and never step on each other’s toes. Enjoyable all the way through and an easy call for DMB to incorporate into its sets for a decade-plus.
100. The Space Between (Everyday). At some point, Matthews switched from playing this on a baritone guitar to a raised B and it was a significant upgrade. Lyrically, it’s aged well. When this is the 100th best song of your career, you’re a damn good songwriter.
99. You Might Die Trying (Stand Up). The ending is way better than the beginning. Few songs win me over the course of 5-8 minutes like this one can. The Live Trax 13 version has long been one of my favorites.
98. Dreamed I Killed God (unreleased). If I could ever sit down with Matthews for an interview, among the 15 or 20 questions I’d absolutely have on hand would be: How does a song like this just disappear?
97. Eh Hee (unreleased). Can carve a groove three feet deep. This one’s been flirting with becoming endangered in setlists in the past decade, but here’s a slept-on gem of a stanza.
Strange evolution how people have come to believe that we are its greatest achievement
When really we're just a collection of cells
Overrating themselves
Hello God I'm avoiding the truth
96. Get in Line (unreleased). Unless you are a diehard, you won’t know this one. An early era amalgam of a lot of the good, and not so good, DMB was experimenting with. Probably for the best it went inactive in late ’94.
95. Come On Come On (Come Tomorrow). There are probably only 7-10 instances of DMB having a song whose studio cut can’t be topped live, and this is quite obviously one of them. When Come Tomorrow was released in 2018, fans found out this song was more than a decade old. It’s the song that makes CT that much stronger and at eye level with Big Whiskey and the GrooGrux King and Away From the World.
94. Digging a Ditch (Busted Stuff). Not an essential song, but an elegant one in its own right and — hey, I’m fulfilling the prophecy by placing it so low — undeniably an underrated tune.
93. American Baby (Stand Up). Shockingly, with a peak position at No. 16 on the Billboard 100, this is the second-best performing single of the band’s career (“What Would You Say” hit No. 9). If memory serves, this song was built around a violin-pluck riff. All things considered, it came out well.
92. #27 (Little Red Bird EP). Matthews sorta channeling Neil Young? If you’ve never heard the studio cut, it’s nothing flashy but instead captured just about perfectly to the spirit of the song.
91. The Riff (Away From the World). Matthews has conjured up six dozen interesting riffs in his life. Why this one gets dibs on being the name of a song is a puzzlement. But anytime DMB wants to feature alto flute on a tune, count me in.
90. What You Are (Everyday). Song is adaptable and doable in spots 1-20, anywhere in a setlist, and I’d like to see it implemented as such in the future.
89. Write a Song (Little Red Bird EP). A little jangle to the verse, a wave-curl pre-chorus and then one of the most joyous hooks of Matthews’ career on the chorus. It’s a stunner this didn’t make the cut for Big Whiskey.
77. Proudest Monkey (Crash). There’s a modest musical wit DMB’s long held — evident from its earliest days — to build brawny arrangements around simplistic structures. Few songs embody this as well as “Proudest,” a song with only four notes that wonders aloud about existential threats that accompany ambition and distraction.
76. Sweet Up and Down (The Lillywhite Sessions). In light of this song not making the cut for Busted Stuff — and never knowing for sure whether it was even laid down for that album — it’s been refreshing to see the two-fisted 12-string tune about sex, love and a little bit of gibberish keep itself around (albeit sparingly) in the 20 years since it debuted to rave reviews on the 2000 summer tour.
75. Rooftop (Away From the World). Cracks the top 75 on the strength of its bridge alone. Also love the quarter-note snare hits that tug the first chorus into the second verse.
74. Loving Wings (unreleased). A song that starts out with a shy, indented guitar riff eventually builds into a powerhouse. Once Carter Beauford starts ripping rolls and popping firecrackers off his snare, it’s a wrap.
73. So Damn Lucky (Some Devil). The most played song by DMB off Some Devil, “So Damn Lucky” hovers — suspends — as the narrator reflects on a life lived in the closing seconds before a (fatal?) car crash. The vibe Matthews pulls off with this song, juxtaposed with the lyrics is, pardon the pun, right in his wheelhouse.
72. Do You Remember (Come Tomorrow). The best compliment one can pay to this song is that, although it was written sometime in late in the 2010s, at its core, you can close your eyes and easily hear this being something a 24-year-old David John Matthews could have written.
71. I'll Back You Up (Remember Two Things). The first song Matthews wrote is a creaky, adoring love song that has stood the test of time but remains a cherished rarity at full band shows.
70. Dreams of Our Fathers (Everyday). There is only one proper song in DMB history to have been released on a studio album but has never been played live. Of course, it happens to be one of the two strongest songs off Everyday. Never say never?
69. Kit Kat Jam (Busted Stuff). The glory of this far-too-infrequently-played song is the locked-in rhythm and power of Matthews, Stefan Lessard and Beauford. It’s a tour de force. In that regard, I don’t know if DMB has 10 other songs that rely so heavily and defiantly on the stamina of those three joining forces from start to finish.
68. Help Myself (BTCS sessions). Before These Crowded Streets is the best DMB album. And although this recording is really good — if not fairly straightforward — the band and Steve Lillywhite made the right call opting to not include it (the LP would’ve been pushing 76 minutes), even though it fits right in with the rest.
67. Grace Is Gone (Busted Stuff). Dave Matthews’ Willie Nelson song, and despite its down-tempo, downtrodden approach, it’s capable of getting a crowd of 30,000 to belt out their sorrows all the same.
66. Busted Stuff (Busted Stuff). This one almost never comes out to play, and that’s a damn shame because the jazz potential with Beauford, Lessard, Jeff Coffin and Rashawn Ross is immense.
65. Pay for What You Get (Under the Table and Dreaming). It’s easy to picture a scenario where a simple, low-volume song like this is put aside and never makes an album. So my everlasting thanks to everyone involved in the decision to lay this track in the penultimate position on UTTAD. It’s the perfect lead-in to “#34.”
64. Sugar Will (unreleased). Which version to consider here? The hypnotic 2004 incarnation of this song is a top-50 DMB composition. Unfortunately, that’s no longer what the song is. A truncated, horn-gilded update has taken some of the shine off what was a kaleidoscope of a tune. It’s still tasty, though.
63. Too High (Some Devil). Methodical, moody, leadenly. Safe to say that Some Devil was a successful mid-career solo endeavor for Matthews, who released the record when he was 36 years old.
62. One Sweet World (Remember Two Things). Certain tunes are emblematic of the band’s formative years, and for such a long time that was the case with “One Sweet World.” I’ve only four words, though: bring. back. the. intro. One of the best riffs Matthews has written.
61. Idea of You (Come Tomorrow). Ascending verse, catchy/open-your-throat chorus, a bridge that flows seamlessly, and a song that gave hope to the fan base after the debacle that was Stand Up. A keeper.
60. Big Eyed Fish (Busted Stuff). Per DMB Almanac, quite the name journey for this one in its nascent days: “One Eyed Fish,” “Fish Monkey Man,” “Man Bird Fish Monkey,” “Fishman & the Drunk Monkey,” “Fish Monkey,” “A Little Fishy,” “Street Fish,” “Roi's Bent Fish” and “Fish Schtick.” Its ultimate title is the best one, and though this was also recorded for The Lillywhite Sessions, it did not debut until 2001.
59. So Much to Say (Crash). Here’s the song that delivered DMB its first Grammy. “So Much to Say” won Best Rock Performance by a Duo or Group with Vocal in 1997. It’s the only track on Crash that makes sense to open the record. It’s almost never been altered since its conception in 1992 and is on a short list of songs to be played every year since 1992.
58. Drunken Soldier (Away From the World). From overhyped to underhyped. The album-closing Soldier was the song selected to tease fans when Lillywhite returned to work with DMB after more than a decade apart. That only upped the stakes. Is it an outright epic? No, but it’s musically robust and unafraid of anything in its path. The outro pulls from Pink Floyd so much it verges on copyright infringement but no matter: this should dot setlists regularly.
57. Halloween (Before These Crowded Streets). For years, this song’s strength was perceived by its rarity. Getting “Halloween” at a show immediately made it a special show. In some ways that’s still true, but in 2020 it’s not close to the white whale that it was in the ’90s and up through most of the aughts. There are many defining versions, but Live at Luther College’scut is still one of the best.
56. Stay or Leave (Some Devil). We used laugh underneath the covers / maybe not so often now / the way I used to laugh with you / was loud and hard. Damn, Dave, this is a devastating breakup song dressed in ordinary clothing.
55. Bismarck (unreleased). Matthews taps into his inner Paul Simon and delivers a later-career gem. This one is remarkably terrific, and the fact it didn’t make the cut for Come Tomorrow remains a quizzical stunner. Here’s to hoping whatever album comes next for DMB includes this storytelling and musical W.
54. Why I Am (Big Whiskey & the GrooGrux King). For the late LeRoi Moore, and what a splendid tribute this is. Matthews’ lyrics are fantastic; the whole vibe of the song is of a classic DMB mold. The taffy-pull chorus is a little stroke of genius, too. The bitter irony is that the song can only be because Moore is no longer here. If DMB ever gets to a point where it knowingly plays its last show as an outfit, this one has to be on that setlist.
53. Rhyme & Reason (Under the Table and Dreaming). A growler of a track that deals with the trappings of drug use, most specifically heroin. Song chugs like a racehorse and is made all the better whenever it features an electric guitar solo. Dare I say the Joe Lawlor sit-ins even one-up Reynolds’ offerings on this one.
52. #36 (unreleased/defunct). Song is dead and never coming back but it’s going on this list, dammit. Indicative of the freewheeling, quasi-jammy ethos that DMB flirted with in the first four years of its existence. Live at Red Rocks goes down a notch if this isn’t played at that show. One of my favorite Beauford tunes, to boot.
51. Grey Street (Busted Stuff). Incredibly, the original version of this list had Grey Street in the 80s out of protest over the baffling omission — for 18 years — over the song’s third verse. On the very same day the list published, Matthews played a solo version of the song in the midst of the pandemic and brought back the verse. Am I taking credit for this cosmic coincidence? A lesser man would. This song was an immediate hit upon its debut in 2000 and has held its status as a Matthews Band show staple every year since.
50. Dodo (Some Devil). Why would you play by the rules? Who did? You did. You. Just a playful song about skepticism of what the world tells you is true, that’s all. Can anyone explain why this has never been played by DMB? Look at it. It’s just sitting there!
49. Some Devil (Some Devil). The highest-ranked non-DMB song on the list. Put a pair of good cans over your ears, close your eyes and you can practically envision Matthews in a club playing this with almost all the lights off in a soundcheck environment. Simple, yet one of the best studio cuts he’s ever done.
48. So Right (Everyday). Almost two decades later, this has proven to be the best song off Everyday. A stand-up double at that.
47. Crash into Me (Crash). Mandatory Lady Bird mention here? Have to. The Academy Award-nominated movie helped with the critical reexamination of not just this song but DMB on the whole. That said, there are almost four dozen songs better than this one in the band’s oeuvre. The finest version of the song — featuring soprano sax! — was played on New Year’s Eve in 1996.
46. #34 (Under the Table and Dreaming). There are a scattering of songs and recordings that can transport me back to the late ’90s — when shows were traded on cassette, via a process known as B&Ps — and tap into that early, infectious, bottomless fandom. The few versions of #34” with lyrics hit that spot.
45. What Would You Say (Under the Table and Dreaming). In many ways, the song that started it all. DMB’s first single off its first major-label record. While this can be said of plenty of acts in the 1990s, when “What Would You Say” landed on radio, there was nothing that sounded like it. John Popper’s harmonica solo made it that more distinct. I’ve always liked how DMB’s first single featured a guest spot; the band has been graciously collaborative from the beginning and this was a reflection of that. Also, the alto sax-guided breakdown is as danceable as anything else in the band’s catalog.
44. Beach Ball (Little Red Bird EP). Those who might still foolishly look down on Matthews’ songwriting chops need to familiarize themselves with this jewel of a tune that has woefully been ignored for most of its existence. But! The band did revive it in early 2020, prior to the COVID-19 pandemic sideswiping the planet. Hope for the future.
43. Lover Lay Down (Under the Table and Dreaming). The only love song off UTTAD, “Lover Lay Down” was among the best songs to showcase how inventive, delicate and colorful Moore could be on soprano sax. Jeff Coffin has his own amazing style, but he’s done a good job over the years tapping into Moore’s MO when taking solos on this beautiful song.
42. Broken Things (Away From the World). Another terrific album opener. Another terrific song that’s been kept on the shelf for the most part. One of the last shining moments for Boyd Tinsley in the studio, too.
41. Squirm (Big Whiskey & the GrooGrux King). A twisted sort of a thing. A creeping-if-not-creepy threat of a song that’s ultimately all about laying down your guard accepting the inevitable: joy and love are what make you human, so stop fighting the nature of those emotions. It’s one of a few DMB songs with a Middle Eastern bend, which is one of the sharpest tools in the band’s tool belt.
40. Jimi Thing (Under the Table and Dreaming). This is probably Matthews’ favorite song. It almost never disappears for more than a five-show stretch, a reality that has come to torment the hardcores and bring a cheeky delight to Dave, who never hesitates to taunt the fans by reminding them that he’ll play this damn song any and every time he pleases. It’s vintage DMB and one of the biggest crowd pleasers in the catalog.
39. Again and Again (Come Tomorrow). Producer Rob Cavallo described this song’s chorus as “fucking glorious.” He’s fucking right. The album cut is stellar and, given that it existed as “Bob Law” in live sets well before Come Tomorrow was released, “Again and Again” ranks as one of the most shockingly great album tracks in the band’s history.
38. Say Goodbye (Crash). I’d say this is about where we enter into the “great” tier. From here on out, everything’s at A-minus level or better. There are far too few DMB songs that feature flute and Beauford utilizing mallets instead of traditional drumsticks. Fortunately, this one-night-stand temptation of a tune has both, and boasts among the best crescendos in the catalog.
37. Cry Freedom (Crash). Among the five or six first songs Matthews wrote, “Cry Freedom” poignantly takes on the issue of apartheid in South Africa and turns it into an earnest but not syrupy anthem about commonality, egalitarianism and integration.
36. Virginia in the Rain (Come Tomorrow). Who would have ever thought a keys-driven song — on a Rhodes piano no less — could turn into one of the best studio cuts of the band’s career? This is a pristine capture. Put everyone involved in this into the studio again at any other point or any other time and it will never be as magical as this.
31. Monkey Man (The Lillywhite Sessions). This is no half-baked, used up and then thrown out studio cut. “Monkey Man” is an alert, sinewy composition — its outro catching flares of some Radiohead influence. Unlike a few other LWS songs, the lyrics are not improvised; Matthews quite obviously sat down and wrote out some good copy here. It’s also infamously never been played live. If such a day ever arrives, it would register as one of the most stunning and satisfactory moments the band could ever deliver to its fan base.
30. Hello Again (Stand Up). This is like “#27’s” scarier big brother. The best neo-country song DMB ever did. Just a two-steppin’ confessional about drowning the love of your life. What’s the problem? It packs a punch then pulls out another half-dozen haymakers.
29. Dancing Nancies (Under the Table and Dreaming). Existentialism laced with enlightenment padded by the sounds of violin and tenor saxophone. The man wrote it at 23 years old, proving yet again that so many eye-opening, ear-bending songs across our history were written by people in their late teens and early 20s. Fascinating thing, that.
28. Pig (Before These Crowded Streets). An anti-Hobbesian strain that is one of the few songs truly threaded through Tinsley’s violin lines. When people describe DMB’s sound on the whole as being hard to pinpoint or place in a genre, “Pig” goes a long way to defining that lack of definition. All I know is: it just makes me feel good whenever I listen to it.
27. Drive In Drive Out (Crash). Force of nature, one of the 10 best Beauford songs out there. Snarling vocals, and a bridge that aurally replicates the feeling of being on a StairMaster on its fastest setting. This song should close shows.
26. Raven (Busted Stuff). An ace in the hole. Who doesn’t welcome “Raven” at a show? No person of this world. The 2000/improvised versions are held in high regard by hardcores, but even the Busted Stuff rework stands tall. The stammer-rhythm chorus is yet another example of how this band takes time to challenge itself and add wrinkles to songs that most others simply wouldn’t.
25. Rapunzel (Before These Crowded Streets). What a tonic this tune is. Matthews hasn’t been able to restrain himself from writing about how great sex is for the past two and a half decades, but he never did it to greater success and taste than on “Rapunzel,” which pulls off danceability in 5/4 time and features one of the more adrenalized sax solos Moore ever put to tape. It’s also got a top-five all-around showing from Beauford on any record. We can rev this up right at the outro.
24. Snow Outside (Away From the World). When Lillywhite teamed back up with DMB for AFTW, hopes were cautiously high. The record doesn’t comes close to the heights of the Big Three, but “Snow Outside” proved beyond a doubt that the band and Lillywhite still had the goods and chemistry to create together. The height of the studio cut feels like everything’s being pulled from off the ground.
23. Captain (Busted Stuff). I’m still partial to the’97 Dave and Tim performances, when this was known as “Crazy,” but it’s a knockout still all the same. Slick-as-ice drum part, palpitating bass line, great chord voicings and a sax line that lingers in the room, bouncing from wall to wall.
22. The Song That Jane Likes (Remember Two Things). The distillation of all the fun facets to what DMB’s music represents. Another one that needs to be played at the band’s final show, whenever that is. Another one lessened by lack of a violin.
21. Lying in the Hands of God (Big Whiskey & the GrooGrux King). Wonderful studio cut and a song that’s become a giant in the live setting. Lessard’s subterranean bass contrasted against Matthews’ raised B guitar, both parts laced together by soprano sax. It’s stellar songwriting, with lyrics just ambiguous enough to raise its level.
20. Don't Drink the Water (Before These Crowded Streets). Matthews has said that this song might well be the one he considers his best. He has a case, though obviously disagreement arrives here. Lyrically, it’s a clever, serious-sounding sendup of all the carnage and bloodshed that spoils our country’s soil. The persecution and murder of Native Americans that dates back centuries. It’s in drop D tuning and climaxes with an angry narrator bellowing “I live with my hatred, I live with my jealousy.” And this was the lead single! Musically, it’s a powerhouse, no way around it. It’s also adaptable in any setting, and Alanis Morissette’s guest spot on the record makes it work all the more, adding to the craze.
19. Spoon (Before These Crowded Streets). The best album closer DMB has ever done and the caboose on the strongest five-song run on any record in DMB’s discography. Acoustic versions, rare though they are, also deliver. Dynamic, limber, and as heavy as it is light.
18. Blue Water Baboon Farm (unreleased). Has not been played in its full/proper form since 1995, but this is unquestionably a DMB epic. Vivid, potted lyrics and stretched out solo sections for violin and sax that take the song into the mesosphere. A brooding two-chord structure (E minor, C), “Blue Water” is frayed at the edges —and that only makes it better. Boyd Tinsley never sounded better than on this song; it suits his strengths and weaknesses as a violinist perfectly. Matthews has teased and half-played it over the years, but diehards still wait and hope for a full-fledged return.
17. The Best of What’s Around (Under the Table and Dreaming). UTTAD’s lead track is contagiously optimistic and perhaps the ideal song to introduce this band to a stranger. The hey-la group-singalong ending that melds with a carefree sax solo is vintage DMB.
16. Warehouse (Under the Table and Dreaming). Minor-to-major shift from verse to chorus, a perennial fan favorite and welcomed at every single show from time eternal. Its title is derived from the famous pink warehouse in Charlottesville, where the band played its first officially billed gig in 1991.
15. Recently (Remember Two Things). A pliable tune about early-20s infatuation that illustrates 1991-1993 DMB as purely as any other song in the archives. Ageless DMB, and a real fun one on guitar.
14. Bartender (Busted Stuff). Been a concert behemoth for two decades now. “Bartender” was the song that signaled the shift off of BTCS and toward whatever was going to come next. It debuted in acoustic sets long before a full-band version was ever heard, and what fans got was a reassuring example that DMB could be for the long haul. The definitive version of the song, ironically, comes on the night of Moore’s death in 2008, when DMB opened its concert at Staples Center with it.
13. Minarets (Remember Two Things). Boasting one of Matthews’ best vocals, “Minarets” is a signature song for DMB’s individuality amid otherwise sensible acknowledgement as a mainstream rock band. Bless up the band, for starting in 2014 it fell back in love with this outright classic and played it more than 80 times since — which is a higher volume of plays than “Minarets” received from 1996-2013 combined.
5. Seek Up (Remember Two Things). There is no better song to open a show — no matter the venue, no matter the season — than “Seek Up.” The heart of the song is bookended by a slow-boil, sax-led intro and a ruminative violin-guided escape route before culminating in a signature Dave-wail climax. This is how you introduce yourself to 20,000 people on a summer evening. What’s more, there is a case to be made this is Matthews’ best lyric, start to finish.
4. Ants Marching (Under the Table and Dreaming). At 1,362 known performances as of April 2020, this is far and away the most commonly played song in Dave Matthews Band history — as it should be. It’s never been the same without Moore on the tune, but it is a consummate DMB song. Anthemic, and in the live setting, every single member gets a chance to solo or have the spotlight on them. It’s the song most associated with DMB, and it should be the final song the band ever plays. Lights down, you up and die.
3. Typical Situation (Under the Table and Dreaming). The moment that hooked me for good came within the first five seconds of hearing Moore’s flute solo on UTTAD for the very first time. A ghostly guitar riff, a grinning chorus, a head-bopping 7/4 jam in the live setting. Distinctly DMB, “Typical Situation” is irrepressibly uplifting and doesn’t fully get its due for being an A-plus songwriting effort. | ||
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Musical artist
George Harvey Strait Sr. (born May 18, 1952) is an American country music singer, songwriter, actor, and music producer. He is credited for pioneering the neotraditional country style in the 1980s,[2] famed for his authentic cowboy image and roots-oriented sound at a time when the Nashville music industry was dominated by country pop crossover acts. Given his influence on the genre, Strait has been nicknamed the "King of Country Music" by writers and music critics.[3][4][5][6] He currently holds the record for the most number one songs on all charts by an artist, in any genre of music.[3][7]
Strait's success began when his first single "Unwound" was a hit in 1981, helping introduce the neotraditional movement to the mainstream. During the 1980s, seven of his albums reached number one on the country charts. In the 2000s, he was named Artist of the Decade by the Academy of Country Music, elected into the Country Music Hall of Fame, and won his first Grammy award for the album Troubadour. Strait was named CMA Entertainer of the Year in 1989, 1990 and 2013, and ACM Entertainer of the Year in 1990 and 2014. He has been nominated for more CMA and ACM awards and has more wins in both categories than any other artist.
By 2009, he broke Conway Twitty's previous record for the most number-one hits on Billboard's Hot Country Songs chart when his 44 number one singles surpassed Twitty's 40.[8] Strait has amassed 60 number-one hits.[9] "Give It All We Got Tonight" was number one in 2013,[10] breaking a record also previously set by Twitty. Strait holds the record for most number one songs on all charts by an artist in any genre of music."[3][7]
Strait has been known for his touring career beginning when he designed a 360-degree configuration and introduced festival style tours. For example, the Strait Tours earned $99 million in three years.[11] His final concert for The Cowboy Rides Away Tour at AT&T Stadium in Arlington, Texas in June 2014, drew 104,793 people. It set a new record for the largest indoor concert in North America.[12] In 2024 he set the record for the largest ticketed concert for a single act in U.S. history, with over 110,905 people at Kyle Field in College Station, Texas.[13][14]
Strait has sold more than 120 million records worldwide, making him one of the best-selling music artists of all time.[15] He holds the RIAA record for most certified platinum albums by any artist, with 33 certified platinum albums. He also has 13 multi-platinum and 38 gold albums. His best-selling album is Pure Country (1992), which sold 6 million (6× platinum). His highest certified album is Strait Out of the Box (1995), which sold 2 million copies (it went 8× Platinum due to being a box set with four CDs). According to the RIAA, Strait is the 12th best-selling album recording artist in the United States overall selling over 69 million records across the United States.[16]
Early life
[edit]
George Harvey Strait Sr. was born on May 18, 1952, in Poteet, Texas, to John Byron Strait Sr. (January 11, 1922 – June 4, 2013),[17] and Doris Jean Couser (June 26, 1930 – January 30, 2010).
He grew up in nearby Pearsall, in Frio County where his father was a junior high school mathematics teacher and the owner of a 2,000-acre (810 ha) cattle ranch outside of Big Wells, Texas. The family worked at the ranch on the weekends and in the summers. When George was in the fourth grade, his father and mother were divorced, and his mother moved away with his sister, Pency. George and his brother John "Buddy" Jr. (1950–2009) grew up with their father.[18] For most of his early life, George was in ranching alongside his older brother Buddy and his father John.[19]
Strait began his musical career while attending Pearsall High School, where he performed in a rock and roll garage band, known as the Stoics, taking most of their influence and inspiration from the Beatles and other British Invasion-era rock groups.[20] "The Beatles were big," Strait confirmed. "I listened to them a lot and that whole bunch of groups that were popular then." He performed in other rock bands during his high school tenure.[19] His musical preference soon turned to country with singers Hank Thompson, Lefty Frizzell, Merle Haggard, George Jones, Bob Wills, Hank Williams, and Frank Sinatra influencing his style. Strait did not tune in to and listen to country music radio often as a youth, usually selecting the news and the farmer's report instead. His introduction to country music came mostly by way of live performances, which according to Strait could be heard in every town in Texas.[21]
Marriage and military service
[edit]
He eloped with his high school sweetheart, Norma Voss after their high school graduation.[19] The couple initially married in Mexico on December 4, 1971. In the same year, he enlisted in the United States Army as an infantryman. While stationed at Schofield Barracks adjacent to Wahiawa, Hawaii as part of the 25th Infantry Division, George auditioned and began performing with an Army-sponsored country music band, "Rambling Country", which also played off-base under the name "Santee".[19][22] On October 6, 1972, while still in Hawaii, George and Norma had their first child, Jenifer.[23] He served in the United States Army from 1971 to 1975 and ultimately attained the rank of corporal.[24]
Higher education
[edit]
After George Strait was honorably discharged from the Army in 1975, he enrolled at Southwest Texas State University (now Texas State University) in San Marcos. He graduated with a degree in agriculture.[25] He was also presented an honorary doctoral degree by his alma mater–Texas State University in San Marcos–in a private ceremony on May 26, 2006.[25] Strait is a loyal alumnus of the college; in 1985 he established an endowment fund for the development and operation of the Freeman Ranch for agricultural purposes, land and wildlife management, and gifts of scholarships.[25]
Music career
[edit]
1970s
[edit]
During his college years, Strait joined the country band Stoney Ridge, answering a flyer the band posted around campus looking for a new vocalist. Strait renamed the group the Ace in the Hole Band, and quickly became the lead; they began to perform at different honky-tonks and bars around south and central Texas, traveling as far east as Huntsville and Houston.[27] They gained a regional following and opened for national acts such as The Texas Playboys. Soon his band was given the opportunity to record several Strait-penned singles, including "That Don't Change The Way I Feel About You" and "I Can't Go On Dying Like This" for the Houston-based D Records independent label. However, the songs never achieved wide recognition, and Strait continued to manage his family cattle ranch during the day to make some extra cash.[27][28]
While he continued to play with his band, without any real connections to the recording industry, Strait became friends with Erv Woolsey, who operated one of the bars in which the Ace in the Hole band played and who had previously worked for the major label MCA Records. Woolsey convinced some of his Music Row (Nashville) connections to come to Texas and to listen to Strait and his band play. Impressed with the performance but concerned that they could not market the Western Swing sound that the band featured, they left without offering a deal.
After several unsuccessful trips to Nashville in search of a record deal in which Strait was turned down by every label in town, he considered giving up music altogether. He was offered a job designing cattle pens and decided to take it. He gave the band notice that he was leaving, but after a discussion with his wife, she convinced him to give pursuing music one more year. Not long afterward, a major label, MCA, signed Strait to a recording contract in February 1981. The initial deal was for one song. If the single did well, the label would consider doing an album.[29] The Ace in the Hole band remained with Strait, performing as the backup and touring band for the now solo career of Strait.[28]
1980s
[edit]
In the spring of 1981, Strait released his first single for MCA Records, titled "Unwound", which climbed to number six on the Billboard Hot Country Songs chart that year and was included on his debut album Strait Country. The record featured two other singles including "Down and Out", a number 16 hit for Strait, and "If You're Thinking You Want a Stranger (There's One Coming Home)".[30]
Strait Country was hailed by critics as being a "new-traditionalist" breakthrough that broke the trend of pop-influenced country prevalent at the time.[30] The critically acclaimed Strait from the Heart, his second album, was released in 1982 and featured the first number-one single of his career, "Fool Hearted Memory" and the top-five Western ballad "Amarillo by Morning" which was originally sung and written by Terry Stafford in 1973. It later became one of Strait's signature songs.[33] In 1983, Strait made his first appearance at the Houston Livestock Show and Rodeo, when the headlining star, Eddie Rabbitt became sick with the flu. Performing at that rodeo has since become a mainstay throughout his career. He has made more than 20 appearances at the rodeo and played for more than one million fans.
Strait recorded 17 number ones during the decade, including a string of five that lasted from 1983 to 1984[34] from his next two albums Right or Wrong, his first number-one album and the CMA award-winning Does Fort Worth Ever Cross Your Mind. The next year, he won the CMA award for top male vocalist, and released his first greatest hits compilation, which featured songs from his first three albums. Also in 1985, Strait released Something Special, the third-straight number-one album of his career, featuring the number-one single "The Chair".[30] In 1986, Strait repeated as the CMA vocalist of the year and released his fourth number-one album #7.
Strait and his family were struck with tragedy when his 13-year-old daughter, Jenifer, was killed in a one-car, alcohol-unrelated accident in 1986. She was riding in a Ford Mustang driven by Gregory Wilson Allen, 18, of Staples, Texas. Allen was charged with a class A misdemeanor for vehicular homicide. Mike Cox, spokesman for the Texas Department of Public Safety in Austin, said, "The responding trooper determined the cause of accident to be excessive speed and that the car did not negotiate the turn properly. Jenifer was riding in the front passenger seat, and none of the four occupants was wearing seat belts at the time.[35] When the vehicle flipped over onto its passenger's side, Jenifer was partially ejected, killing her on impact.[35][36] The incident caused George to greatly limit his contact with the media. He stopped doing interviews for many years after the accident; he and his family did not wish to discuss Jenifer's death.[37]
George Strait's grief did not hinder his performance, however, or his output; as he released 11 straight number-one hits, starting with "Nobody in His Right Mind Would've Left Her" in 1986 and ending with "Ace in the Hole" in 1989.[34] The singles spanned four albums including #7, Ocean Front Property in 1987, If You Ain't Lovin' You Ain't Livin' in 1988, and 1989's Beyond the Blue Neon, all of which reached the number one spot on country album charts. Ocean Front Property was the first country album to ever debut at number one on the charts by any artist. The streak included such songs as "Ocean Front Property", "All My Ex's Live in Texas", "Famous Last Words of a Fool", and "Baby Blue". Strait finished the decade by winning the CMA Entertainer of the Year award in 1989. One year later, he won the award again.[30]
1990s
[edit]
Strait began the decade with the release of his 10th studio album, Livin' It Up, which featured two number-one hits, including "Love Without End, Amen", his first multiweek hit, and "I've Come to Expect It From You". Both songs remained first for five weeks in 1990. Chill of an Early Fall shortly followed in 1991, and received positive reviews. Entertainment Weekly noted that the album marked a shift for Strait from "repeating himself" in his previous works to producing different material.[38] It produced the number-one songs "If I Know Me" and "You Know Me Better Than That", but ended his streak of 31 straight top-10 hits with the cover of "Lovesick Blues", which peaked at number 24. The record blocked his run of eight top-charting albums with its peak of number four. In the spring of 1992, Holding My Own was released. It did not produce any number ones, but did include two top-five songs, including "So Much Like My Dad".
Later in 1992, Strait played the main character in the film Pure Country, and released the film's soundtrack. It was his most successful studio album, producing such hits as "Heartland", "I Cross My Heart", and "When Did You Stop Loving Me", and peaked at number one and number six respectively on the Country and Billboard 200 album charts. The success continued with his next album, Easy Come, Easy Go in 1993, which reached the top five on the Billboard 200 and featured the hits "I'd Like to Have That One Back", "The Man in Love with You", and the number-one title track.[30]
His next four albums, including Lead On in 1994, Blue Clear Sky in 1996, Carrying Your Love with Me in 1997, and 1998's One Step at a Time, all charted at number one, with Blue Clear Sky claiming the spot on its debut week, and Carrying Your Love with Me peaking at number one on the Billboard 200 for the first time in Strait's career. This series of albums produced eight number-one singles for Strait, including "You Can't Make a Heart Love Somebody", "Carried Away", "One Night at a Time", and "I Just Want to Dance with You".[30]
During this period, Strait also released a four-disc, box-set career retrospective, Strait Out of the Box, in 1995, which also included two new songs, the top 5 hit "I Know She Still Loves Me" and the No.1 hit "Check Yes or No". It became the second-best selling box set ever with shipments of 8 million in the United States. He was named as the CMA's Top Male Vocalist in 1997 and 1998.[30] Starting in 1997, and continuing until 2001, Strait headlined the George Strait Country Music Festival, which included artists such as Tim McGraw, Faith Hill, Kenny Chesney, Alan Jackson, and others.[30]
In an effort to introduce these acts to as many fans as possible, the festival promised not to visit any market more than twice. It played only a small number of dates, usually no more than 20 a year, but still managed to be the ninth-biggest grossing tour of 1998.[39]
Strait completed the decade with the album Always Never the Same in 1999, which peaked at number two on country charts and matched the cross-over success of Pure Country by reaching number six on the Billboard 200. The record produced the hits "What Do You Say to That", "Meanwhile", and the number-one "Write This Down". Reviews of the album's material were generally mixed, but Entertainment Weekly observed that at this point in his career, Strait could record the "most lightweight" material and "make it soar" on the radio with his "grace".[38] All in all, Strait scored 17 number-one hits on the Billboard country airplay charts in the decade, and carried his successes into the next century.[18]
2000s
[edit]
Strait released a self-titled album in 2000, which despite a number-one and number-seven showing on the country and Billboard 200 album charts, respectively, produced no number-one singles, and was the first studio album of his career to not be certified platinum. The singles "Go On" and "If You Can Do Anything Else" were released from the record, with both peaking in the top five. In May 2001, The Road Less Traveled was released. Reviews for the album were mostly positive; Rolling Stone described it as sticking to the formula, "but adds a few twists that make it superior to his last few releases."[40] It featured "vocal processing", and was considered by some critics as an experimental album.[28] Three singles were released from it, two of which reached number one, including "She'll Leave You with a Smile", his 50th on combined charts and "Living and Living Well", both of which reached the top 30 of Billboard Hot 100, with the former peaking at number 23, Strait's highest rank on the chart. The single "Run" peaked at number two and reached number 34 on the Billboard 100. Strait released two records in 2003. For the Last Time: Live from the Astrodome was a recording of the last Houston Livestock Show and Rodeo to take place in the Astrodome. The performance itself set the record for paid attendance at the venue, with 68,266 people, breaking Latin superstar Selena's previous record of about 67,000 in 1995.[41]
His next album, Honkytonkville was described as "a fiery set of hard country", and was praised "for its mixture of the old Strait with his modern, superstar self."[28] It did not produce any number ones for Strait, but included the hits "Cowboys Like Us" and a cover of Bruce Robison's "Desperately". His 2004 performance at Reliant Stadium set a new rodeo attendance record, with 68,679 spectators. That year, he issued a greatest hits package billed as 50 Number Ones, chronicling the number-one hits of his career from all charts, starting with "Fool Hearted Memory" and ending with "She'll Leave You With a Smile." A new track, "I Hate Everything", was also included, and became his 51st overall number one in 2004.
The next year, Somewhere Down in Texas arrived, which produced the hit "You'll Be There", marking Strait's first appearance on the adult contemporary chart. The next year, he embarked on a tour that included only 18 performances, but grossed over $15 million. He attributed this success to the fact that his band and he are "musically very tight", have a large pool of songs to draw from, and perform those songs very similarly to how they sound on their albums.[42]
On October 3, 2006, Strait marked his 30th year in the music industry with the release of a new album titled It Just Comes Natural. The album was recorded in Key West, Florida, in Jimmy Buffett's Shrimp Boat Sound Studio (said to be a better recording location due to lack of allergy flare-ups during recording process), which was also the recording location of Troubadour.[citation needed] It featured 15 new songs. Strait's long-time friend and songwriter, Dean Dillon, co-wrote two of the songs on the album. It received generally positive reviews from critics. People, in their four-star review, remarked, "If ever there was a natural in country music, it's Strait," while USA Today raved that "he continues to make such consistent quality look easy". The first single from the album, "Give It Away" reached number one, making one of its co-writers, country legend "Whispering Bill" Anderson, the first songwriter to have a number-one hit in five different decades. The title track, "It Just Comes Natural" became his 42nd Billboard number one.[citation needed]
In 2007, "Wrapped" reached number one on the Mediabase 24/7 country music charts, giving Strait his 55th overall number-one single. From January through April of that year, Strait headlined a 23-date arena tour with country-music legend Ronnie Milsap and then-newcomer Taylor Swift. He released a new album titled Troubadour on April 1, 2008. The CD contained 12 tracks, including a duet with Patty Loveless and another with long-time songwriter Dean Dillon. The lead single from the album, "I Saw God Today", debuted at number 19 on the Radio and Records and Billboard charts. It is the highest debut ever for a single from Strait and the fourth-highest debut for a song in country-music history. Troubadour debuted at number one on the Billboard Top 200 album charts, selling over 160,000 copies in its first week of release. "River of Love", the third single from the album, became his 57th number-one song in 2009.[43]
In April 2009, Strait was honored by the Academy of Country Music with the Artist of the Decade Award, which was presented to Strait by the previous ACM Artist of the Decade, Garth Brooks. In June of that year, he headlined the first event at the new Dallas Cowboys Stadium in Arlington, Texas. Strait's single "Living for the Night" was released on May 28, 2009, and was written by Strait, his son Bubba, and Dean Dillon. The song was the lead single from his album Twang, released on August 11, 2009. Twang was certified gold for selling over 500,000 copies.[citation needed]
2010s
[edit]
In 2010, Billboard ranked Strait number one in the top-25 country artists of the past 25 years.[44] On September 6, 2011, Strait released the album, Here for a Good Time, which yielded two number-one singles—"Here for a Good Time" and "Love's Gonna Make It Alright"—bringing Strait's number-one singles total to 59. The album's third single, "Drinkin' Man", was less successful, peaking at number 37.
In October 2012, Strait released the single "Give It All We Got Tonight",[45] which was included on his album Love Is Everything, released on May 14, 2013. The song initiated a "60 for 60" movement by Strait's label, to make the song his 60th number-one single on all country charts while he was still 60 years old.[46] The song reached the top of the Mediabase charts in May 2013. The album's next single, "I Believe", reached number 50 on the U.S. Country Airplay chart, making it Strait's first single to miss the top 40. Strait won the 2013 CMA Entertainer of the Year award.
In November 2013, Billboard presented Strait with its Legend of Live honor during the 10th annual Billboard Touring Awards ceremony.[47] The award honors the concert industry's top artist based on Billboard's Boxscore chart and box-office performance.[48] Strait is the first country artist to receive Billboard's highest touring accolade.[49] On April 19, 2015, Strait made a guest appearance at the 2015 ACM Awards, he performed "All My Ex's Lives in Texas" and his new single "Let it Go".[50]
In 2016, Strait was selected as one of 30 artists to perform on "Forever Country", for a mash-up track of "Take Me Home, Country Roads", "On the Road Again", and "I Will Always Love You", which celebrates 50 years of the CMA Awards.[51]
In 2018, Strait released a single called "Codigo", after a brand of tequila produced by a company in which he had invested.[52]
The Cowboy Rides Away Tour
[edit]
On September 26, 2012, Strait announced that he was retiring from touring, and that his Cowboy Rides Away Tour would be his last.[53][54] Tickets for both arenas and stadiums on the Cowboy Rides Away Tour sold out in a matter of hours. The tour started on January 18, 2013, in Lubbock, Texas, and was divided into two legs: 21 concerts in 2013 and 26 concerts in 2014. The tour ended in Arlington, Texas, on June 7, 2014. Strait was supported on the tour by his longtime 11-member touring group, the Ace in the Hole Band. For the 2013 leg, Martina McBride was the opening performer.[53]
On January 9, 2014, Strait initiated the second leg of the tour, which featured the opening performers Jason Aldean, Eric Church, Martina McBride, Miranda Lambert, Little Big Town, Vince Gill, Lee Ann Womack, Merle Haggard, Chris Young, Ronnie Dunn, Luke Bryan, Tim McGraw, Kenny Chesney, Alan Jackson, and Asleep at the Wheel.[56] Many of these performers gathered together for the tour's final concert in Arlington, Texas on June 7, before 104,793 fans - at the time the largest ticketed attendance ever at a single-headlining act concert in the United States. Strait would then break his own record, ten years later. The concert also set a record for the largest gross at a single-show country concert, $18,194,374, and broke the 33-year-old record as well for "largest indoor concert ever," easily surpassing the 87,500 fans who attended the December 5, 1981, Rolling Stones concert at the New Orleans Superdome (opening acts, The Neville Brothers, followed by George Thorogood and the Destroyers).
A live album recorded from the final concert in Arlington titled The Cowboy Rides Away: Live from AT&T Stadium was released on September 16, 2014, with DVD/CDs of the concert being released on November 10, 2014, with Walmart exclusively releasing a deluxe edition including two CDs, as well. This deluxe DVD is the entire over three-hour concert and the accompanying two CDs have 28 of the 40 songs sung that night.[57] On August 29, 2014, the Country Music Television channel broadcast a two-hour concert special of the event titled George Strait: The Cowboy Rides Away.[57] This CMT concert special had 1+1⁄4 hours of music from the concert and interviews.
Strait broke the record for most fans at a U.S. concert by a single headlining act on Saturday, June 15, 2024, with a concert at Kyle Field at Texas A&M University in College Station, Texas, with 110,905 fans in attendance. The record was previously held by The Grateful Dead who had 107,019 fans in attendance at their 1977 show at Raceway Park in New Jersey.[58] The show also set a new record for Texas A&M’s Kyle Field for most fans at a single event. The previous record was on October 11, 2014, with 110,633 fans, for a Texas A&M football game against Ole Miss.[59]
Musical style
[edit]
Strait's style of country music has been largely labeled as neotraditional country, which relies on traditional instrumentation in country music, i.e. fiddle and pedal steel guitar.[60][2][61] His style has also been labeled as Texas country, Western swing,[62][60] and honky-tonk.[60][62]
Personal life
[edit]
Strait eloped in Mexico with his high school sweetheart Norma in December 1971.[63] Their first child, Jenifer, was born on October 6, 1972. Their son, George Harvey Strait Jr., known as "Bubba", was born in 1981.[64]
Jenifer was killed in an automobile accident in San Marcos on June 25, 1986, at age 13. The family set up the Jenifer Lyn Strait Foundation, which donates money to children's charities in the San Antonio area.[65] George Strait Jr., who is a graduate of Texas A&M, competed as a Professional Rodeo Cowboys Association team-roping competitor.[66] Strait was able to watch his son compete at the Houston Livestock Show and Rodeo in 2006 shortly before taking the stage for his own performance.[67]
On April 10, 2009, John Byron “Buddy” Strait, who was George's older brother, died at the age of 58.
Since 2010, Strait has served as spokesman for the VF Corporation's Wrangler National Patriot program, a campaign designed to raise awareness and funds for America's wounded and fallen military veterans and their families.[68] Strait says, "I've been a part of the Wrangler family for a long time... when they came to me with the idea for supporting fallen and wounded American veterans and their families, I knew I wanted to get involved."[68] He also appeared in commercials for Tractor Supply Company.[69]
In February 2012, Strait became a grandfather when George Strait Jr. and his wife Tamara had their first child, a son, George Harvey Strait III.[70]
Strait owns a Gulfstream G450 business jet; its tail number is N518GS.[71] His personal aircraft is housed at the Landmark Aviation facility in San Antonio. He teamed up with Texas Governor Greg Abbott to help with disaster relief efforts in the wake of Hurricane Harvey which devastated coastal areas of Texas.[72]
Strait along with long-time friend and business partner Tom Cusick created the Vaqueros Del Mar (Cowboys of the Sea) Invitational Golf Tournament and Concert held annually at Strait and Cusick's Texas Hill Country resort Tapatio Springs Resort near Boerne, Texas. The Invitational raises money for David Feherty's Troops First Foundation, benefiting wounded servicemen, servicewomen and their families. Since its beginning in 2012, more than US$5 million have been raised by the events.[73][74][75] In January 2018, George Strait was named the 2018 Texan of the Year by the Texas Legislative Conference, a statewide group of business and political leaders. Strait was honored for his fundraising efforts in the wake of the widespread flooding following Hurricane Harvey.[76][77]
Discography
[edit]
In more than 30 years of recording, all of which have been spent with MCA Records, George Strait has garnered 61 number-one songs on all country charts (including Mediabase 24/7, the former Radio & Records chart, and the now-defunct Gavin Report chart), and has more number-one hits than any other artist in a single genre. His 44 Billboard country number-one hits are a record, four more than Conway Twitty's total that includes several duets with Loretta Lynn.[78] Additionally, Strait is also the first artist in the history of Billboard to have at least one single enter the top 10 of a Billboard chart for 30 consecutive years, starting in 1981 when his debut single "Unwound" peaked at number six on the Hot Country Singles chart. All of his top-10 singles have been on that chart.[79] Strait has sold more than 68 million records in the United States alone,[80] and his certifications from the RIAA include 13 multiplatinum, 33 platinum, and 38 gold albums.[81]
Filmography
[edit]
Strait has acted in several films. He had a bit part in The Soldier (1982) and starred in Pure Country (1992). He also appeared as himself in Grand Champion (2002).
The film Pure Country featured George Strait in the lead role as Dusty Chandler, a famous country singer who strays too far from his country roots and traditional sound. It provided the opportunity for Strait to branch out from his own traditional country sound for a more rock-and-roll approach. The film had little success at the box office and took in only $15 million, but the soundtrack also called Pure Country, produced several hit singles for Strait. It has become his best-selling album to date. Strait had a limited role in the sequel to Pure Country, Pure Country 2: The Gift.[82]
Year Title Role 1982 The Soldier Himself 1992 Pure Country Wyatt "Dusty" Chandler 2002 Grand Champion Himself 2003 King of the Hill Voice of Cornell 2010 Pure Country 2: The Gift Himself
Honors and awards
[edit]
Strait holds the record for most number-one albums and singles, gold albums, platinum albums, and multiplatinum albums in the history of country music, and is 11th in the most number-one albums in all other genres. Strait is third only to Elvis Presley and The Beatles with the most gold and platinum albums in the history of music.[83] Strait has been certified as the 12th-best selling artist in American history, with career record sales of 70 million in the United States.[84]
Strait has held the world record for most number one hit singles across all charts and genres with 60 number-one hits since 2013,[3][7] and is the only artist in the history of music of any kind to have a top-10 hit every year for 30 years. He is also second all-time in top-10 hits in the history of music, currently five away from breaking the all-time record held by Eddy Arnold, who had 92 in his historic career. Strait has won 22 CMA Awards, including consecutive Entertainer of the Year honors in 1989 and 1990, and also just recently won that same honor in 2013 (and is the only artist to win the top honor in three different decades) and holds the career record for CMA nominations (as a whole) and the most consecutively of all time.
As of 2009, he holds the record for the most CMA awards. Strait also holds those same records for wins and nominations for the Academy of Country Music Awards. Strait was elected into the Country Music Hall of Fame in 2006, performing his then-latest number-one hit "Give it Away" right before accepting his replica Hall of Fame plaque at the 40th CMA Awards. He was only the second artist (after Eddy Arnold in 1966) to be inducted into the Hall of Fame while still actively recording and producing chart-topping hits and albums.
As of June 8, 2010, Strait was named the top country-music artist of the past 25 years according to Billboard. In October 2008, the Academy of Country Music Awards named Strait their Artist of the Decade for the 2000s. He was presented the award by the previous winner Garth Brooks. Past winners of the award are Marty Robbins (1960s), Loretta Lynn (1970s), Alabama (1980s), and Garth Brooks (1990s).[85] With the win of the entertainer-of-the-year award in 2013, he is the only artist to ever win that award in three different decades and also was the oldest winner. The win is currently the longest span between wins for that award, as well. Strait is also tied with Merle Haggard for the most male vocalist-of-the-year awards.
On June 1, 2013, Strait appeared at the Alamodome, in San Antonio, Texas, before 70,000 fans in the last concert of the first half of his two-year farewell tour. Governor Rick Perry, who was in attendance with First Lady Anita Thigpen Perry, announced that May 18, Strait's birthday, would be "George Strait Day" in Texas each year.[86]
In 2023, Rolling Stone ranked Strait at number 156 on its list of the 200 Greatest Singers of All Time.[87]
Year Award Category Work 1985 Academy of Country Music Top Male Vocalist — [88] 1985 Country Music Association Male Vocalist of the Year — [89] 1985 Country Music Association Album of the Year Does Fort Worth Ever Cross Your Mind [89] 1986 Academy of Country Music Top Male Vocalist — [88] 1986 Academy of Country Music Album of the Year Does Fort Worth Ever Cross Your Mind [88] 1986 Music City News Country Male Artist of the Year — 1986 Country Music Association Male Vocalist of the Year — [89] 1986 Billboard Year-End Awards Top Country Artist — 1987 Billboard Year-End Awards Top Country Artist — 1988 Academy of Country Music Top Male Vocalist — [88] 1989 Country Music Association Entertainer of the Year — [89] 1989 Special Connie B. Gay Award — 1989 Academy of Country Music Entertainer of the Year — [88] 1989 Special Presidential American Success Award — 1990 Country Music Association Entertainer of the Year — [89] 1990 Radio & Records Country Performer of the Year — 1991 American Music Awards Favorite Country Male Artist — 1993 Academy of Country Music Tex Ritter Movie of the Year Pure Country [88] 1995 Academy of Country Music Single of the Year "Check Yes or No" [88] 1995 ASCAP Voice Of Music Award — 1996 TNN/Music City News Video of the Year "Check Yes or No" 1996 TNN/Music City News Single of the Year "Check Yes or No" 1996 TNN/Music City News Album of the Year Lead On 1996 Music City News Country Single of the Year "Check Yes or No" 1996 Country Music Association Single of the Year "Check Yes or No" [89] 1996 Country Music Association Album of the Year Blue Clear Sky [89] 1996 Country Music Association Male Vocalist of the Year — [89] 1996 Academy of Country Music Top Male Vocalist — [88] 1996 Academy of Country Music Album of the Year Blue Clear Sky [88] 1996 Radio & Records Best Single "Check Yes or No" [88] 1996 Radio & Records Best Male Vocalist — 1996 Radio & Records Most Valuable Performer — 1997 TNN/Music City News Album of the Year Blue Clear Sky 1997 Country Music Association Male Vocalist of the Year — [89] 1997 Country Music Association Album of the Year Carrying Your Love With Me [89] 1997 American Music Awards Favorite Country Album Blue Clear Sky 1997 Academy of Country Music Top Male Vocalist — [88] 1997 Academy of Country Music Album of the Year Carrying Your Love With Me [88] 1997 Radio & Records Best Album Blue Clear Sky 1997 Radio & Records Best Male Vocalist — 1998 Country Music Association Male Vocalist of the Year — [89] 1998 American Music Awards Favorite Country Male Artist — 1998 American Music Awards Favorite Country Album Carrying Your Love With Me 1998 Radio & Records Best Male Vocalist — 1999 Country Weekly Golden Pick Awards Favorite Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Line Dance Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Video Entertainer — 1999 Country Weekly Golden Pick Awards Favorite Male Artist — 1999 Country Weekly Golden Pick Awards Favorite Entertainer — 1999 Country Weekly / TNN/CMT Music Awards Album of the Year One Step at a Time 2000 Country Weekly / TNN/CMT Music Awards Impact Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Single of the Year "Write This Down" 2000 Country Weekly / TNN/CMT Music Awards Male Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Entertainer of the Year — 2000 Country Weekly / TNN/CMT Music Awards Album of the Year Always Never The Same 2000 Country Music Association Vocal Event of the Year "Murder on Music Row" (with Alan Jackson) [89] 2001 Country Music Association Song of the Year "Murder On Music Row" (awarded to songwriters) [89] 2002 Country Weekly Favorite Collaborative Song "Designated Drinker" (with Alan Jackson) 2003 CMT 40 Greatest Men of Country Music Ranked No. 9[citation needed] — 2003 Academy of Country Music Special Achievement Award (in recognition of 50 No. 1 Songs) — [88] 2003 Special Award National Medal of Arts — 2004 Cheyenne Frontier Days Hall of Fame — [90] 2005 Country Music Association Musical Event of the Year "Good News, Bad News" (with Lee Ann Womack) [89] 2006 Honorary Doctoral Degree Texas State University–San Marcos — 2006 Country Music Hall of Fame Inducted into the Country Music Hall of Fame — 2006 Academy of Country Music Single Record of the Year (artist) "Give It Away" [89] 2006 Academy of Country Music Single Record of the Year (producer) "Give It Away" [89] 2006 Academy of Country Music Song of the Year (artist) "Give It Away" [89] 2007 Country Music Association Song of the Year "Give It Away" (awarded to songwriter Jamey Johnson) [89] 2007 Country Music Association Album of the Year It Just Comes Natural (for artist and producer) [89] 2008 Country Music Association Single of the Year "I Saw God Today" [89] 2008 Country Music Association Album of the Year Troubadour [89] 2009 Grammy Awards Best Country Album Troubadour 2009 Academy of Country Music Artist of the Decade — [88] 2010 Billboard.com Top Country Artist of the Past 25 Years — [91] 2013 Country Radio Broadcasters Inc. Country Radio Broadcasters Career Achievement Award — 2013 ASCAP ASCAP Founders Award — 2013 Billboard Touring Awards Legend of Live Award — 2013 Country Music Association Entertainer of the Year — [89] 2014 Academy of Country Music Entertainer of the Year — [88] 2015 Academy of Country Music 50th Anniversary Milestone Award Winner — [88] 2017 Academy of Country Music Cliffie Stone Icon Award — [88] 2020 Billboard Music Awards Top Country Tour 2021 National Cowboy and Western Heritage Museum Western Heritage Awards Lifetime Achievement Award [92]
References
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8911 | dbpedia | 2 | 19 | https://onmilwaukee.com/articles/063909straitreview | en | Strait as an arrow; "King of Country Music" delivers | [
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] | null | [] | 2009-06-30T01:56:00-05:00 | Aside from some thank yous and an introduction of his band, George Strait had little to say Monday night when he headlined at the Marcus Amphitheater. And that was OK with his fans, who didn't mind his disinterest in small talk. They paid to see an old-fashioned country music show, and that's exactly what they got from the 57-year-old star. | /assets/favicons/apple-touch-icon-c0c851f89a7dc6d291784956fdd2cc9914c1f63f856ff3948d830c5045003cfe.png | OnMilwaukee | https://onmilwaukee.com/articles/063909straitreview | For one fleeting moment, George Strait drew a smattering of boos and catcalls from a packed Marcus Amphitheater.
It had nothing to do with his music. Instead, it came as a result of an image of the Dallas Cowboys winning the Super Bowl during a song paying homage to his home state of Texas.
Other than that, it was a full-blown lovefest between the crowd and the venerable, 57-year-old "living legend," who headlined Summerfest Monday night.
As All-American as they come, with his well-creased Wranglers, fully-starched, button-down shirt and perfectly formed and bent black hat, Strait epitomizes the heart and soul of country music. He's as country as an old truck and muddy work boots. There's no flash, only substance; heartfelt songs about the Lone Star state, cowboys, loves lost and good times among friends.
Aside from his lyrics, Strait had only a few other words for his fans, and most of them were something along the lines of "thank you." Not that his fans minded his lack of conversation, considering the amount of music Strait packed into a roughly 90-minute set.
With little hoopla, Strait opened the show with a steady stream of hits spanning his more than three decades of work, leading off with "Baby Write this Down" and "I Just Want to Dance with You." From that point, it was one hit after another, all delivered with Strait's seemingly-permanent smile and no-nonsense delivery.
Along the way, he slowed things down with "Texas," "Heartland" and "I Hate Everything," all sung with the same steady and, for lack of a better term, methodical manner that's worked so well for so many years.
A short, but lively encore included a cover of Johnny Cash's legendary "Folsom Prison Blues."
What stands out about Strait is the timeless nature of his music. For a genre that has completely revolutionized itself over the course of the last 10 to 15 years, Strait's simple charm and from-the-heart lyrics have managed to weather the storm.
He didn't need to dance or spend time chit-chatting with his fans. That's not what they pay to see and that's not what Strait is paid to do.
Behind Strait, as always, was the Ace In The Hole Band. The 11 musicians and vocalists worked in perfect symphony with Strait and provided a seamless transistion between songs.
The night's opening acts provided an impressive contrast to Strait's traditional honkey-tonk and western swing styles.
Blake Shelton provided a great link between today's country fans and those of earlier generations. His "aw-shucks," down-on-the-farm humility -– as well as the aversion to political correctness exhibited by his hit "Sum (rhymes with 'witch')" -- had the same sort of honesty and likability with just slightly more power than Strait.
Shelton, also a funny-man, paused at one point to tell a story about asking Strait for advice on how to appeal to the latter's slightly older fan base.
"Play something they can sing along to," Shelton said was Strait's response. And to do that, Shelton played the somewhat irritating theme to the "FreeCreditReport.com" commercials … and did, in fact, get the crowd to sing along.
Behind Shelton, drummer Tracy Broussard scored points with the crowd by wearing a Brewers "retro" jersey for the show.
Up-and-comer Julianne Hough kicked off the show with a spirited set. Barely old enough for her first legal Summerfest wine cooler, Hough has some serious power in her voice and some outstanding dance moves to back it up -- you may know her better from her work on "Dancing with the Stars." | |||||
8911 | dbpedia | 0 | 16 | https://weshightower.wordpress.com/about/ | en | The BIO | [
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] | null | [] | 2010-11-28T15:12:35+00:00 | I was born in Weatherford, Texas in 1965. Graduated Weatherford High 1983, did 2 years at North Texas State Univ., 1.5 years at University of Texas at Arlington. I moved to Nashville in 1989 to try the music business. I tinted windows for a living until about 1995, when I decided to commit fully to pursuing… | en | https://s1.wp.com/i/favicon.ico | Wes Hightower | https://weshightower.wordpress.com/about/ | I was born in Weatherford, Texas in 1965. Graduated Weatherford High 1983, did 2 years at North Texas State Univ., 1.5 years at University of Texas at Arlington. I moved to Nashville in 1989 to try the music business. I tinted windows for a living until about 1995, when I decided to commit fully to pursuing my dream, left my job, and starved myself for about 9 months until I finally gathered enough demo work to pay bills. I always had a knack for harmony vocals, and fortunately the business was in need of someone else to do them in Nashville.
************
Since then I’ve sung on 156 Number One Billboard Hits, several hundred million records sold world-wide, and a few billion streams… You can scope the full list here. Music Row Magazine has named me Musician Of The Year (for Background vocals) 14 times. I’ve also been touring as a member of George Strait’s Ace in the Hole band since 1999 (on and off)…
************
My heroes are John Wesley Ryles, Curtis Young, Dennis Wilson, and Don Rich. Everything I ever did singing harmonies I learned from these guys. My influences go farther back, but my education definitely came from them. I just had to listen to the greatest records made in the seventies and eighties in Nashville and those are the guys that were the backbone of all the recordings.
*********
I am now focusing more on songwriting. I’ve had songs recorded by South 65, Jake Owen, Montgomery/Gentry, Gary Allan, Gene Watson, Sammy Kershaw, and Russell Hitchcock.
*********
I enjoy travel, good food, golf, and boating. I treasure good friends and I’m proud to have hundreds of them in Nashville. I only regret not getting to see all of them more of the time.
********
I credit God, Mom and Dad, Sis, and the friends I’ve made along the way for sustaining me through some very, very tough times, and celebrating with me in the great times… Thanks to all of them. | ||||
8911 | dbpedia | 2 | 5 | https://www.pennlive.com/life/2024/05/country-music-legend-says-band-member-suddenly-passed-away-in-heartbreaking-post.html | en | Country music legend says band member ‘suddenly passed away’ in heartbreaking post | [
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] | 2024-05-03T09:00:01.806000+00:00 | It was the third death to rock the singer and his band this year. | en | /pf/resources/images/pennlive/favicon.ico?d=1375 | pennlive | https://www.pennlive.com/life/2024/05/country-music-legend-says-band-member-suddenly-passed-away-in-heartbreaking-post.html | A rough year for country music legend George Strait turned downright brutal this week after his former drummer and longtime road manager, Tom Foote, died.
Strait announced the passing on X, formerly Twitter, on Tuesday.
WANT MORE COUNTRY MUSIC NEWS? CLICK HERE.
“We lost another one of our good friends and a huge part of our musical journey yesterday,” Strait wrote. “Tom Foote, our one-time drummer and long-time road manager for around 48 years, suddenly passed away at his home after our rehearsal. The band and I were with him most of the afternoon, and he was great. Just doing what he loved to do which was making sure we were taken care of. 2024 is taking its toll on the Ace in the Hole group. We’re all heartbroken to say the least. Rest in peace brother Tom. You will be hugely missed. I’ll see you down the road amigo.”
With country music legend’s son in hospital, family asks for prayers: ‘We can’t lose him’
Country music legend’s granddaughter shares emotional message after ‘American Idol’ performance
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Country music star angers fans who walk out of concert after he fails to play hits
Morgan Wallen could be facing a lengthy prison sentence. Here’s the latest
Foote was reportedly the drummer for a band that hired Strait to be its new singer back in 1975. That band eventually became the Ace in hte Hole Band. He reportedly stayed on as drummer through 1983 when he moved into his role as road manager.
His death comes after Gene Elders, a longtime fiddle player in Strait’s Ace in the Hole Band, and Erv Woolsey, his manager, both died within a day of one another back in March.
Meet Pa.’s billionaires: The state’s 20 richest people in 2024 and how they made their money
Taylor Swift lands on Forbes’ list of top earning entertainers. Here’s how much the Pa. native made
Country music world mourns another loss in what has been a heartbreaking year
Country music stars who fans may not see again after 2024
Toby Keith was among country music’s richest singers. Here’s where his net worth ranked in the top 10
“Hard to believe we lost two of our music family members on the same day,” Strait posted on X back then. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.” | ||||
8911 | dbpedia | 3 | 34 | https://www.justice.gov/atr/antitrust-case-filings-alpha | en | Antitrust Case Filings | https://www.justice.gov/themes/custom/usdoj_uswds/favicon.ico | https://www.justice.gov/themes/custom/usdoj_uswds/favicon.ico | [
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] | null | [] | 2023-08-29T13:19:03-04:00 | en | https://www.justice.gov/atr/antitrust-case-filings-alpha | Cases are listed alphabetically by the last name of individual defendants, by company name, or by the entity's first name. Amicus curiae briefs are listed by plaintiff's name.
Other search options: Filter and sort
Related pages:
Appellate Briefs
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U.S. v. Anheuser-Busch InBev SA/NV and Grupo Modelo S.A.B. de C.V.
U.S. v. Anheuser-Busch InBev SA/NV and SABMiller plc
Animal Science Products, Inc., et al. v. Heibei Welcome Pharmaceutical Co. Ltd., et al.
U.S. v. Anova Holding AG; Stephan Schmidheiny; and Unotec Holding AG
U.S. v. Anthracite Export Association, et al.
U.S. and Plaintiff States v. Anthem, Inc. and Cigna Corp.
U.S. v. Yoshiyuki Aoki; Masahiro Kato; and Shunichi Kusunose
U.S. v. Aon plc and Willis Towers Watson plc
U.S. v. Apotex Corp.
U.S. v. Appalachian Oil Co., Inc., et al.
U.S. v. Alvin Appel
U.S. and Plaintiff States v. Apple Inc.
Apple Inc. v. Robert Pepper, et al.
U.S. v. Apple, Inc.; Hachette Book Group, Inc.; HarperCollins Publishers LLC; Verlagsgruppe Georg von Holtzbrinck GmbH; Holtzbrinck Publishers, LLC d/b/a Macmillan; The Penguin Group, a Division of Pearson PLC; Penguin Group (USA), Inc.; and Simon & Schuster, Inc.
U.S. v. Appleton Papers, Inc.; Jujo Paper Co., Ltd.; Nippon Paper Industries, Co., Ltd.; Hirinori Ichida; and Jerry A. Wallace
U.S. v. Ara Services, Inc., et al.
U.S. v. Archer Daniels Midland Co.
U.S. v. Archer-Daniels-Midland Company and Garnac Grain Company, Inc.
U.S. v. Archer-Daniels-Midland Co. and Minnesota Corn Processors, LLC
U.S. v. Architectural Products Co., Inc.; El Paso Steel Doors and Frames, Inc.; Lindsay B. Holt, Sr.; and Humberto Lopez, a/k/a Beto Lopez
U.S. v. Arcole Midwest Corporation; Brighton Building & Maintenance Co.; Krug Excavating Co.; Union Contracting & Materials Co.; Robert R. Anderson Company; Allied Asphalt Paving Company; Thomas J. Bowler; George B. Krug, Jr.; George B. Krug, Jr.; Ernest A. Berderman; Robert R. Anderson and Donald K. McLean
U.S. v. Arctic Glacier International Inc.
U.S. v. Arden-Mayfair, Inc.; Carnation Company; Consolidated Dairy Products Company and Foremost-McKesson Inc.
U.S. v. Arden-Mayfair, Inc., Matanuska Maid, Inc.; and Meadowmoor Alaska Dairy, Inc.
U.S. v. Argos USA LLC, f.k.a. Argos Ready Mix LLC
U.S. and State of Arizona v. Arizona Hospital and Healthcare Association and AzHHA Service Corp.
Arkansas Carpenters Health and Welfare Fund, et al. and Sol Lubin, et al. v. Bayer AG, et al.
U.S. v. Armco Steel Corporation
U.S. v. Armco Steel Corporation, et al.
Armstrong Surgical Center, Inc. v. Armstrong County Memorial Hospital, et al.
U.S. v. Arnold Bakers Inc., et al.
U.S. v. Kenneth R. Arnold and Alan Shams
Jarvis Arrington, et al. v. Burger King Worldwide, Inc. et al.
U.S. v. Arteva Specialties, S.a.r.l., d/b/a KoSa
U.S. v. Ashland-Warren, Inc.
U.S. v. Asiana Airlines, Inc.
U.S. v. Asiatic Petroleum Corporation; C. H. Sprague & Son Company and Sprague Associates, Inc.
U.S. v. Asphalt Specialists LLC
U.S. v.ASSA ABLOY AB, and Spectrum Brand Holdings, Inc.
U.S. v. Associated Milk Producers, Inc.
U.S. v. Association of Engineering Geologists
U.S. v. Association of Family Practice Residency Directors
U.S. v. Association of Retail Travel Agents
U.S. v. Association of Ship Brokers and Agents (U.S.A.), Inc., Boyd,Weir & Sewell Inc., Kerr Steamship Company Inc. and Norton Lilly & Co. Inc.
U.S. v. Association of Ship Brokers and Agents (U.S.A.), Inc., and Worldscale Association (NYC), Inc.
U.S. v. Daniel William Aston and Trod Limited
U.S. v. Atlanta News Agency, Inc., and Family Reading Service, Inc.
U.S. v. The Atlanta Real Estate Board
AT&T Corp. and Covad Communications Co. v. Federal Communications Commission
U.S. v. AT&T Corp. and MediaOne Group, Inc.
U.S. v. AT&T Corp. and Tele-Communications, Inc.
U.S. and State of Louisiana v. AT&T Inc. and Centennial Communications Corp.
U.S. v. AT&T Inc. and Dobson Communications Corp.
U.S. v. AT&T Inc., DirecTV Group Holdings, LLC, and Time Warner Inc.
U.S. and Plaintiff States v. AT&T Inc.; T-Mobile USA, Inc.; and Deutsche Telekom AG
U.S. v. Atlas Iron Processors, Inc.; Sunshine Metal Processing, Inc.; Anthony J. Giordano, Sr.; Anthony J. Giordano, Jr.; David Giordano; and Randolph J. Weil
U.S. v. Atlantic Richfield Co., Inc. and U.F. Genetics, Inc. a/k/a Sunseeds Genetics, Inc. a/k/a S.S. Genetics Inc.
U.S. v. Atlantic Richfield Company, et al;
U.S. v. Atomic Fire Equipment Co., et al.
U.S. v. Joseph Attarian a/k/a "Joseph Pourattarian"
U.S. v. AU Optronics Corp., et al.
Auraria Student Housing at the Regency, LLC v. Campus Village Apartments, LLC
U.S. v. Austin Powder Co.
The Authors Guild, Inc., et al. v. Google, Inc.
U.S. v. Autoliv, Inc.
U.S. v. Automatic Data Processing, Inc.
U.S. v. AVAR Construction Systems, Inc. and Rene Friedrich
U.S. v. Aviation Fuel International, Inc. and Sean E. Wagner
U.S v. Aviation Specialities Co. Inc.; Clark's Aerial Service Inc.; Dothan Aviation Corp. Inc., and Ralco Inc.
U.S. v. David Axelrod and Baiardi Chain Food Corp.
U.S. v. Axion Specialty Contracting LLC.
Aya Healthcare Services, Inc and Aya Healthcare, Inc. v. AMN Healthcare, Inc., et al.
U.S. v. Cynthia K. Ayer
U.S. v. Raymond Azar
U.S. v. Azzarelli Construction Co.; Loitz Bros. Construction Co., Inc. Kankakee Paving Corporation; Central States Engineering, Joseph I. Azzarelli; John F. Azzarelli; Lawrence Loitz; and Lawrence C. Boettcher
Alphabetical List - B
U.S. v. B.F. Goodrich Company
U.S. v. Albert Babajanian
U.S. v. Peter Baci
U.S. v. Howard B. Bahm
U.S. v. Bain Capital, LLC; Thomas H. Lee Partners, L.P.; and Clear Channel Communications, Inc.
U.S. v. John A. Baker
U.S. v. Theresa Jeanne Baker
U.S. v. Baker Commodities, Inc. and Peterson Manufacturing Co., Inc.
U.S. v. Baker Hughes Inc. and BJ Services Co.
U.S. v. Baker Hughes Inc., Hughes Tool Co., Norton Co. and Eastman Christensen Co.
U.S. v. Baker Hughes Inc., Eimco Secoma S. A. and Oy Tampella AB
U.S. v. Glen Bakhshi
U.S. v. Baldwin-United Corp., and MGIC Investment Corp.
U.S. v. Bally Manufacturing Corp.
U.S. v. Uwe Bangert
Bank of America Corp., et al;. v. Ellen Gelboim, et al.
U.S. v. Bankers Trust of South Carolina and the Peoples National Bank
U.S. v. Ramin Baratian, a/k/a "Robert Barat"
U.S. v. Michael P. Barbour
U.S. v. Mississippi State Board of Registration for Professional Engineers And Land Surveyors
U.S. v. Barclays PLC
U.S. v. Richard Barko
U.S. v. Andrew Barmakian
U.S. v. Baroid Corp; Baroid Drilling Fluids Inc.; DB Stratabit (USA) Inc.; and Dresser Industries, Inc.
U.S v. BankAmerica Corp., Bank of America National Trust and Savings Association, Bankers Trust New York Corp., Bankers Trust Co., The Prudential Insurance Co. of America, E. Hornsby Wasson and Paul A. Gorman
U.S. v. Wesley Barta
U.S. v. John Barth, Inc., et al.
U.S. v. Albert Basal
U.S. v. Alfred Basal
U.S. v. BASF Aktiengesellschaft
U.S. v. BAX Global Inc.
U.S. v. Baxter Travenol Laboratories, Inc. and American Hospital Supply Corp.
U.S. v. Bayer AG [07/14/2004]
U.S. v. Bayer AG [10/13/2004]
U.S. v. Bayer Corp.
U.S. v. Bayer AG, Monsanto Company, and BASF SE
U.S. v. Bay Industries Inc.
U.S. v. Bay Metal, Inc.
U.S. v. Bazaarvoice, Inc.
U.S. v. BBA Aviation PLC, et al.
U.S. v. BC Flynn Contracting Corp.
U.S. v. Daniel D. Beaudoin
U.S. v. Beatrice Foods Co.; Federated Dairy Farms Inc., and Hi-Land Dairyman's Association
U.S. v. Beatrice Foods Co; and Fiberite Corporation
U.S. v. Beatrice Foods Co.; Olsonite Corp; Bemis Manufacturing Company; and Standard Tank & Seat Co;
U.S. v. Beazer PLC
U.S. v. Michael Beberman
U.S. v. James Bechand
U.S. v. Bechtel Corp.; Bechtel Inc.; Bechtel Power Corp.; Bechtel International Inc. and Bechtel International Corp.
Samuel Beck, et al. v. Pickert Medical Group, P.C., et al.
U.S. v. Bekaert Steel Wire Corporation and N.V. Beckaert S.A.
In Re: Bell Atlantic Corp., et al.
Bell Atlantic Corp., et al. v. William Twombly, et al.
U.S. v. Bell Atlantic Corp.; GTE Corp.; and Vodafone Airtouch, PLC
U.S. v. Bell Resources Ltd., Weeks Petroleum Ltd., and M.R.H. Holmes a Court
U.S. v. Bemis Co., Inc.; Rio Tinto PLC; Alcan Corp.
U.S. v. Salvatore Benigno
U.S. v. Beneficial Corporation; Beneficial Finance Co. of Ohio; The Continental Corporation; The Buckeye Union Insurance Co.; and Capital Financial Services Inc.
U.S. v. Beneficial Corporation; HLG Inc; Beatrice Foods Co.; and Southwestern Investment Co.
Douglas A. Benit v. U.S.
U.S. v. Douglas A. Benit, a/k/a J.D. Howen, a/k/a D.J. Howen, a/k/a Jack Howen; Mary Ann Elam Benit, a/k/a Mary Ann Elam, a/k/a Mary Ann Rossi; Coral Technologies, Inc.; and School Management Services, Inc.
U.S. v. Larry E. Bennett
U.S. v. Bennett Environmental, Inc.
U.S. v. Ben's Truck Parts & Equipment, Inc. and Donald L. Solomon
U.S. v. Berkshire Hathaway Inc.
U.S. v. Berlitz Languages, Inc.
U.S. v. Bertelsmann Se & Co. KgaA, Penguin Random House, LLC; Penguin Random House, LLC; Penguin Random House, LLC; ViacomCBS, Inc; & Simon & Schuster, Inc.
U.S. v. Steven L. Berman
U.S. v. Anthony J. Bertucci Construction Company, Inc.; W. H. Carder, Inc.; Davis Construction Company; Ford Construction Company; Luhr Bros., Inc.; Massman Construction Co.; McAlister Construction Company, Inc.; Midwest Construction Company; Patton-Tully Transportation Company; Pensacola Construction Co.; Pine Bluff Sand & Gravel Company; Souter Construction Co., Inc.; and Southern River Rock Co.
U.S. v. Best Tree Service, Inc.
U.S. v. Bethlehem Steel Corp.
U.S. v. Bethlehem Steel Corp., Florida Steel Corp.; Laclede Steel Co.; and Owen Steel Co., of Florida
U.S. v. Berger Industries, Inc., et al.
U.S. v. Beven-Herron Inc. and Simpson Manufacturing Co., Inc.
U.S. v. Beverly Enterprises, et al.
U.S. v. Biglari Holdings Inc. [2021]
U.S. v. Biglari Holdings, Inc. [2012]
U.S. v. Bill Harbert International Construction, Inc.; Bilhar International Establishment f/k/a Harbert International Establishment; and Elmore Roy Anderson
U.S. v. Bird Corp. and Instrumentation Associates Inc.
Billing v. Credit First Suisse Boston
U.S. v. Thomas Bishop
U.S. v. Matthew W. Bittenbender
U.S. v. Black Millwork Co., Inc., et al.
U.S. v. Stephanie D. Blackmon
U.S. v. Blackstone Capital Partners II Merchant Banking Fund L.P. and Howard Andrew Lipson
U.S. v. Richard A. Blake, Jr.
U.S. v. Len Blavatnik
U.S. and Alex. Brown & Sons Inc., et al. v. Donald Bleznak, et al.
U.S. v. Steve Bloor, a/k/a "Saeed Bloorian"
U.S. v. Blue Bell, Inc., and Genesco, Inc.
Blue Cross and Blue Shield United of Wisconsin and Compcare Health Services Insurance Company v. Marshfield Clinic and Security Health Plan of Wisconsin, Inc.
Blue Cross and Blue Shield of Ohio v. U.S.
U.S. and State of Michigan v. Blue Cross Blue Shield of Michigan
U.S. v. Michigan National Corporation; Michigan National Bank and First National Bank of East Lansing
U.S. v. Michigan National Corporation, Michigan National Bank; First National Bank of East Lansing and E.L. National Bank
U.S. v. Michigan National Corporation; Michigan National Bank; Valley National Bank of Saginaw and V. National Bank
U.S. and State of Montana v. Blue Cross Blue Shield of Montana, Inc.; Billings Clinic; Bozeman Deaconess Health Services, Inc.; Community Medical Center, Inc.; New West Health Services, Inc.; Northern Montana Health Care, Inc.; and St. Peter's Hospital
U.S. v. Bluefield Regional Medical Center, Inc. and Princeton Community Hospital Association, Inc.
U.S. v. Bluestar Metal Recycling Co.
U.S. v. BNP Paribas USA, Inc.
U.S v. Bns Inc. and Gifford-Hill & Company, Inc;
U.S. v. Chuokee Bo
U.S. v. Board of Trade of the City of Chicago, Inc.
U.S. v. Andrew Bodnar
U.S. v. Haider Bokhari, a/k/a Syed Haider Ali Bokhari; Qasim Bokhari, a/k/a Syed Qasim Ali Bokhari, and a/k/a Kasim Bokhari; Raza Bokhari, a/k/a Syed Raza Ali Bokhari; Shahida Bokhari, a/k/a Shahda Bokhari; and Kelly Bokhari, a/k/a Kelly M. Vida
U.S. v. Raza Bokhari
Thomas Boland v. Consolidated Multiple Listing Service, Inc., et al.
U.S. v. Anders Boman, Arild Iversen and Kai Kraass
U.S. v. Booz Allen Hamilton Holding Corporation, Booz Allen Hamilton Inc., Everwatch Corp., EC Defense Holdings, LLC and Analysis, Computing & Engineering Solutions, Inc.
U.S. v. Borden, Inc.; Carnation Company; Foremost-McKesson, Inc.; and Shamrock Foods Company
U.S. v. Borland International, Inc., and Ashton-Tate Corp.
Borozny, et al. v. Raytheon Technologies Corp., et al.
U.S. v. Victor Boski
U.S. v. Bruce Botchman and White Plains Coat & Apron Co., Inc.
U.S. v. Marc Boudier and Jean Charles Foucault
U.S. v. Ronald Boyarsky
U.S. v. Jason Boykin
U.S. v. Shannon Boykin
U.S. v. David R. Bradley
U.S. v. Herbert Eyers Bradley
U.S. v. Brandenburger & Davis and Bradley N. Davis
U.S. v. Gerald Brandt
U.S. v. Jason R. Brannon, et al.
U.S. v. Ted Riley Bratton
U.S. v. Carter Brett
U.S. v. Brent Brewbaker and Contech Engineered Solutions, LLC
U.S. v. Bridgestone Corp. [S.D. Tex. 2011]
U.S. v. Bridgestone Corp. [N.D. Ohio 2014]
U.S. v. Steven J. Briggin
U.S. v. Brighton Building & Maintenance Co.; Krug Excavating Co.; Western Asphalt Paving Co.; Union Contracting & Materials Arcole Midwest Corp., Palumbo Excavating Co.; Thomas M. Madden Co.; J.M. Corbett Co.; Thomas J. Bowler; George B. Krug, Jr.; Ernest A. Berderman; Peter A. Palumbo; Robert J. Madden; and James C. Corbett
U.S. v. Bristol-Myers Company; Beecham Group Limited and Beecham Inc.
U.S. v. Bristol-Myers Squibb Co.
U.S. v. British Airways PLC
U.S. v. British Columbia Forest Products Ltd and the Mead Corp.
U.S v. Broadcast Music, Inc.
U.S. v. Broadcast Music, Inc. and RKO General, Inc.
Broadcast Music, Inc. v. DMX Inc.
U.S. v. Broadcom Voice & Data, Inc.
U.S. v. Jeffrey Wayne Brock, et al.
U.S. v. Dr. Roland Brönnimann
U.S. v. Diana D. Brooks
U.S. v. F. Scott Brown
Antony Brown, et al. v. Pro Football, Inc., et al.
U.S. v. Brown & Root, Inc., et al.
U.S. v. Brown University in Providence in the State of Rhode Island, and Providence Plantations, et al.
U.S. v. John H. Browning
U.S. v. Browning-Ferris Industries of Iowa, Inc.; Browning-Ferris Industries of Tennessee, Inc.; and Browning-Ferris Industries, Inc.
U.S.; State of Florida; and State of Maryland v. Browning-Ferris Industries, Inc.
U.S. v. Brush Fibers, Inc.
U.S. v. Victor Btesh; Bruce Fish; BDF Enterprises, Inc.; Michelle’s DVD Funhouse Inc.; MJR Prime, LLC; and Prime Brooklyn, LLC
U.S. v. Harold H. Buchman
U.S. v. Benjamin C. Buette, Jr.
U.S. v. Builder's Concrete & Supply Co., Inc.
U.S. v. Builder's Concrete & Supply Co., Inc. and Gus B. Nuckols III, a/k/a Butch Nuckols
U.S. v. Bumble Bee Foods, LLC.
U.S. v. Bunge Corporation
U.S. v. Joseph E. Burford
U.S. v. Mary Burke
U.S. v. Burlington Northern Inc.
U.S. v. Bryan Lee Burrows
U.S. v. Business Investment and Development Corp.
U.S. v. David Butler
Alphabetical List - D
U.S. v. Daesang Japan, Inc.
U.S. v. Daicel Chemical Industries, Ltd.
U.S. v. Daiichi Pharmaceutical Co., Ltd.
U.S. v. Daily Gazette Co. and MediaNews Group, Inc.
U.S. and Commonwealth of Kentucky v. Dairy Farmers of America, Inc. and Southern Belle Dairy Co., LLC
U.S. v. Dairymen Inc.
U.S. v. Darling-Delaware Inc.; Herman Isacs Inc.; Lincoln Farm Products Corp.; The New Jersey Soap Company Inc.; Pinkas-Fischer & Co. Inc.; Quaker Soap Company Inc.; Rencoa Inc.; I. Schonwalter & Co. Inc.; The Standard Tallow Company; Swift & Company; The Theobald Industries and Wilson Pharmaceutical Corp.
U.S.; Commonwealth of Massachusetts; and State of Wisconsin v. Dairy Farmers of America, Inc. and Dean Foods Company
U.S. v. Dairy Farmers of America, Inc.; Société Internationale Agro-Alimentaire; and SODIAAL North America Corp.
U.S. v. Danfoss A/S and Eaton Corporation Plc
U.S. v. Danfoss Flensburg, GmbH
U.S. v. Danilow Pastry Co., Inc. et al.
U.S. v. Danone S.A. and The WhiteWave Foods Co.
U.S. v. Data Card Corp.
U.S. v. Data Card Corporation
U.S. v. Mr. David's Flooring International, LLC
U.S. v. Kevin A. Davis
U.S. v. Davitt Felder, Inc. and Davitt Felder
U.S. v. Joseph Davoudzadeh, a/k/a "Yousef Davoudzadeh"
U.S. v. DB Group Services UK Ltd.
U.S. v. D.C. Guelich Explosive Co.
U.S. v. Dead Sea Bromine Co., Ltd.
U.S. and Plaintiff States v. Dean Foods Co.
U.S. v. Christopher J. Deans
U.S. v. DeBeers Industrial Diamond Division Limited; ANCO Diamond Abrasives Corporation and Diamond Abrasives Corp.
U.S. v. Mariusz Debowski
U.S. v. Birj Deckmejian
Dee-K Enterprises, Inc. and Asheboro Elastics Corp. v. Heveafil Sdn. Bhd., et al.
U.S. v. Deere & Company, et al.
In re: Deere & Company Repair Services Antitrust Litigation
U.S. v. Thomas J. DeGirolamo
U.S. v. Degussa-Hüls AG
U.S. v. Degussa U.K. Holdings Ltd., formerly d/b/a Laporte PLC
U.S. v. Franciscus Johannes de Jong a/k/a Frank de Jong
U.S. v. Thomas Delaney
U.S. v. Delta Dental of Rhode Island
U.S. v. Del Norte Fishermen's Marketing Association Inc.
U.S. and State of Arizona v. Delta Dental Plan of Arizona, Inc.
U.S. v. Robert U. Del Vecchio Sr.
U.S. v. Diana Bakir Demilta
U.S. v. Denny's Pay-Less Grocery, Inc.
U.S. v. DENSO Corp.
U.S. v. Dentsply International, Inc.
Dentsply International, Inc. v. Antitrust Division of the United States Department of Justice
U.S. v. Freddy Deoliveira
U.S. v. Wilhelm DerMinassian
U.S. v. Eric Descouraux
Leinani Deslandes, Stephanie Turner, et al. v. McDonald's USA, LLC, et al.
U.S. v. Detloff Marketing and Asset Management, Inc., et al.
U.S. v. Detroit Lumbermen's Association, ERB Lumber Co., C.F. Gibbs Lumber Company, Groesbeck Lumber & Supply, Inc., Haggerty Lumber & Supply Co., National Lumber Company, and Wallich Lumber Company
U.S. v. Deutsche Bank AG
U.S. v. Deutsche Börse AG and NYSE Euronext
U.S. and State of Kansas; State of Nebraska; State of Ohio; State of Oklahoma; and State of South Dakota v. Deutsche Telekom AG; T-Mobile US, Inc.; SoftBank Group Corp.; and Sprint Corp.
U.S. v. Gary DeVoe
U.S. v. Alan Diamond
U.S. v. Diamond Electric Mfg. Co., Ltd.
U.S. v. John DiCarlo; Nicholas A. Penachio; Gordon Kerner; DiCarlo Distributors, Inc.; Nick Penachio Co., Inc.; and Landmark Food Corp.
U.S. v. Vincent DiCarlo
U.S. v. The Dickerson Group
U.S. v. Diebold, Incorporated and Chubb & Son, Ltd
U.S. v. Barry Diller
U.S. v. David Dilmanian, a/k/a "Farzad Dilmanian"
U.S. v. Roberto Dip and Jason Handal
U.S. v. Dip Shipping Company, LLC
Directv, LLC v. Nexstar Media Group, Inc.
U.S. v. DIRECTV Group Holdings, LLC and AT&T, Inc.
District of Columbia v. Amazon.com, Inc.
U.S. v. Steven Dornsbach; Kamida, Inc.
U.S. v. Douglas Ditmer
U.S. v. D.M.E. Industries Inc.
U.S. v. DNH International Sarl; Dyno Nobel, Inc.; El Paso Corp.; and Coastal Chem, Inc.
U.S. v. James Doherty
U.S. v. James L. Dolan
U.S. v. Michael L. Domecq
U.S. v. Domtar Inc., et al.
U.S. v. James D. Dondero
U.S. v. John F. Doody
U.S. v. Douglas Explosives, Inc.
U.S. and Plaintiff States v. The Dow Chemical Co. and E.I. Du Pont de Nemours & Co.
U.S. v. The Dow Chemical Co. and Ethyl Corp.
U.S. v. DSBD, LLC
U.S. v. DuCoa, L.P.
U.S. v. Duke Energy Corp.
U.S. v. Dunlop Oil & Marine Ltd.
U.S. v. Dunn Engineering Associates, P.C.
U.S. v. Dupont Dow Elastomers LLC
U.S. v. Dyno Nobel Inc.
U.S. v. DYWIDAG-Systems International USA, Inc. and Adam S. Allan
Alphabetical List - E
U.S. v. Eagle Electric Manufacturing Co., Inc.; Commercial Enclosed Fuse Co. of New Jersey; Gem Electric Manufacturing Co., Inc.; Cable Electric Products Inc. Superior Fuse & Mfg Co., Inc. Byrne Organization Inc. and George P. Byrne, Jr.
U.S. v. Eagle Eyes Traffic Industrial Co., Ltd.; E-Lite Automotive, Inc.; Homy Hong-Ming Hsu; and Yu-Chu Lin, a/k/a David Lin
U.S. v. Earl P.L. Apfelbaum, Inc. and John Apfelbaum
U.S. v. The Earthgrains Co.; Specialty Foods Corp.; and Metz Holdings, Inc.
U.S. v. Eastern Mushroom Marketing Cooperative, Inc.
U.S. v. Eastman Chemical Co.
U.S. v. Eastman Kodak Co.
eBay Inc. and Half.com, Inc. v. MercExchange, LLC
U.S. v. eBay Inc.
U.S. v. Ecast, Inc. and NSM Music Group, Ltd.
U.S. and Plaintiff States v. Echostar Communications Corp.; Hughes Electronics Corp.; General Motors Corp.; and DirecTV Enterprises Inc.
U.S. v. Ecolab Inc. and Permian Mud Service, Inc.
U.S. v. Eco-Tech, Inc. and Herbert H. Timmerman
U.S. v. EGL, Inc.
U.S. v. E. H. Koester Bakery Co., Schmidt Baking Co. Inc., and The Hauswald Bakery
U.S. v. E.I. Du Pont de Nemours & Co., Inc. (1976)
U.S. v. E.I. Du Pont de Nemours & Co., Inc. (1981)
E.I. du Pont de Nemours and Co. v. Kolon Industries, Inc.
U.S. v. E.I. du Pont de Nemours and Co.; Verona Corp.; Allied Chemical Corp.; American Color & Chemical Corp.; American Cyanamid Company; BASF Wyandotte Corp.; Ciba-Geigy Corp.; Crompton & Knowles Corp. and GAF Corp.
U.S. v. Paul G. Einstman
U.S. v. Eisai Co., Ltd.
U.S. v. Ira Eisenberg
U.S. v. Joseph B. Eisenberg
U.S. v. EL AL Israel Airlines Ltd.
U.S. v. El Paso Natural Gas Co.
U.S. and Plaintiff States v. Election Systems and Software, Inc.
U.S. v. AB Electrolux; Electrolux North America, Inc.; and General Electric Co.
U.S. v. Electronic Payment Services, Inc.
U.S. v. Elf Atochem S.A.
U.S. v. Yoram Eliyahu
U.S. v. Elkem Metals Co.
William Ellis, et al. v. Salt River Project Agricultural Improvement and Power District
U.S. v. Elna Co., Ltd.
U.S. v. Elpida Memory, Inc.
U.S. v. Embraco North America, Inc.
U.S. v. Robin D. Emerson
U.S. v. Emerson Electric Co., and Skil Corp.
Empagran S.A., et al. v. F. Hoffmann-La Roche, Ltd.
U.S. v. Empire Gas Corporation
U.S. v. Empire State News Corp., Inc.
U.S. v. Masaru Endo; Shigeo Yasuda; and Akira Hashimoto
U.S. v. EnergySolutions, Inc., Rockwell Holdco, Inc., Andrews County Holdings, Inc., and Waste Control Specialists LLC.
U.S. v. Engelhard Corporation and Filtrol Corporation
U.S. v. Engelhard, Corp.; Floridin Co.; U.S. Borax, Inc.; and U.S. Silica, Inc.
U.S. v. Irwin Englander a/k/a Buzz
U.S. v. Enova Corp.
U.S. v. Entercom Communications Corp. and CBS Corp.
U.S. v. Entercom Communications Corp. and Lincoln Financial Media Co.
U.S. v. Envistacom, LLC; Alan Carson; Valerie Hayes; and Philip Flores
U.S. v. Epson Imaging Devices Corp.
U.S. v. Equity Group Holdings
U.S. v. Haluk K. Ergulec and The Color Wheel, Inc.
William D. Ertag, M.D., et al. v. Naples Community Hospital, Inc.
U.S. v. ESL Partners, L.P. and ZAM Holdings, L.P.
U.S. v. Essex Group, Inc.; Continental-Copper & Steel Industries, Inc.; American Insulated Wire Corp.; Cyprus Mines Corp., Southwire Company, Inc.; and Triangle Pwc, Inc.
U.S. v. Espar Inc.
U.S. v. ETI Explosives Technologies International Inc.
U.S. v. Eurotech Industries, Inc.
U.S. v. EVA Airways Corp.
U.S. v. Evans Concrete, LLC; James Clayton Pedrick; Gregory Hall Melton; John David Melton, a.k.a. David Melton; and Timothy Tommy Strickland, a.k.a. Bo Strickland
U.S. v. Evans Products Company
U.S. v. Everbrite, Inc.
U.S. v. E.W. Scripps and Media News Group
U.S. v. Executive Relocation International, Inc.
U.S. v. Exelon Corp. [Contempt]
U.S. v. Exelon Corp. and Constellation Energy Group, Inc.
U.S. v. Exelon Corp. and Public Service Enterprise Group Inc.
U.S. v. EZ Communications, Inc. and Evergreen Media Corp.
Alphabetical List - F
U.S. v. F. Allied Construction Company, Inc., et al.
U.S. v. F. Hoffmann-La Roche, Ltd.
U.S. v. F. Hoffmann-La Roche, Ltd. and Udo Haas
F. Hoffmann-La Roche, Ltd., et al. v. Empagran S.A., et al.
U.S. v. Fabricators Supply Co., Inc., et al.
U.S. v. Richard D. Fairbank
U.S. v. David M. Farber
U.S. v. William F. Farley
U.S. v. Frank D. Fauci
U.S. v. James Travis Feazel
U.S. v. The Federal Company
Federal Trade Commission v. Actavis, Inc., et al.
Federal Trade Commission v. Phoebe Putney Health System, Inc., et al.
Federal Trade Commission v. Schering-Plough Corp., et al.
Federal Trade Commission v. Watson Pharmaceuticals, Inc., et al.
Federal Trade Commission v. Qualcomm, Inc.
U.S. v. Federated Department Stores, Inc., d/b/a I. Magnin & Co., and Saks & Company, d/b/a Saks Fifth Avenue
U.S. v Federation of Certified Surgeons and Specialists, Inc. and Pershing Yoakley & Associates, P.C.
U.S. v. Federation of Physicians and Dentists, Inc.
U.S. v. Federation of Physicians and Dentists; Lynda Odenkirk; Warren Metherd; Michael Karram; and James Wendel
U.S. v. Gerard J. Federico
U.S. v. Guila Feinberg
U.S. v. Anthony Feldman; Stephen Osborne, Ltd.; and Stephen Osborne
U.S. v. Antonio Felix
U.S. v. Steven Fenzl and Douglas E. Ritter
U.S. v. Fiat S.p.A.; Fiat Acquisition Corp.; New Holland N.V.; New Holland North America, Inc.; and Case Corp.
U.S. v. Fields & Company of Amarillo, Inc.
U.S. v. Figgie International Inc. and Harry E. Figgie, Jr.
U.S. v. The Firestone Tire and Rubber Company
U.S. v. First City Financial Corporation Ltd. and Roxboro Investments Ltd.
U.S., et al. v. First Data Corp. and Concord EFS, Inc.
U.S. v. First Hawaiin, Inc and First Interstate of Hawaii
U.S. v. First Maryland Bancorp; The First National Bank of Maryland and Citizens National Bank of Havre De Grace
U.S. v. First Multiple Listing Service, Inc.
U.S. v. First National Bank of Atlanta; First National Bank of Glenwood; First National Bank of Tucker; Alfred D. Kennedy, and Emory L. Cocke
U.S. v. First National Bancorporation, Inc. and The Exchange National Bank of Colorado Springs
U.S. v. The First National Bank of Platteville and Mound City Bank
U.S. v. First National State Bancorporation; First National Bank of South Jersey and First National State Bank of Central Jersey
U.S. v. First National Supermarkets Inc.; dba Pick-N-Pay Supermarkets; Fisher Foods Inc.; dba Fazios and Association of Stop-N-Shop Super Markets
U.S. v. First Washington Net Factory Inc.; FNT Industries Inc., and Indian Head Inc.
U.S. v. John L. "Pete" Fischer
U.S. v. Robert Fischetti
U.S. v. Fisons Limited, Fisons Pharmaceuticals, Ltd, Colgate-Palmolive Company, Armour and Company, and American Home Products Corporation
U.S. v. Flakeboard America Ltd.; Celulosa Arauco y Constitución, S.A.; Inversiones Angelini y Compañía Limitada; and Sierrapine
In re: Flat Glass Antitrust Litigation
U.S. v. Flavorland Industries Inc.; Schaake Packing Co., Inc.; Hygrade Food Products Corporation; Blincoe Packing Co., Inc, d/b/a Magic Valley Packing Co.
U.S. v. Fleet/Norstar Financial Group, Inc.
U.S. v. Flint Energy Services, Inc. and Kenneth L. Rains, a/k/a Kenny Rains
U.S. v. The Flintkote Company, G. & W. H. Corson, Inc., and IU International Corp.
U.S. v. The Gillette Company, Wilkinson Sword Inc., Stora Kopparbergs Bergslags AB and Eemland Management Services BV
U.S. v. Alvin Florida, Jr.; Robert Alhashash Rasheed; John Lee Berry, III, a/k/a "JB"; Refugio Diaz, a/k/a "Cuco"; Stephan Alexander Florida
U.S. v. Florida Cancer Specialists & Research Institute, LLC
Florida Municipal Power Agency v. Florida Power and Light Co.
U.S. v. Florida Rock Industries, Inc.; Harper Bros., Inc.; Commercial Testing, Inc.; and Daniel R. Harper
U.S. v. Florida West International Airways, Inc.; Luis Augusto Afanador; Rodrigo Hernan Hidalgo; and Jaime Lara Rueda, Sr.
U.S. v. Michael S. Flynn
U.S. V. FMC Corp.
U.S. v. Edward T. Fodrey
U.S. v. Foodmaker, Inc.
U.S. v. Lydia Fong
U.S. v. Foote Mineral Company and Metallgesellschaft, A.G.
U.S. v. Ford Motor Company and The Electric Autolite Company
U.S. v. The Fort Worth National Corporation and Mutual Savings and Loan Association
U.S. v. Forex Association of North America and Foreign Exchange Brokers Association
U.S. v. Ali Forouzan
U.S. v. Chad E. Foster
U.S. v. Foster Bam, et al.
U.S. v. L.B. Foster Co. and Portec Rail Products, Inc.
U.S. v. Thomas Franciose
U.S. v. Franklin Electric Co., Inc.; United Dominion Industries, Ltd.; and United Dominion Industries, Inc.
U.S. v. Wilson Freire
U.S. v. Fremont Bank
U.S. v. Allen K. French
U.S. v. Freyssinet International et Cie
U.S. v. Charles J. Friedman and Pamela A. Friedman
U.S. v. Norman W. Fries, Inc., d/b/a Claxton Poultry Farms
U.S. v. Frito-Lay, Inc.; BBF Liquidating, Inc.; Granny Goose Foods, Inc., and Pet Inc.
U.S. v. FTD Corp.; Florists' Transworld Delivery, Inc.; and FTD Association
Fuentes v. Jiffy Lube International, Inc.
U.S. v. Fujikura Ltd.
U.S. v. Yoshinobu Fujino
U.S. v. Fujisawa Pharmaceutical Co., Ltd., and Akira Nakao
U.S. v. Kazuaki Fujitani
U.S. v. Ryoji Fukudome and Toshihiko Nagashima
U.S. v. Fulton-Denver Co.
U.S. v. Florence Fung
U.S. v. Junichi Funo
U.S. v. Furukawa Electric Co., Ltd.
Alphabetical List - G
U.S. v. G4S Secure Solutions NV
U.S. v. Alan Gaines
U.S. v. John Michael Galloway; Nicholas Diaz; Glenn Guillory; Thomas Joyce; and Charles Rock
U.S. v. Irma Galvez
U.S. v. Gannett Co., Inc.; Belo Corp.; and Sander Media LLC
U.S. v. Michael P. Gannon
U.S. v. Garage Door Manufacturers Association Inc.; Calder Manufacturing Company; The Commander Door Inc.; General Doors Corporation; Howell Manufacturing Company; Irv Snyder Doors Inc., and Ridge Nassau Corp.
U.S. v. Mauricio Javier Garrido Garcia
U.S. v. Society of Independent Gasoline Marketers of America; Amerada Hess Corp; Ashland Oil, Inc; Continental Oil Company; Crown Central Pertoleum Corp; Kayo Oil Company, The Meadville Corp and Petroleum Marketing Corp.
U.S. v. Gate Engineering Corp. and Albith Colón
U.S. v. William H. Gates III
U.S. v. GCC Alliance Concrete, Inc.
U.S. v. Leslie Gee
U.S. v. Geisinger Health and Evangelical Community Hospital
U.S. v. Gemstar-TV Guide International, Inc. and TV Guide, Inc.
U.S. v. General Adjustment Bureau, Inc.
U.S. v. General Binding Corp. and Velobind Inc.
U.S. v. General Cinema Corp. [1971]
U.S. v. General Cinema Corp.
U.S. v. General Contractors Association of Hawaii
U.S. v. General Dynamics Corp. and Newport News Shipbuilding Inc.
U.S. v. General Dynamics Corp.; Air Reduction Company, Inc.; Chemetron Corp.; and Olin Mathieson Chemical Corp.
U.S. v. General Electric Company
U.S. v. General Electric Co. [1972]
U.S. v. General Electric Co.
U.S. v. General Electric Co. and Baker Hughes Incorporated
U.S. v. General Electric Co. and InnoServ Technologies, Inc.
U.S. v. General Electric Co. and Instrumentarium OYJ
U.S. v. General Electric Co.; Alstom S.A.; and Power Systems Mfg., LLC
U.S. v. General Electric Co.; CVT Holding SAS; Financière CVT SAS; and Converteam Group SAS
U.S. v. General Electric Co.; De Beers Centenary AG; Peter Frenz; and Philippe Liotier
General Electric Co. v. Thomas J. Zuchowski
U.S. v. AB Electrolux; Electrolux North America, Inc.; and General Electric Co.
U.S. v. General Host Corporation, Continental Baking Company, William Freihofer Baking Co., Huber Baking Company, Inc., Schaible's Bakery, Stroehmann Brothers Company, and Ward foods, Inc.
U.S. v. General Linen Supply & Laundry Co., Inc. d/b/a Cascade Linen & Uniform Service and Cascade Linen Supply; Best Metropolitan Towel & Linen Supply Co., Inc.; Joseph Lagana; and Edward Savarese
U.S. v. General Motors Corp. and Ford Motor Co.
U.S. v. Geneva County Bar Association
U.S. v. Gennex Media, LLC
U.S. v. Geo. Benz & Sons, Inc. d/b/a Oak Grove Dairy
U.S. v. Geologistics International Management (Bermuda) Ltd.
U.S. v. Georgia Automatic Merchandising Council, Inc., et al.
U.S. v. George's Foods; George's Family Farms, LLC; and George's, Inc.
U.S. v. Georgia-Pacific Corp.
U.S. v. Georgia-Pacific Corp. and Fort James Corp.
U.S. v. Peter Ghavami (a/k/a Peter Ghavamilahidji); Gary Heinz; and Michael Welty
U.S. v. John Ghianni
U.S. v. Anthony B. Ghio
U.S. v. R. Kevin Gill
U.S. v. Charles J. Gillespie
U.S. v. Gillette Dairy of the Black Hills, Inc.
Susan Giordano, et al. v. Saks & Company LLC, et al.
U.S. v. Joseph J. Giraudo; Raymond A. Grinsell; Kevin B. Cullinane; James F. Appenrodt; and Abraham S. Farag
U.S. v. Glaxo Group Ltd and Imperial Chemical Industries Ltd.
U.S. v. Jeffrey A. Glazer
U.S. v. Glazier Foods Co.
U.S. v. Glenmark Pharmaceuticals Inc., USA
U.S. v. Frederick Racer Glick
U.S. v. Ivan Glick
Global Music Rights, LLC v. Radio Music License Committee, Inc., et al.
U.S. v. Gregory Glova
U.S. v. G. Heileman Brewing Co., Inc. and Associated Brewing Co., Inc.
U.S. v. G. Heileman Brewing Co. Inc., and Pabst Brewing Co.
U.S. v. Otto Gogolin
U.S. v. Arthur Goldberg
U.S. v. Douglas Alan Goldberg
U.S. v. Edward P. Goldblatt
U.S. v. Golden Gate Sportfishers, Inc.
U.S. v. Gonnella Baking Co., and Torino Baking Co.
U.S. v. Charles Gonzales
U.S. v. Keith Goodman
U.S. and Plaintiff States v. Google LLC [2020]
U.S. and Plaintiff States v. Google LLC [2023]
U.S. v. Google Inc. and ITA Software, Inc.
U.S. v. Goodpasture, Inc.
U.S. v. The Goodyear Tire & Rubber Company
U.S. v. Joel Gorkowski
U.S. v. Gosselin World Wide Moving N.V. and Marc Smet
U.S. v. Gosselin World Wide Moving N.V. and The Pasha Group
Gosselin World Wide Moving N.V. and The Pasha Group v. U.S.
U.S. v. Joel M. Gostomelsky
U.S. v. Gould, Inc. and Saft America, Inc.
U.S. v. James Govostes
U.S. v. GrafTech International Ltd. and Seadrift Coke L.P.
U.S. v. Frank Granizo
In Re Graphite Electrodes Antitrust Litigation
U.S. v. Benjamin K. Graves
U.S. v. Gray Television, Inc., and Raycom Media, Inc.
U.S. v. Gray Television, Inc., and Schurz Communications, Inc.
U.S. v. Gray Television, Inc. and Quincy Media, Inc.
U.S. v. Great Lakes Coal & Dock Co., et al.
U.S. v. Great Lakes Concrete, Inc.
U.S. v. Great Western Sugar Company; Holly Sugar Corporation; California and Hawaiian Sugar Company; American Crystal Sugar Company; Amalgamated Sugar Company; and National Sugarbeet Growers Federation
U.S. v. Greater Bridgeport Individual Practice Association, Inc.
U.S. v. Greater Buffalo Roofing & Sheet Metal Contractors Association, Inc.
U.S. v. Greater Los Angeles Solid Wastes Management Association; Los Angeles Solid Wastes Management Assoociation; San Fernando Valley Refuse Removal Association, Inc; West Los Angeles Refuse Removal Association; and South Los Angeles Refuse Removal Association
U.S. v. Greater Pittsburgh Board of Realtors; East Suburban Multilist Real Estate Brokers, Inc.; South Hills Multilist, Inc.; North Suburban Multilist; and Greater Pittsburgh Multilist Council
U.S. v. Greater Pittsburgh Board of Realtors; East Suburban Multilist Real Estate Brokers, Inc.; South Hills Multilist, Inc.; North Suburban Multilist and Greater Pittsburgh Multilist Council [1972]
U.S. v. Greater Portland Convention Assn., Inc.; Hilton Hotels Corp.; ITT Sheraton Corp. of America; and Cosmopolitan Investment, Inc.
U.S. v. Judy Green
U.S. v. William Greenspan
U.S. v. The Greyhound Corporation; Greyhound Lines, Inc.; R.F. Shaffer; J.L. Kerrigan; and F.L. Nageotte
U.S. v. Greyhound Lines, Inc.
U.S. v. Robert P. Griffiths
U.S. v. Grinnell Lithographic Co., Inc.
U.S. v. Bernard Grobart and Teneyck, Inc. f/k/a Neill Supply Co., Inc.
U.S. v. Grow Chemical Corp.
U.S. v. Grupo Bimbo, S.A.B. de C.V.; BBU, Inc.; and Sara Lee Corp.
U.S. v. Grupo Verzatec S.A. de C.V., Stabilit America, Inc., Crane Company, and Crane Composites, Inc.
U.S. v. GS Caltex Corp., Hanjin Transportation Co., Ltd., and SK Energy Co., Ltd.
U.S. v. G.S. Electech, Inc.
U.S. v. GTCR Fund X/A, et al.
U.S. v. GTE Corp.
U.S. v. Guardian Industries Corp.
U.S. v. Eugenio A. Guardiola Ramirez
U.S. v. Robert Gugliuzza
U.S. v. Guild Savings & Loan Association
U.S. v. Leo E. Gulley
U.S. v. Robert W. Guthrie
U.S. v. United States Gypsum Company; National Gypsum Company; Kaiser Gypsum Company, Inc.; The Flintkote Company; Fibreboard Corporation; The Celotex Corporation and Georgia-Pacific Corporation
U.S. v. Gypsum Drywall Contractors of Hawaii
Alphabetical List - H
U.S. v. H. K. Porter Co. Inc.
U.S. v. H&R Block, Inc.; 2SS Holdings, Inc.; and TA IX L.P.
U.S. v. Haarmann & Reimer Corp. and Hans Hartmann
Ashlie Harris v. CJ Starr LLC, et al.
U.S. v. Frank Haeusler, Volker Hohensee, and Harald Sailer
U.S. v. Farshad Haghi, a/k/a "Fred Haghi"
U.S. v. Halifax Hospital Medical Center and Volusia County Medical Society Inc.
U.S. v. Hall Contracting Corporation, Dixie Construction Corporation, MIMS Pipeline Construction Co. Inc. and Butler Pipelines Inc.
U.S. v. Hallibuton Company
U.S. v. Halliburton Co. and Baker Hughes Inc.
U.S. v. Halliburton Co. and Dresser Industries, Inc.
U.S. v. Tsuneaki Hanamura
U.S. v. Hankyu Hanshin Express Co., Ltd.
U.S. v. Hannstar Display Corp.
U.S. v. Gregory Louis Hansen
U.S. v. Gloria F. Harper
U.S. v. Ron E. Harrison
U.S. v. Harris Corporation and L3 Technologies, Inc.
U.S. v. Harsco Corp.; Pandrol Jackson Ltd.; and Pandrol Jackson, Inc.
U.S. v. Robert J. Hart
U.S. v. Hart Schaffner & Marx
U.S. and State of New Hampshire v. Harvard Pilgrim Health Care, Inc. and Health Plan Holdings, Inc.
U.S. v. Harvey Hubbell, Incorporated
U.S. v. Harvy Hubbell Incorporated, The Ohio Brass Company, and The O.B. Merger Company
U.S. v. William N. Harwin
U.S. v. Hitoshi Hashimoto and Hiroyuki Tamura
U.S. v. Makoto Hattori
U.S. v. Andreas Hauri
U.S. v. Robert A. Haversat
State of Hawaii v. Gannett Pacific Corp., et al.
U.S. v. Darrell Hawkins
U.S. v. Hawthorn Mellody, Inc., and Hillside Dairy Company, Inc.
U.S. v. Hitoshi Hayashi
U.S. v. Masao Hayashi and Kenya Nonoyama
U.S. v. Tom Alexander William Hayes and Roger Darin
U.S. v. Hayter Oil Co., Inc. of Greeneville, Tennessee d/b/a Marsh Petroleum Co. and Sonny Wayne Marsh
U.S. v. Healthcare Partners, Inc.; Danbury Area IPA, Inc.; and Danbury Health Systems, Inc.
U.S. v. Healthcare Corporation
U.S. v. Health Choice of Northwest Missouri, Inc.; Heartland Health System, Inc.; and St. Joseph Physicians, Inc.
U.S. v. The Hearst Corporation and Globe Newspaper Company
U.S. v. The Hearst Trust and The Hearst Corp.
U.S. v. Ryan Hee and VDA OC, LLC, formerly Advantage on Call, LLC
U.S. v. James P. Heffernan
U.S. v. Durwanda Elizabeth Morgan Heinrich and Kern Carver Bernard Wilson
U.S. v. Michael W. Heinrich, et al.
U.S. v. Roy Henry Heinrich
U.S. v. Vincent J. Heintz; Nanette B. Melera; Joseph J. DeRusso; and Michael J. O'Shaughnessy
U.S. v. Ernesto Heinzelmann; Gerson Veríssimo; and Naoki Adachi
U.S. v. Barry Heisner
U.S. v. John D. Henderson
Henry, et al. v. Brown University, et al.
U.S. v. Heyward Allen Motor Company Inc., et al.
U.S. v. Heraeus Electro-Nite Co., LLC
U.S. v. Hercules Inc.
U.S. v. Hercules Incorporated; Mitsui Petrochemical Industries Ltd. and Mitsui Petrochemical Industries (U.S.A.) Inc.
U.S. v. Heritage Pharmaceuticals, Inc.
U.S. v. James L. Hertz
U.S. v. Hicks, Muse, Tate & Furst, Inc.; Capstar Broadcasting Partners, Inc.; and SFX Broadcasting, Inc.
U.S. v. Futoshi Higashida and Mikio Katsumaru
U.S. v. Higbee Company
U.S. v. Clifford Wayne Hill
U.S. v. Lindell Hilling
U.S. and State of Michigan v. Hillsdale Community Health Center; W.A. Foote Memorial Hospital, d/b/a Allegiance Health; Community Health Center of Branch County; and ProMedica Health Systems, Inc.
U.S. v. Hilltop Energy, Inc.
U.S. v. Misao Hioki
U.S. v. Hiplax International Corp. d/b/a Brite Insulation
U.S. v. Hiroya Hirose and Masakazu Iwami
U.S. v. Hitoshi Hirano
U.S. v. Hitachi Automotive Systems, Ltd. [2013]
U.S. v. Hitachi Automotive Systems, Ltd. [2016]
U.S. v. Hitachi Chemical Co., Ltd.
U.S. v. Hitachi Displays Ltd.
U.S. v. Hitachi-LG Data Storage, Inc.
U.S. v. Hitachi Metals, Ltd.
U.S. v. Jau-Yang ("J.Y.") Ho
U.S. v. Stephen L. Hodge
U.S. v. Hoechst Aktiengesellschaft
U.S. v. Hoechst Aktiengesellschaft and Bernd Romahn
U.S. v. Höegh Autoliners AS
U.S. v. Barry Holland
U.S. v. Donald R. Holland and Larry R. Sumpter
U.S. v. Marshall Holland
U.S. v. Holy Stone Holdings Co., Ltd.
U.S. v. The Home City Ice Co.
U.S. v. Harold A. Honickman
U.S. v. Honshu Paper Co., Ltd.
U.S. v. Fred Lee Hood
U.S. v. Makoto Horie
U.S. v. Satoru Horisaki
U.S. v. Horizon Lines, LLC
U.S. v. Hospital Affiliates International Inc. and American Health Services Inc.
U.S. v. Hospital Association of Greater Des Moines, Inc.; Broadlawns Medical Center; Des Moines General Hospital Co.; Iowa Lutheran Hospital; Iowa Methodist Medical Center; Mercy Hospital Medical Center, Des Moines, Iowa
U.S. v. Mike Hosseini, a/k/a "Mahmood Hosseinipour"
U.S. v. Emmanuel Hourizadeh and Raymond Nouvahian
U.S. v. Household Finance Corporation, et al.
Houston Industries Inc. v. Daniel C. Kaufman, et al.
U.S. v. Stephen E. Hruby
U.S. v. Homy Hong-Ming Hsu
U.S. v. Polo Shu-Sheng Hsu
U.S. v. Shiu-Min Hsu
HTC Corporation; HTC America, Incorporated v. Telefonaktiebolaget LM Ericsson; Ericsson, Incorporated
U.S. v. Hughes Tool Company and Baker International Corp.
U.S. v. Wen Hung "Amigo" Huang
U.S. v. Hughey, Inc. d/b/a Carmel Concrete Products and Scott D. Hughey
U.S. v. Eric Hulsman
U.S. v. Humana Inc. and Arcadian Management Services, Inc.
U.S. v. Sik Hur a/k/a Daniel Hur
U.S. v. Mahmood Hussain
U.S. v. Ian G. Hutchinson
U.S. v. Theodore B. Hutz
U.S. v. Hynix Semiconductor Inc.
U.S. v. Hyundai Oilbank Co., Ltd. and S-Oil Corporation
Alphabetical List - I
U.S. v. Ibiden Co., Ltd.
U.S. v. Jurgen Ick
U.S. v. Iconix Brand Group, Inc.
U.S. and State of Idaho v. Idaho Orthopaedic Society; Timothy Doerr; Jeffrey Hessing; Idaho Sports Medicine Institute; John Kloss; David Lamey; and Troy Watkins
U.S. v. Hirohisa Ikeda; Kunio Kanai; and Takayasu Miyasaka
U.S. v. Shigehiko Ikenaga
U.S. v. Tatsuo Ikenaga
U.S. v. Norihiro Imai
U.S. v. Saburo Imamiya
Illinois Tool Works Inc., et al. v. Independent Ink, Inc.
U.S. v. Imetal; DBK Minerals, Inc.; English China Clays, PLC; and English China Clays, Inc.
Imetal, et al. v. Paper, Allied-Industrial, Chemical and Energy Workers Int'l Union
U.S. v. InBev N.V./S.A.; InBev USA LLC; and Anheuser-Busch Companies, Inc.
U.S. v. Inco Ltd. and Falconbridge Ltd.
Indirect Purchaser Plaintiffs, et al. v. Irico Group Corp., et al.
U.S. v. Industrial Asphalt, Huntmix Inc., CalMat Co., and Coast Asphalt Inc.
U.S. v. Industrial and Commercial Bank of China Financial Services LLC
U.S. v. Industrial Electronic Engineers, Incorporated
U.S. v. Industrial Valve Sales & Service, Inc.
U.S. v. Infineon Technologies AG
U.S. v. Ingersoll-Dresser Pump Co.; Ingersoll-Rand Co.; and Flowserve Corp.
U.S. v. Inland Steel Company
U.S. v. Inmobiliaria Samisu, S.A.
U.S. v. Inoac Corp.
U.S. v. Input/Output, Inc. and The Laitram Corp.
U.S. v. Insilco Corporation
Intel Corporation and Apple Inc. v. Fortress Investment Group LLC; Fortress Investment Group LLC; Fortress Credit Co. LLC; Uniloc 2017 LLC; Uniloc Usa, Inc.; Uniloc Luxembourg S.A.R.L.; VLSI Technology LLC; Invt Spe LLC; Inventergy Global, Inc.; DSS Technology Management, Inc.; Ixi LP; and Seven Networks, LLC
Intellectual Ventures I LLC, et al., v. Capital One Financial Corporation et al.
U.S. v. Inter-Tel Technologies, Inc.
Intermedia Communications, Inc. v. BellSouth Telecommunications, Inc.
U.S. v. International Association of Machinists and Aerospace Workers; Tom Ducy; William O'Driscoll; and William W. Winpisinger
U.S. v. International Business Machines Corp.
U.S. v. International Business Machines Corp., and ROLM Corp.
U.S. v. International Business Machines Corp. and Storage Technology Corp.
U.S. v. International Telephone and Telegraph Corporation
U.S. v. International Telephone and Telegraph Corporation and The Hartford Fire Insurance Company
U.S. v. International Paper Co. and Temple-Inland Inc.
U.S. v. Interstate Bakeries Corp. and Continental Baking Co.
U.S. v. Intuit Inc. and Credit Karma, Inc.
U.S. v. Ira Green Inc.
U.S. v. Iron Mountain Inc., and Recall Holdings Ltd.
U.S. v. Irving Materials, Inc.; Daniel C. Butler; John Huggins; Fred R. "Pete" Irving; and Price Irving
U.S. v. Takuro Isawa
U.S. v. Ishihara Sangyo Kaisha, Ltd.; Takashi Akizawa; Atuso Kinoshita; and Yoshiaki Tsujimura
U.S. v. Island Periodicals, LLC
U.S. v. Bruce F. Israel
U.S. v. Daniel L. Israel
U.S. v. Ivaco, Inc.; Canron, Inc. and Jackson Jordan Inc.
U.S. v. Ixtlera de Santa Catarina S.A. de C.V. and MFC [Civil Action]
U.S. v. Ixtlera de Santa Catarina S.A. de C.V. and MFC [Criminal Action]
Alphabetical List - J
U.S. v. Gregory L. Jackson
U.S. v. Joseph R. Jackson
U.S. v. Jackson's Atlanta Ready Mix Concrete Company, Inc.; Jackson's East Point Ready Mix Concrete Company, Inc.; and Citizens Bank of Haperville
U.S. v. Jackson Hole Service Station Association; Phillip C. Begley; Noble A. Pranzen; John Farrell Hall; Kenneth E. Gayhart; Cecil E. Lynch; James Max May; Dale R. Rhodes; Robert L. Shervin; Charles Tice and Mike G. Wilmoth
Jackson, Tennessee Hospital Co., LLC v. West Tennessee Healthcare, Inc.; Jackson-Madison County General Hospital District; Blue Cross Blue Shield of Tennessee, Inc.
U.S. v. Roger Jacobi
U.S. v. Kenneth Jacobson and Jacobson Produce, Inc.
U.S. v. Jacor Communications, Inc. and Citicasters, Inc.
U.S. v. Roberto Jakubowicz
U.S. v. Amy James
U.S. v. Japan Airlines International Co., Ltd.
U.S. and Plaintiff States v. JBS S.A. and National Beef Packing Co., LLC
U.S. v. JDS Uniphase Corp. and E-TEK Dynamics, Inc.
U.S. v. JEFCO, Inc.
U.S. v. Vinaya K. Jessani
U.S. and Plaintiff States v. JetBlue Airways Corporation and Spirit Airlines, Inc.
U.S. v. J & J Korea, Inc.
U.S. v. JMJ Environmental, Inc. and John Drimak, Jr.
U.S. v. Jo Tankers B.V.
Betty Joblove, et al. v. Barr Laboratories, Inc. et al.
U.S. v. Ding Hui Joe, a/k/a David Joe, Ting-Hwei Chou, Ding Huei Joe
U.S. v. Gary L. Johns
U.S. v. Charles W. Johnson
U.S. v. Darryl Jay Johnson
U.S. Dwayne A. Johnson
U.S. v. John J. Johnson
U.S. v. Ronald K. Johnston
U.S. v. JPMorgan Chase & Co.
U.S. v. Jurgen Jost and John Tracy
U.S. v. Jacques Jourdan
U.S. v. JTEKT Corp.
U.S. v. Jungbunzlauer International AG and Rainer Bichlbauer
Alphabetical List - K
In re: K-Dur Antitrust Litigation
U.S. v. "K" Line Logistics, Ltd.
U.S. v. Stan Kahan
U.S. v. Kahan & Lessin Co., et al.
U.S. v. Martin Kanefsky
U.S. v. Joo Ahn Kang and Chung Sik Kwak
U.S. v. Steven Kanowitz and Kanowitz Fruit & Produce Co., Inc.
U.S. v. Kansas City Music Operators Association; B & G Amusement Company; B & G Cigarette Vending Company; Paramount Music Company, Inc.; Charles W. Bengimina and Nicholas Evola
U.S. v. Kazuhiko Kashimoto
U.S. v. Kason Industries, Inc. and Peter A. Katz
U.S. v. Andrew B. Katakis
U.S. v. Andrew B. Katakis; Donald M. Parker; Anthony B. Joachim; and W. Theodore Longley
U.S. v. Jason Katz
U.S. v. Kavod Pharmaceuticals LLC (F/K/A Rising Pharmaceuticals, LLC, F/K/A Rising Pharmaceuticals, Inc.)
U.S. v. Ryoji Kawai
U.S. v. Kawasaki Kisen Kaisha, Ltd.
U.S. v. Kayaba Industry Co., Ltd. d/b/a/ KYB Corp.
U.S. v. KDI Corp.; KDI Aqua Systems Inc., and Jho Dissolution Co.
U.S. v. Richard I. Keefe
U.S. v. Kemp & Associates, Inc. and Daniel J. Mannix
U.S. v. Hector Armando Kellum
U.S. v. Kennecott Copper Corporation
U.S. v. John Kennedy
U.S. v. Troy Kent
Kentucky Land Title Association v. Kentucky Bar Association
U.S. v. Kentucky Real Estate Commission
U.S. v. Kentucky Utilities Company
U.S. v. Wayne E. Kepple
U.S. v. Gordon Kerner
U.S. v. Kesco, Inc.
U.S. v. Kewanee Oil Company
U.S. v. KeySpan Corp.
U.S. v. John Khani, a/k/a "Johangir Khani"
U.S. v. Kevin Khani, a/k/a "Khosrow Khani"
U.S. v. Kiekert AG
U.S. v. Jerrold Warren Killingsworth
U.S. v. D.S. Kim; C.K. Chung; K.C. Suh; and C.Y. Choi
U.S. v. Il Ung Kim; Young Bae Rha; and Gary Swanson
U.S. v. Sang Hun Kim
U.S. and State of Texas v. Kimberly-Clark Corp. and Scott Paper Co.
U.S. v. Daniel Kimia, a/k/a "Farzin Kimiabakhsh"
U.S. v. David Kimia, a/k/a "Faramarz Kimiabakhsh"
U.S. v. Kintetsu World Express, Inc.
U.S. v. Knorr-Bremse AG and Westinghouse Air Brake Technologies Corporation
U.S. v. Koch Foods Incorporated
U.S. v. Wolfgang Koch
U.S. v. Krzysztof Koczon
U.S. v. Maurice Kohan, a/k/a "Mooris Kohanbash"
U.S. v. Koito Manufacturing Co., Ltd.
U.S. v. Michele Komack, a/k/a Michele Nicosia
U.S. v. Yuji Komatsu; Yoshihiko Katsuyama; Wakao Shinoda; and Hitoshi Hayashi
U.S. v. Hiroyuki Komiya and Hirofumi Nakayama
U.S. v. Korean Air Lines Co., Ltd.
Kotam Electronics, Inc. v. JBL Consumer Products, Inc.
U.S. v. Shinichi Kotani
U.S. v. Donald M. Kotowicz
U.S. v. Robert Kramer
U.S. v. Robert P. Krass
U.S. v. Charles N. Kriss
U.S. v. Jacobus Johan Anton Kroef
U.S. v. James D. Kuhn and Eldon Flyn Simmons
U.S. v. Kühne + Nagel International AG
U.S. v. Tetsuya Kunida
U.S. v. Yoshio Kunugi; Naoshige Makino; and Takao Fukuchi
U.S. v. Chen-Lung Kuo
U.S. v. Noburu Kurushima and Yoshihiro Kurachi
U.S. v. Akil Kurji
U.S. v. Kwik-Chek Food Stores, Inc. and Jarrod "Judd" Thomas
U.S. v. Bock Kwon
U.S. v. Hyuk Jin Kwon and Hyun Ki Shin
U.S. v. Keiji Kyomoto; Mikio Katsumaru; and Yuji Kuroda | |||||
8911 | dbpedia | 2 | 97 | https://www.austinchronicle.com/music/2015-03-06/playback-inside-antones/ | en | Playback: Inside Antone's | [
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"Antone's",
"Cheatham Street Warehouse",
"Dicks",
"Gary Clark Jr",
"Gary Floyd",
"Kent Finlay",
"Pachanga Fest",
"SXSW Music 2015",
"TV on the Radio",
"Will Bridges"
] | null | [] | 2015-03-06T00:00:00 | Christening Antone's new location, SXSW reveals, and a new documentary on old Dicks | en | /apple-icon-57x57.png?v=3 | https://www.austinchronicle.com/music/2015-03-06/playback-inside-antones/ | Antone's was christened with a six-pack of Lone Star beer late Tuesday night. News had broken earlier in the day that Austin's world-famous Home of the Blues had secured residence on East Fifth Street, closing a 14-month chapter of homelessness, and beginning a new one where the club returns Downtown. Co-owner Will Bridges supplied the celebratory suds, inviting myself and Kris Krishna, manager of Antone's partner Gary Clark Jr., inside the old brick building.
A wide-open, whitewashed space with cement floors below and ancient tile above greeted us. The antiquated room breathed timeless vibes on par with Antone's 40-year history and required little imagination to picture a rear stage facing 400 heads. A side room in front will serve as a gift shop and the upstairs, post-renovation, will house a green room, offices, and extra event space.
Krishna and Bridges were the first Antone's affiliates to lay eyes on the real estate that once was Maxey Glass in early November, and they immediately recognized its potential. Susan Antone, sister of late Antone's founder Clifford Antone, offered a benediction at first sight: "The blues are already here."
Bridges, who along with famed geneticist Spencer Wells captains the Antone's partnership, had scouted spaces for nearly a year and took serious runs on several. Returning the club Downtown, where it all started in 1975, remained a priority throughout. Occupying that territory with music makes a statement.
"There's no amount of money or development that will make or break Downtown," asserts Bridges. "What it needs is cultural investment and that's our generation's responsibility. If we don't roll up our sleeves and get our hands dirty now, we're really not going to like what Downtown's become in 20 years."
That's exactly how long Bridges and company have secured the space at 305 E. Fifth St. Though ink only recently dried on the lease, the Antone's team has spent the months since discovering the space designing the venue and bar layout, and securing key staff hires, including a yet-to-be-announced booker.
This counts as Antone's sixth location, and it's a rarity in Austin history for a venue to survive so many moves. Bridges considers Antone's the lifeboat of Austin's scene, a reliable vessel that moved around and kept musicians and club workers afloat while other venues came and went.
"It was the resilience of Antone's that represented hope," he nods. "People expected it to stay open and that's important because people could say, 'As long as it's still going, we're gonna be okay.' We want to be the lifeboat again."
Since the building was already leased for South by Southwest, Antone's extensive remodel begins April 1 and Bridges would rather pace the project with longevity in mind than rush to open for the club's 40th anniversary in July.
"As important as that is," he says just as the beer runs out, "I'll tell you one more important date: the 50th anniversary."
SXSW Downpour
March! Right now that sounds more like a command than the month. As the calendar flips onto what's simultaneously the most exhausting and provocative page of Austin's year in music, the frequency of South by Southwest announcements go from drizzle to downpour.
SXSW has begun revealing showcasing acts with more name recognition than what's previously been trumpeted. Hometown rockers Spoon, indie faves TV on the Radio, heartfelt soulman Charles Bradley, and masked performance artists the Residents are rewriting our must-see lists. Additionally, a gang of rap notables including Atmosphere, Raekwon, Ghostface Killah, Z-Ro, Wale, Earl Sweatshirt, Freddie Gibbs, and Riff Raff continue to elevate the Fest's hip-hop profile.
On Tuesday, another piece of the puzzle fell into place with the news that Spoon, Charles Bradley, and Superchunk frontman Mac McCaughan play a free concert at Auditorium Shores on Thu., March 19. Last week we learned that Latin luminaries Intocable, Bomba Estéreo, and Compass make musica at Lady Bird Lake on Saturday – leaving only Friday's freebie to be determined.
Many cards remain up SX's sleeve, of course. Like who'll deliver the Music keynote speech.
Non-wristband events concurrent with SXSW roll in daily too. Last year's SXSW breakouts Future Islands along with Okie freaks the Flaming Lips play a corporate gig at the Moody Theater March 15. The following night at the same venue, Austin City Limits tapes TV on the Radio. Local promoters Transmission hype Fun Fun Fun Fest's 10th anniversary with a massive Saturday show at Mohawk headlined by Ghostface and Badbadnotgood.
Likewise, the dizzying barrage of day parties are popping up faster than pimples on the back of a high school weightlifter – and options mean decisions. Do we trip out to Willie Nelson's Luck Ranch to hear the Red Headed Stranger strum, or scan for the secretive Illmore house and its hip selection of DJs and rappers? Do we support local business via Waterloo Records' day stage, slated to host Ryan Bingham and Joey Badass, or patronize a company renowned for underpaying artists at the Spotify House, which has buzz Belgian Stromae. Then there's the Chronicle's Thursday afternoon blowout with Sweet Spirit, Anya, Bop English, and Flesh Lights.
At least I can scratch Fader Fort off my dance card. The big Kahuna of free SXSW events has gone invite-only this year. Oh, such elitism. I'm proud to say I'm not on the list.
The Dicks From Texas
"Nobody could put their finger on why everyone liked the Dicks," assesses filmmaker Cindy Marabito. "Here's this fat, cross-dressing, flamboyant-but-macho lead man, these criminal-looking bass and guitar players who looked like they'd slit your face open, and a fuckin' kickass drummer. But it just worked.
"That music struck a chord."
The Dicks From Texas, Marabito's raw documentary about Austin's great commie punk band, premieres Wednesday at the Spider House Ballroom, kicking off the RxSM Film Fest. Loaded with unseen live footage, the film traces the uncompromising quartet of Gary Floyd, Buxf Parrot, Glen Taylor, and Pat Deason from gigs at Raul's to the infamous Rock Against Reagan tour and beyond. Marabito, a lifelong Dicks friend, captures the band's close-knit family element as well as their national notoriety through interviews with band members, local scenesters, and big-name fans like Henry Rollins, David Yow, Mike Watt, and Ian MacKaye.
"A snot-stain on a wall would've done justice to the Dicks!" exclaims Dicks singer Gary Floyd, "but Cindy went out of her way to tell a very honest story of the band."
Floyd's particularly enthused about the doc's companion album, featuring 27 bands covering Dicks songs. The disc, organized by Marabito and poster artist Lonnie Layman, pairs punk heroes the Jesus Lizard and Mike Watt with local Dicks disciples like the Bulemics, El Pathos, and the Beaumonts.
"To get all these people to get together and record Dicks songs 300 years later?" Floyd wonders aloud. "I'm as touched as you can be."
Wednesday's premiere party, 6pm-2am, includes a movie screening (7:30pm), a Dicks Q&A (8:45pm), and 15 bands doing Dicks covers. To Floyd, that's better than a reunion.
"Who wants to see a bunch of old dicks?" he cracks.
Half Notes
Pachanga Fest spreads its Latin music fiesta throughout Texas in May, adding satellite concerts in Houston and Dallas featuring Mexican electro-rockers Kinky, DJ convergence Compass, and L.A. political popista Ceci Bastida. That triptych arrives at Fiesta Gardens May 16 fortified by Mexican songbird Ximena Sariñana, Spanish rapper Mala Rodríguez, and indie rockers Enjambre. Discounted tickets on sale Friday.
Kent Finlay's swapping songs in the great beyond. The singer-songwriter, who nurtured artists at his Cheatham Street Warehouse in San Marcos, died at the age of 77 on Monday. "Country music – and just music in general really – lost a great friend today. His legend will live forever in Texas," read a statement by George Strait, whose Ace in the Hole band debuted at Cheatham. Finley always began songwriter nights with the same tune: "As long as your listenin', I'll keep on pickin'. Sing me a story and tell me a song." | |||||
8911 | dbpedia | 3 | 63 | https://www.cisco.com/c/en/us/products/collateral/wireless/unified-wireless-network-sg.html | en | Products - Cisco Unified Wireless Network Solution Guide | [
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""
] | null | [] | 2023-07-25T14:06:48 | Provides a comprehensive description of all aspects of the Cisco Wireless Network Solution, including technology and architecture, RF planning and design, security, resiliency, QoS, infrastructure services, mobility, FlexConnect, multicast, guest access, mesh networks, and services. | en | Cisco | https://www.cisco.com/c/en/us/products/collateral/wireless/unified-wireless-network-sg.html | Cisco wireless network solution overview
Built from the ground up for intent-based networking and Cisco DNA Center, the Cisco Catalyst™ 9800 Series Wireless Controllers bring together Cisco IOS® XE Software and Cisco RF excellence to create a best-in-class wireless experience for your evolving and growing organization.
These controllers also support the newest Wi-Fi 6E Cisco Catalyst 9100 Access Points.
This document primarily focuses on the Cisco® wireless on-premises solution, managed by Cisco DNA Center.
The Cisco Catalyst wireless network solution offers secure, scalable, cost-effective wireless LANs for business-critical mobility. It is the industry’s only unified wired and wireless solution to cost-effectively address the deployment, management, security, and network optimization of a Wireless LAN (WLAN) in enterprises.
This powerful indoor and outdoor solution combines the best elements of wired and wireless networking to deliver high-performance, manageable, and secure WLANs with a low total cost of ownership.
1. Next-generation wireless: An introduction
Mobile users require the same accessibility, security, Quality of Service (QoS), and high availability enjoyed by wired users. Whether users are at work, at home, or on the road, locally or internationally, there is a need to connect. The technological challenges are apparent, but mobility plays a role for everyone. Companies are deriving business value from mobile and wireless solutions. What was once a vertical market technology is now mainstream and is an essential tool in getting access to voice, real-time information, and critical applications such as email and calendar, enterprise databases, supply chain management, sales force automation, and customer relationship management.
Benefits of the Catalyst wireless infrastructure
Benefits achieved by WLANs include:
●Mobility within buildings or campus: Facilitates implementation of applications that require an always-on network and that tend to involve movement within a campus environment.
●Convenience: Simplifies networking for large, open areas where people congregate.
●Flexibility: Allows work to be done at the most appropriate or convenient place, rather than where a cable drop terminates. Getting the work done is what is important, not where you are.
●Easier setup of temporary spaces: Promotes quick network setup of meeting rooms, war rooms, or brainstorming rooms tailored to variations in the number of participants.
●Lower cabling costs: Reduces the requirement for contingency cable plant installation because the WLAN can be employed to fill the gaps.
●Easier adds, moves, and changes and lower support and maintenance costs: Enables easier setup of temporary networks, easing migration issues and costly last-minute fixes.
●Improved efficiency: Studies show that WLAN users are connected to the network 15 percent longer per day than hard-wired users.
●Productivity gains: Promotes easier access to network connectivity, resulting in better use of business productivity tools. Productivity studies show a 22 percent increase for WLAN users.
●Easier collaboration: Facilitates access to collaboration tools from any location, such as meeting rooms; files can be shared on the spot and requests for information handled immediately.
●More efficient use of office space: Allows greater flexibility for accommodating groups, such as large team meetings.
●Fewer errors: Data can be entered directly into systems as it is being collected, rather than when network access is available.
● Improved efficiency, performance, and security for enterprise partners and guests: Enables implementation of guest access networks.
●Improved business resilience: Increased mobility of the workforce allows rapid redeployment to other locations with WLANs.
Cisco wireless solutions
The core components of the Cisco wireless solutions include:
● Cisco Access Points (APs)
● Cisco Catalyst 9800 Series Wireless Controllers (WLC)
● Cisco DNA Center
● Cisco Prime® Infrastructure
● Cisco Identity Services Engine
● Cisco Spaces
For more information about the Cisco wireless network, see the Cisco Wireless and Mobility page at https://www.cisco.com/c/en/us/products/wireless/index.html.
2. Cisco wireless technology and architecture
Discovery and provisioning
CAPWAP
The Internet Engineering Task Force (IETF) Control and Provisioning of Wireless Access Points (CAPWAP) protocol is the underlying protocol used in the Cisco WLAN architecture. CAPWAP provides the configuration and management of APs and WLANs in addition to encapsulation and forwarding of WLAN client traffic between an AP and a WLAN Controller (WLC).
CAPWAP brings additional security with Datagram Transport Layer Security (DTLS) for both management and client traffic. CAPWAP uses the User Datagram Protocol (UDP) and can operate over either IPv4 or IPv6. Table 1 lists the protocol and port implemented for each CAPWAP version.
Table 1.Ports and protocols
Cisco recommends the following guidelines when implementing CAPWAP:
●IP addressing: APs must be assigned a static or dynamic IPv4 or IPv6 address to be able to successfully discover and communicate with a WLC.
●Firewall rules and Access Control Lists (ACLs): All firewall rules and ACLs defined on devices placed between the APs and WLCs must be configured to permit the CAPWAP protocol.
●IPv6 deployments: At least one WLC should be configured for both IPv4 and IPv6 to support APs with older firmware that does not support IPv6.
CAPWAP functions
The CAPWAP AP handles the following functions:
● Frame exchange handshake between a client and AP.
● Transmission of beacon frames.
● Buffering and transmission of frames for clients in power save mode.
● Response to probe request frames from clients; the probe requests are also sent to the WLC for processing.
● Forwarding notification of received probe requests to the WLC.
● Provision of real-time signal quality information to the switch with every received frame.
● Monitoring each of the radio channels for noise, interference, and other WLANs.
● Monitoring for the presence of other APs.
● Encryption and decryption of 802.11 frames.
● Data handling in centralized deployments.
● QoS handling.
WLC functions
The Cisco WLC handles the following functions:
● 802.11 authentication.
● 802.11 association and reassociation (mobility) in centralized deployment (local mode).
● 802.11 frame translation and bridging.
● 802.1X, Extensible Authentication Protocol (EAP), and RADIUS processing.
● Termination of 802.11 traffic on a wired interface, except in the case of Cisco FlexConnect® Aps.
● Mobility.
● Data handling in centralized deployments.
● QoS handling.
Security and encryption
Communication between the Cisco WLC and APs is secured and encrypted. CAPWAP control and data packets exchanged between an AP and a WLC use DTLS. DTLS is an IETF protocol based on Transport Layer Security (TLS). All Cisco access points and controllers are shipped with a Manufacturing Installed Certificate (MIC), which is used by an AP and WLC by default for mutual authentication and encryption key generation. Cisco also supports Locally Significant Certificates (LSC) to provide additional security for enterprises that wish to issue certificates from their own Certificate Authority (CA).
By default, DTLS uses the RSA 128-bit Advanced Encryption Standard/Secure Hash Algorithm 2 (AES/SHA-2) cipher suite, which is globally defined using the #ap dtls-cipher-suite command. Alternative ciphers include 256-bit AES with SHA-1 or SHA-256. DTLS is enabled by default to secure the CAPWAP control channel but is disabled by default for the data channel. No DTLS license is required to secure the control channel. All CAPWAP management and control traffic exchanged between an AP and WLC is encrypted and secured by default to provide control plane privacy and prevent Man-In-the-Middle (MIM) attacks.
CAPWAP data encryption is optional and is enabled per AP. Data encryption requires a DTLS license to be installed on the WLC prior to being enabled on an AP. When enabled, all WLAN client traffic is encrypted at the AP before being forwarded to the WLC and vice versa. DTLS data encryption is automatically enabled for teleworker APs but is disabled by default for all other APs. Most APs are deployed in a secure network where data encryption is not necessary. In contrast, traffic exchanged between a teleworker AP and WLC is forwarded over an unsecured public network, where data encryption is important.
Discovery process and provisioning
In a CAPWAP environment, an AP discovers a WLC by using a CAPWAP discovery mechanism and then sends the WLC a CAPWAP join request. When an AP joins a WLC, the WLC manages its configuration, firmware, control transactions, and data transactions. A CAPWAP AP must discover and join a WLC before it can become an active part of the Cisco wireless network.
Each Cisco AP supports the following discovery processes:
Step 1. Broadcast discovery: The AP sends a CAPWAP discovery message to the IPv4 broadcast address (255.255.255.255). Any WLC connected to the same VLAN will see the discovery message and will in turn reply with a unicast IPv4 discovery response.
Step 2. Multicast discovery: The AP sends a CAPWAP discovery message to the multicast group address for all controllers (FF01::18C). Any WLC connected to the same VLAN will see the discovery message and will in turn reply with an IPv6 discovery response.
Step 3. Locally stored controller IPv4 or IPv6 address discovery: If the AP was previously associated to a WLC, the IPv4 or IPv6 addresses of the primary, secondary, and tertiary controllers are stored in the AP’s nonvolatile memory (NVRAM). This process of storing controller IPv4 or IPv6 addresses on an AP for later deployment is called priming the access point.
Step 4. Dynamic Host Configuration Protocol (DHCP) discovery: DHCPv4 and/or DHCPv6 servers are configured to advertise WLC IP addresses to APs using vendor-specific options:
◦DHCPv4 discovery using option 43: DHCPv4 servers use option 43 to provide one or more WLC management IPv4 addresses to the AP. Option 43 values are supplied to an AP in the DHCPv4 offer and acknowledgment packets.
◦DHCPv6 discovery using option 52: DHCPv6 servers use option 52 to provide one or more WLC management IPv6 addresses to the AP. Option 52 values are supplied to an AP in the DHCPv6 advertise and reply packets.
Step 5. DNS discovery: The AP sends a DNS query to the DNSv4 and/or DNSv6 servers to attempt to resolve cisco-capwap-controller.localdomain (where localdomain is the AP domain name provided by DHCP).
Step 6. The Plug and Play (PnP) server provides staging parameters to an AP before it joins a controller. Using this staging configuration, the AP receives the runtime configuration when it joins the controller.
The AP PnP feature enables the PnP server to provide all tag-related information as part of the preconfigured information to the AP and, in turn, to the controller.
You can upload a configuration to the PnP server in either TXT or JSON format and add the AP details. The AP details are then mapped with the details in the TXT or JSON configuration file. While the AP is being provisioned from the PnP server, it acquires the details of this configuration. Based on the configuration details, the AP then joins the corresponding controller with the tag details.
Step 7. If, after steps 1 through 6, no CAPWAP discovery response is received, the AP resets and restarts the discovery process.
AP modes
Cisco Catalyst 9800 Series Wireless Controllers support Cisco access points in Local (centralized and Software-Defined Access [SD-Access] deployment), FlexConnect, Bridge, Flex+Bridge, Sniffer, and Monitor modes.
WLC configuration model
The Cisco Catalyst 9800 Series configuration data model is based on design principles of reusability, simplified provisioning, enhanced flexibility, and modularization to help in network management, as they scale and simplify the management of dynamically changing business and IT requirements.
This model enables the client/AP devices to derive their configurations from profiles that are contained within tags. APs can be mapped to the tags either statically or as part of the rule engine that runs on the controller and comes into effect during the AP join process. Configuration objects are modularized as objects, which helps in the reusability of configurations. In addition, a flat, tag-based configuration model eliminates the complexities associated with inheritance and container-based grouping, leading to a simpler and more flexible configuration that can ease change management.
If you are familiar with AireOS WLCs, you are aware of APs and FlexConnect groups. Those groups allow you to control what capabilities (for example, which WLANs or RF profiles) are available for each AP, based on its AP group association.
On Catalyst 9800 Series WLCs, tags are used to control the features that are available for each AP. Tags are assigned to every AP, and inside every tag you can find all the settings that were applied to the AP.
There are three types of tags:
● Policy tag
● Site tag
● RF tag
Policy tag
A policy tag is the link between a WLAN profile (Service Set Identifier [SSID]) and a policy profile.
●Policy profile: Inside a policy profile you can specify a virtual LAN (VLAN) ID, whether traffic is central or local switching, mobility anchors, QoS, and timers, among other settings.
●SSID: Inside an SSID you can specify the WLAN name, a security type for the WLAN, and advanced protocols such as 802.11k, among other settings.
Site tag
A site tag defines whether the APs are in Local mode or FlexConnect mode. Other AP modes, such as Sniffer, Sensor, Monitor, and Bridge, can be configured directly on the AP. The site tag also contains the AP Join profile and Flex profile that are applied to the AP.
●AP Join profile: Inside an AP Join profile you can specify settings such as CAPWAP timers, remote access to APs (via Telnet or Secure Shell [SSH]), backup controller configuration, and others.
●Flex profile: On a Flex profile, you have settings such as Address Resolution Protocol (ARP) caching, VLAN/ACL mapping, and so on.
RF tag
Inside an RF tag you can either select any RF profile or select to use the Global RF configuration.
●2.4-GHz profile: Allows you to define specific data rates to be used, Transmit Power Control (TPC) settings, Dynamic Channel Assignment (DCA), and some other Radio Resource Management (RRM) settings for the 2.4-GHz band.
●5-GHz profile: Allows you to define specific data rates to be used, TPC settings, DCA, and some other RRM settings for the 5-GHz band.
By default, the APs get assigned the default tags (default Policy, Site, and RF tags), and the default tags get assigned the default profiles (default Policy AP Join, and Flex profiles).
For detailed information on configuration model and guidelines, please visit the Cisco Catalyst 9800 Wireless Controller Series Web UI Deployment Guide at https://www.cisco.com/c/dam/en/us/td/docs/wireless/controller/9800/17-4/deployment-guide/c9800-webui-dg.pdf.
Wireless Management Interface
The Wireless Management Interface (WMI) is the mandatory Layer 3 interface on the Catalyst 9800 Series. It is used for all communications between the controller and access points. It is also used for all CAPWAP or inter-controller mobility messaging and tunneling traffic.
WMI is also the default interface for in-band management and connectivity to enterprise services, such as authentication, authorization, and accounting (AAA), syslog, Simple Network Management Protocol (SNMP), and so on. You can use the WMI IP address to remotely connect to the device using SSH or Telnet, or access the GUI using HTTP or HTTPs by entering the WMI IP address of the controller in the address field of your browser.
The WMI is a Layer 3 interface and can be configured with an IPv4 address or IPv6 address or by using a dual-stack configuration.
It is always recommended to use a wireless management VLAN and configure WMI as a Switched VLAN Interface (SVI). If the uplink port or port-channel to the next-hop switch is configured as a dot1q trunk, the wireless management VLAN would be one of the allowed tagged VLANs on the trunk.
Wireless client interface
For centrally switched traffic, it is mandatory to configure a Layer 2 VLAN mapped to the SSID, but the corresponding Layer 3 interface (SVI) is optional. This is different from AireOS, in which a dynamic interface (Layer 3 interface and related IP address) is required. The recommendation for the Catalyst 9800 Series is not to configure an SVI for a client VLAN unless:
● You need to run DHCP relay on the Catalyst 9800, either because this function cannot be configured on the next-hop Layer 3 switch (the default gateway for that VLAN) or because you want to add option 82 information in the DHCP relayed packet.
● You want to enable the mDNS gateway and you are running code before 17.9.1; in 17.9.1 and higher, the mDNS gateway feature no longer needs a client SVI interface.
3. RF planning and design
This section describes the basic information necessary to understand RF considerations in planning for various WLAN environments. The topics covered include:
● Regulatory domains and RF considerations
● IEEE 802.11 standards.
● RF spectrum implementations of 802.11b/g/n/ax (2.4 GHz) and 802.11a/n/ac/ax (5 GHz) and 6 GHz.
● Planning for RF deployment.
● Radio Resource Management (RRM) algorithms.
● Antenna choices.
RF basics
The Federal Communications Commission (FCC), European Telecommunications Standards Institute (ETSI), and other regulatory bodies regulate the use of wireless devices in three main bands (frequency ranges) allocated for unlicensed Industrial, Scientific, and Medical (ISM) usage.
The ISM bands are designated as the:
●2.4-GHz band (IEEE 802.11b/g/n/ax): 2.4 to 2.4835 GHz. The 2.4-GHz band provides the most coverage but transmits data at slower speeds.
●5-GHz band (IEEE 802.11a/n/ac/ax): The 5-GHz band provides less coverage but transmits data at faster speeds.
●6-GHz band (IEEE 802.11ax): The 6-GHz band, introduced with the new Wi-Fi 6E standard, provides the least coverage but transmits data at the fastest speeds of the three frequencies.
Separation of physical groups of clients is performed using different frequency assignments, or channels. For an AP operating on a given channel, there is a finite amount of airtime available, and every client connecting to an AP shares the airtime that the AP channel has to offer. The more clients that are actively using an AP, the less airtime each individual client will get. Supporting a higher data rate for one or more clients (for more efficient use of airtime) will increase available airtime for all clients and result in higher potential bandwidth to the individual user.
All clients on a given channel share a common collision domain that extends to other APs operating on the same channel, regardless of whose network they ultimately belong to. This means that other clients and access points using the same channel, and able to hear one another, share the available airtime. Each additional AP added to a channel brings with it management overhead on the air. The effect of this additional management traffic further reduces the total amount of airtime available for each user and constrains performance. In short:
Bandwidth = Airtime x Data rate.
If you require more bandwidth than can be served from a single AP (for example, if you have many users in a small area), multiple APs will be required. When implemented on nonoverlapping channels, each AP provides an isolated chunk of airtime over its coverage area. APs that are on the same channel must be kept out of range of one another. This is what Cisco’s RRM manages for you—the power and the channel selection to coordinate multiple APs and neighbors for optimal performance.
Channel assignment and reuse for the network is a big factor in determining the airtime efficiency and ultimately the bandwidth that can be delivered to the clients. When two APs can hear one another on the same channel, the result can be co-channel interference unless the overlapping basic service set (BSS) is managed carefully. Whether co-channel interference is the result of your own APs or of your AP and a neighbor doesn’t matter– either way the APs must share the channel. To produce a good physical design, four things must be considered:
● AP placement
● AP operating band (2.4 GHz or 5 GHz or 6 GHz)
● AP channels
● AP power levels
The goal in a good design is to produce even wireless coverage (similar conditions end to end) with minimal co-channel interference, maximizing the available potential bandwidth for the client devices.
Cisco’s RRM calculates and assigns the best channels and power combinations using measured, over-the-air metrics. Over-the-air observations include Wi-Fi networks operating within the infrastructure as well as existing external users, both Wi-Fi and non-Wi-Fi, of the spectrum. RRM will mitigate co-channel assignments and balance power, but if there are no open channels available, or if the APs are simply too close together, the only choice remaining is to share the channel with an existing user. This happens in congested environments, and two different networks may have to share the same bandwidth. If one is not busy, the other may use all the bandwidth. If both become busy, they will share the bandwidth 50/50 due to 802.11’s contention mechanisms (“listen before talk”) that are designed to ensure fair access.
Regulatory domains
Devices that operate in unlicensed bands do not require a formal licensing process on the part of the end user. However, equipment designed and built for operating 802.11 in the ISM bands is obligated to follow the government regulations for the region it is to be used in. “Unlicensed” does not mean without rules. Cisco wireless equipment is designed and certified to operate and meet the regulatory requirements for specific regions. Regulatory designations are included in the part numbers for pre-provisioned regions.
The end user bears responsibility for correct implementation and for ensuring that the correct equipment is used for the specified region. Your Cisco sales team can guide you in making a selection.
The regulatory agencies in different regions of the world monitor the unlicensed bands according to their individual criteria. WLAN devices must comply with the specifications of the relevant governing regulatory body. Although the regulatory requirements do not affect the interoperability of IEEE 802.11a/b/g/n/ac/ax-compliant products, the regulatory agencies do set certain criteria in the product implementation. For example, the RF emission requirements for WLAN devices are designed to minimize the amount of interference any radio (not just Wi-Fi) can generate or receive from any other radio within a certain proximity. It is the responsibility of the WLAN vendor to obtain product certification from the relevant regulatory body. And it is the responsibility of the installer to ensure that the resulting installation does not exceed those requirements. We recommend and certify the use of antennas and radio combinations that meet regulatory requirements.
Besides following the requirements of the regulatory agencies, Cisco helps ensure interoperability with other vendors through various Wi-Fi Alliance (WFA) certification programs (www.wi-fi.org).
Operating frequencies
The 2.4-GHz band regulations of 802.11b/g/n/ax have been relatively constant, given the length of time they have been in operation. The FCC (U.S) allows for 11 channels, ETSI (and most other parts of the world) allows for up to 13 channels, and Japan allows up to 14 channels but requires a special license and operating modes to operate in channel 14.
Countries that adhere to the 5-GHz band regulations of 802.11a/n/ac/ax are more diverse in the channels they allow and their rules for operation. In addition, the advancement of 802.11ax regulatory domains around the world has opened spectrum around 6 GHz for unlicensed communications such as Wi-Fi. As one example, the FCC has proposed opening 1.2 GHz of spectrum between 5.925 GHz and 7.125 GHz, which is more than the total amount of spectrum used for Wi-Fi today.
This new spectrum will be extremely valuable, as the current 2.4-GHz and 5-GHz bands used for Wi-Fi are crowded and heavily used. Additionally, the 6-GHz band will allow only devices supporting the latest 802.11ax Wi-Fi standard. In other words, only HE (High Efficiency) devices will be supported, not HT (High Throughput), VHT (Very High Throughput), or older legacy devices. This will result in 6-GHz Wi-Fi networks being more performant, since the network won’t be slowed down by legacy Wi-Fi devices as the 2.4- and 5-GHz bands are today.
These frequency bands and their associated protocols can and do change as the technology evolves and regulatory rules change. Regulatory certifications and allowed frequencies and channels for all Cisco APs are documented in their individual data sheets.
Deployment considerations
Should I design for 2.4 GHz, 5 GHz, or 6 GHz?
Wi-Fi is a relatively mature technology today. While there are still places where Wi-Fi is not present, it is hard to find any place where there are people that doesn’t have some signal coverage. A good way to look at this is: the more independent neighbors you have, the more Wi-Fi interference you either already have or possibly will have. Interference is often at its worst in multi-dwelling facilities, where many disparate company offices share a single building and spectrum.
This issue is of critical importance, since Wi-Fi passes through walls and floors and must operate and accept all interference from other Wi-Fi and non-Wi-Fi devices alike. What this means is that to the degree that your network devices can hear other networks, they will share the available airtime with those other networks. If you and your neighbor are both heavy users, you will both get less bandwidth than the connection speeds would suggest in the areas that your networks overlap. For both networks, waiting on the other to access the channel will cost time (and less time on the air leads to less throughput).
Using 2.4 GHz in a congested metropolitan city, multi-dwelling facility, or shopping mall will produce variable success at best, and at worst can be unusable. Best practices recommend three nonoverlapping channels in most of the world.
Use 2.4 GHz for a larger coverage range and in deployments where the use of legacy and Internet of Things (IoT) devices is prevalent.
Table 2.Comparison of 2.4 GHz, 5 GHz, and 6 GHz
If an application is critical to business operations and requires higher speeds, plan on using 5 GHz. Once upon a time this was more difficult to do, as 5-GHz devices were less prevalent. This is not the case today, as most manufacturers are focusing on 802.11ax and Wi-Fi 6E as the standards for their products.
The 6-GHz band is newly certified and is exclusive to devices that support Wi-Fi 6E. This means that on 6 GHz, the Wi-Fi network doesn’t need to slow down to accommodate legacy devices. The 6-GHz band also supports almost twice as many channels as 5 GHz. Fewer devices, more spectrum, and more bandwidth mean less interference and network congestion.
What protocols should I enable?
There are multiple protocol standards available in the 802.11 standard. In fact, everything that has been ratified since 1999 is still required for WFA certification and is present in all hardware that supports the band it belongs to. That doesn’t mean that you need to use it, though. The choices you make in deciding which protocols to support (and which not to) can have a big impact on your network’s efficiency.
By efficiency we mean the use of airtime. The faster a station can get onto and off the air, the more airtime will be available for other stations. 802.11b was one the first protocols implemented in 2.4 GHz. Today it is truly a unique example among all other Wi-Fi protocols, as both the coding and modulation methods are completely different from every other protocol that has been ratified since.
802.11n and 802.11ac also provide for block ACK, or block acknowledgments, which allow for higher efficiency gains by allowing a large block of packets to be acknowledged all at one. The legacy protocols all send a packet and get a response, one by one. This adds a considerable number of frames to the transaction for reliability that is largely no longer needed with modern standards.
Now, with 802.11ax, we get the capacity, efficiency, coverage, and performance required by users today in the most demanding Wi-Fi environments. The 802.11ax standard emphasizes quality connectivity in locations with hundreds or thousands of connected devices, such as stadiums and other public venues, as well as corporate networks using time-sensitive, high-bandwidth applications. With 11ax, devices meet the highest standards for security and interoperability and enable lower battery consumption, making it a solid choice for any environment, including the IoT.
Cisco WLCs have several options available for implementing the most popular and necessary speeds. The various network types and decision points are detailed later in this document to ensure that you understand the need to implement a well-tuned network from the start.
What are DFS channels, and should I use them?
Many of the channels available in 5 GHz are known as Dynamic Frequency Selection, or DFS, channels. Along with Transmit Power Control (TPC), DFS defines coexistence mitigations (that is, detect and avoid) for radar while operating in the UNII-2 and UNII-2e bands (channels 52 to 144). These mechanisms are detailed in an amendment to the 802.11 standard.
The 802.11h standard was crafted to solve problems such as interference with satellites and radar, which also legally use the 5-GHz band as primary users. A primary user has priority over the frequency range of UNII-2 and UNII-2e. It is Wi-Fi’s job, as a condition of using these frequencies, to not interfere with any primary users. While this standard was introduced primarily to address European regulations, it is used by many other regions of the world today to achieve the same goals of enabling more operational 5-GHz spectrum for Wi-Fi.
In 2004, the U.S. added channels 100 to 140 in the UNII-2e (“e” stands for extended) band, with rules requiring 802.11h certification, which allow us to peacefully coexist with primary licensed users of the 5-GHz frequencies in this range. For Europe these channels represent most of their available 5-GHz spectrum today. Before the rules and mechanisms were worked out, Europe was limited to only 4 channels in 5 GHz. At the same time in the U.S., we had UNII-1, 2, and 3, for a total of 13 channels.
For equipment that does not interfere with licensed band users, the requirements are straightforward:
● The Wi-Fi equipment must be able to detect radar and satellite emissions.
● Before using a channel in this range, a “channel primary” (an infrastructure AP) must first listen for 60 seconds and determine that the channel is clear of radar.
● If a radar signal is detected, the Wi-Fi channel primary, and all the clients associated to it, have to abandon the channel immediately and not return to it for 30 minutes, at which time it can be cleared again for Wi-Fi use if no radar emissions are detected.
U-NII-2e channels got a bad name early in 2004 in the U.S. among network administrators. Clients were slow to adopt the new rules initially, so using these channels in the infrastructure meant that you could (and some did) inadvertently configure a channel that some clients wouldn’t be able to use, creating a coverage hole for that client type. There were also many undue concerns about DFS operations in a production network. The concern was that if DFS detected radar, a channel change followed by waiting a full minute before resuming transmissions was viewed as disruptive. However, the behavior is not disruptive, as RRM initially places the AP into a non-DFS channel. The channel is blocked for 30 minutes and then made available again to RRM by means of background scanning to clear the required listening time. Once the channel is available, we can choose to use it or remain on the current channel, depending on which is better for the clients.
It has been a decade since the addition of these channels and 802.11h logic. In Europe, DFS is and has been making 5-GHz Wi-Fi possible and even enabling it to flourish. Client vendors vary; the majority support the DFS channels just fine, as there is no additional logic required by the client.
If you are within 5 miles of an airport or shipping port and have concerns, evaluate by monitoring the channel range with Cisco APs. Cisco leads the industry in certified hardware models and function for DFS operation and flexibility. Monitoring the channels will alert you to any potential interference and will identify the affected channels.
Site survey
A site survey is an important tool. It will tell you who is operating around you—and, more importantly, where and how much they interfere with your intended coverage zones. It also allows identification of mounting locations, existing cable plants, infrastructure requirements, and architectural oddities and yields a plan to get the coverage your application requires. Because RF interacts with the physical world around it, and all buildings and offices are different, so is each network to a degree. Unfortunately, there is no “one size fits all” for Wi-Fi. There are recommendations by deployment type, and it is possible to generalize what you are likely to encounter. If you have not done a site survey in a while, keep in mind what has changed since the last one before you decide against it:
● The protocols and radio technology.
● How the users will use the network (likely everyone, and for almost anything).
● How many clients the network supports (likely a lot more users; count as at least two devices per user these days, and many have more).
● The primary use of the network (very likely changed since the initial plan and implementation).
While early WLAN designs focused on coverage to get a few casual users signal everywhere, today’s WLAN designs are more focused on capacity, as the number of users has increased and what we are demanding of the network has gone up exponentially. A capacity design requires more APs in closer proximity to manage the number of users who are sharing the bandwidth of the cell. Increasing placement density should have a plan.
If you decide to conduct your own survey and plan, tools are important. There are multiple free tools online and available as downloads. However, if you want professional results, you need professional tools.
The free tools can provide simple solutions for smaller, less complex projects. But if you are looking to provide ubiquitous multimedia coverage in a multifloor or multibuilding campus, you need a good tool to balance the elements that will be required for success. Planning tools have evolved with the radio technologies and applications in use today. A familiarity with the design elements and applications is required to produce a good plan.
Cisco Prime Infrastructure has a planning tool built in, and you can import and export maps and plans between Cisco Prime and many top survey and planning applications, such as Ekahau ESS and AirMagnet Pro Planner and Survey.
Similarly, the Ekahau Pro tool allows you to create the complete network plan for your enterprise, including floor layout, AP locations, and obstacles. After creating the floor layout, you can export the simulated network plan and the real-world site survey data into a format that Cisco DNA Center can use. You can import the Ekahau project file into Cisco DNA Center for further planning.
Ekahau Pro version 10.2 allows you to automatically create the site hierarchy, save it as a project file, and import it into Cisco DNA Center.
For more on site surveys, visit Understand Site Survey Guidelines for WLAN Deployment at https://www.cisco.com/c/en/us/support/docs/wireless/5500-series-wireless-controllers/116057-site-survey-guidelines-wlan-00.html.
Having a site survey done for 802.11ax now will yield good information that can be used again and again as the network grows and continues to evolve. Whether this is something that you should contract out in part or handle yourself depends on the size of your project and your level of knowledge with regard to Wi-Fi.
Planning for RF deployment
Different deployment types for WLAN coverage
The amount of WLAN coverage you plan for in the design of your wireless network depends largely on the usage and density of clients you require. With limited exceptions, all designs should be deployed to minimize retransmission and data rate shifting while supporting good client roaming and throughput. Wireless networks can be deployed for data-only, voice, video, and location-aware services or, more frequently these days, a combination of all of these. The difference between these application types is minimal today, with the requirements of each largely describing good, solid, capacity-based coverage. Location-aware services add some AP placement criteria for good location triangulation and guidelines on hyperlocation technologies. Real-time multimedia (voice and video) applications have different latency requirements for two-way live implementations. But by and large, all describe a minimum coverage level needed to make the application viable for the number of users you expect in any given area.
For most campuses and enterprise installations, coverage and capacity are the primary concerns, and these are easily achievable. High-density client implementations or high-interference locations such as shopping malls or apartment buildings may require additional equipment such as external antennas to properly implement the network to scale. The sections that follow provide in-depth information on application-specific guidelines, recommendations, and configurations.
Coverage requirements
Most application-specific coverage guidelines describe the signal level or coverage required at the cell edge for good operation as a design recommendation. This is generally a negative Received Signal Strength Indication (RSSI) value such as -67 dBm. It’s important to understand that this number assumes a good signal-to-noise ratio (SNR) of 25 dB with a noise floor of 92 dBm. If the noise floor is higher than 92 dBm, 67 dBm may not be enough signal to support the minimum data rates required for the application to perform its function.
For location-aware services, deploying a network to a specification on 67 dBm is fine; what matters to location-aware applications is how the network hears the client, not how the client hears network. For location-aware services we need to hear the client at three APs or more at a level of at least 75 dBm for it to be part of the calculation. (72 dBm is the recommended design minimum.)
Clients are a big consideration when planning coverage. They come in all shapes and sizes these days, and as a result individual implementations can and do vary widely on their opinion of the strength of a given RF signal. For instance, the laptop you are using for surveying may show 67 dBm at the cell edge, the tablet might show 68 dBm, and the smartphone may show 70 dBm. These are all very different opinions and affect roaming and data rates that everyone will use. Overbuilding to accommodate these varying opinions will help assure a trouble-free installation. When taking measurements, using the device that will support the application is the best approach. Understanding that your smartphones are generally 5 dB off from your survey tool will let you develop good rules for design (such as adding or subtracting 5 dB to whatever the reading is from your survey tool). Then test and tune the resulting implementation.
High-density client coverage requirements
High client density can be defined as any environment with a high number of concentrated clients (1 client at least every 1.5 square meters), such as a conference room, classroom, lecture hall, auditorium, sports arena, or conference hall. The concepts stay the same regardless of the size of the challenge. The tools required and methods employed increase in complexity with the complexity (size) of the challenge.
What needs to and can be managed remains largely remains the same. Two things that remain true about a high-density client environment are:
● You cannot serve more bandwidth than you have available.
● Capitalizing on ALL the potential bandwidth is a matter of proper sizing and an efficient and tuned design.
Visit the Wireless High Client Density Design Guide for more information: https://www.cisco.com/c/en/us/td/docs/wireless/controller/technotes/8-7/b_wireless_high_client_density_design_guide.html.
Roaming and voice coverage requirements
Client roaming enables a client to move from one AP coverage zone into another AP coverage zone, minimizing interruption in service and coverage. This is the very essence of mobility. There are many factors that must be considered for roaming to be effective. For instance, how the client transitions its association and authentication from one AP to another must be considered as well as the time it takes to do so. An often-overlooked aspect is the network design itself. For a client to roam, there must be something to roam to. Cells must overlap with good coverage for a client to gracefully leave coverage of one cell and establish an association within coverage on another without delay. Too little overlap encourages “sticky” clients, meaning a client holding on to an AP well after it moves into the coverage area of another AP.
When designing for network coverage, consider the amount of overlap needed in the required signal range you are getting. Overlap should be 10% to 15% (15% to 20% for voice) of the total coverage area. Voice is particularly sensitive, as the conversation is in real time, and any coverage lapse will result in broken audio or potentially a lost call. An easy way to calculate overlap is to measure the distance from the AP to the point where you reach 67 dBm, then multiply that distance by 1.4 for 15% to 20% or by 1.3 for 10% to 15%, and that’s where your next AP goes.
Data rates also matter, as the usable cell size increases with lower data rates and decreases with higher data rates. Higher data rates require a higher SNR, and since the noise floor is theoretically constant, the closer the client is to the signal (the AP) the higher the SNR and the resulting data rate will be. We can enforce minimum data rates in configuration, and when a client can no longer support a given data rate, it will have to move.
A good physical design enables and supports roaming at the physical layer. Only the client decides when to roam, though, and the decisions it makes are based on the client’s observation of the network. There have been multiple amendments to the 802.11 specification specifically to help clients make better decisions based on network infrastructure observations. See the following guides for additional information on roaming and configuring Cisco hardware and software to enable good roaming transitions. Cisco supports 802.11r, 802.11k, and 802.11v, which assist capable clients in making good decisions and afford some control from the infrastructure to enforce design goals.
Ascertain Methods for 802.11 WLAN and Fast-Secure Roaming on Cisco Unified Wireless Network: https://www.cisco.com/c/en/us/support/docs/wireless-mobility/wireless-lan-wlan/116493-technote-technology-00.html.
802.11r BSS Fast Transition chapter of Catalyst 9800 Series Wireless Controller Software Configuration Guide: https://www.cisco.com/c/en/us/td/docs/wireless/controller/9800/config-guide/b_wl_16_10_cg/802-11r-bss-fast-transition.html.
Assisted Roaming (802.11k) chapter of Catalyst 9800 Series Wireless Controller Software Configuration Guide: https://www.cisco.com/c/en/us/td/docs/wireless/controller/9800/config-guide/b_wl_16_10_cg/assisted-roaming.html.
Location-aware coverage requirements
Location–aware deployments differ slightly from other types in that the goal of the installation is to provide good location resolution of clients, tags, and IoT sensors in the context of where they are on a given map. We derive this information in its most basic form from client RSSI readings obtained by multiple APs (a minimum of three APs is required to triangulate on the client’s position). The pattern that you choose for deploying your APs can have a big effect on the network’s ability to “locate” a client accurately.
For good location resolution, the APs are laid out in a staggered pattern, with APs defining the borders and corners. It is possible to get coverage using APs in a straight line down the middle of both sections; however, this would not provide enough APs to hear and triangulate on clients in all locations (remember, we need three). Coverage and capacity requirements for this floor require many APs to start with, so it is quite likely, given your coverage requirements, that you already have what is needed to perform good location calculations.
Deployment Best Practices: Location-Aware WLAN Design Considerations (https://www.cisco.com/en/US/docs/solutions/Enterprise/Mobility/emob30dg/Locatn.html#wp1040131) is a must-read chapter and still quite relevant, as the physical requirements for the design have not changed.
Flexible Radio Assignment (FRA) radios and coverage requirements
A recent Cisco innovation, the flexible radio AP models (Cisco Aironet® 2800, 3800, and 4800 Series and Cisco Catalyst 9120, 9130, 9124, 9136, and 9162, 9164, and 9166 Series) access points were designed specifically to solve some of the challenges presented by traditional dual-band radios. Each of the coverage scenarios described above has improved solutions when using these radios.
High density is impacted by the flexible radio AP’s dual 5-GHz ability, allowing for two independent 5-GHz channels from a single AP.
● The internal antenna model will be implemented as a macro/micro cell, or as a cell within a cell. The FRA RRM logic also provides logic for balancing clients between the two cells. This will double the bandwidth within the cell boundary.
● The “E” model or external antenna model can provide two 5-GHz macro cells, which allows the implementation to gain two 5-GHz cells using the same Ethernet cable and switch port. A second antenna, and a DART connector to attach it, are required, but both together are far cheaper than an additional AP and switch ports, and you would still need the antenna. This is particularly beneficial for updating an existing high-density coverage area, as very often you can reuse everything except the APs and dramatically increase the capacity in 5 GHz.
Voice coverage: These APs participate in the FRA RRM algorithm, which will calculate the correct 2.4 vs. 5 GHz balance and prevent overutilization of 2.4-GHz radios. In general, voice should be implemented in 5 GHz only, and FRA helps there significantly by enabling a higher density of 5 GHz while right-sizing the density of 2.4-GHz radios. Protections are built in against being overly dense in 5 GHz by allowing the flexible interface to be placed in a monitoring role (both bands), which increases the Resolution of RF Metrics (RRM observations, location information).
Table 3.AP models and types of hardware managed by FRA
Power level and antenna choice
Power level and antenna design choice go together to determine AP placement and coverage results. Together, these two variables determine where and how powerful the RF is in any given place in the environment. Along with choosing the correct antenna to produce the required coverage area, we recommend that you use RRM to control the power level and provide the optimal channel and power plan. For more information, see the RRM section later in this document.
An antenna gives the wireless system three fundamental properties:
●Gain: A measure of increase in power introduced by the antenna over a theoretical (isotropic) antenna that transmits the RF energy equally in all directions. Gain also affects received signals and can assist weaker client devices by increasing the signal presented to the receiver.
◦Front-to-back ratio, or FTB: The opposite of gain is signal rejection. The opposite direction of the gain in an antenna is less sensitive than the focus of the antenna, and this property can be used to isolate your cell from unwanted signals behind the antenna, for instance.
●Direction: The shape of the antenna transmission pattern. Different antenna types have different radiation patterns that provide various amounts of gain in different directions. A highly directional antenna will produce a very tight beam pattern. Outside of the area of focus, signals erode quickly, which allows more cells to be placed in the same physical space without interference.
●Polarization: Indicates the direction of the electric field. An RF signal has both an electric field and a magnetic field. If the electric field is orientated vertically, the wave will have a vertical polarization.
A good analogy for how an antenna works is the reflector in a flashlight. The reflector concentrates and intensifies the light beam in a particular direction, like what a parabolic dish antenna does to an RF source in a radio system. The antenna, however, is both the ears and the mouth of the AP, so the characteristics of a given antenna work for both transmit and receive. Many different antenna designs exist to serve different purposes. Some of the more familiar designs appear in Figure 1.
Figure 1.
Antenna design types
Gain and direction mandate range, speed, and reliability, while polarization affects reliability and isolation of noise.
For more information on antenna selection, see the Cisco Aironet and Catalyst Antennas and Accessories Reference Guide at https://www.cisco.com/c/en/us/products/collateral/wireless/aironet-antennas-accessories/product_data_sheet09186a008008883b.html.
Omnidirectional antennas
Omnidirectional antennas have a different radiation pattern compared to isotropic antennas; the isotropic antenna is theoretical, and therefore all physical antennas are different from the isotropic antenna. Any change in shape of the radiation pattern of an isotropic antenna is experienced as gain and increases directionality. The dipole omnidirectional antenna features a radiation pattern that is nearly symmetrical about a 360-degree axis in the horizontal plane and 75 degrees in the vertical plane (assuming the dipole antenna is standing vertically). The radiation pattern of an omnidirectional antenna generally resembles a doughnut in shape and hence is directional. The higher the rated gain in dBi of a given omnidirectional antenna, the more focused the energy is (generally in the vertical plane) and the more directional it becomes. See the comparison between an isotropic and omnidirectional dipole antenna in Figure 2 below. Note that the views are from the side.
Omnidirectional antennas work well and are easy to implement – to a point. If you are faced with increasing the density of APs to accommodate more capacity requirements, you will see increasing channel utilization from self-interference. This happens because the antenna pattern is designed for maximum coverage. 3000 to 6000 square feet (280 to 560 square meters) of coverage per AP can be managed with the internal antennas. If your coverage requirements are at the minimum or denser than this, you should consider directional antennas.
Figure 2.
Isotropic vs. omnidirectional vs. directional antenna
Directional antennas
A directional antenna differs from an omnidirectional antenna in that the energy is focused in a particular way to achieve different coverage goals. Most people assume that a directional antenna is used specifically for gain – to increase power. While directional antennas can be used for that reason and can achieve greater distances, they are more often used in Wi-Fi to control the size (and shape) of the transmit and receive cell.
For current Cisco indoor APs (Catalyst 9100), the antenna selections are all dual band (each antenna covers 2.4 and 5 GHz) patch-type antennas designed for different coverage distances. The three most popular are shown below.
Figure 3.
Directional antenna options
Each antenna is designed for a specific purpose. When selecting an antenna, one of the factors to consider is the beamwidth. Beamwidth describes the coverage area of an antenna; however, it does not describe how hard or soft the edge of that coverage is. For that you need to look at the antenna’s pattern in a plot.
The plot below is from one of the C-ANT9103 antennas. It is designed to provide good coverage over a general area. The beamwidth of this antenna at 2.4 GHz and 5 GHz is 75 degrees; this describes the point where the peak gain of the antenna falls by 3dB. What’s important in a directional antenna is what happens after that 3 dB. The gain falls sharply after the rated beamwidth. This is exactly what needs to happen to enable more APs to be put closer together for higher capacity.
Figure 4.
Beamwidth plots for the C-ANT9103 antenna
If the antenna cannot hear, it may not interfere with your AP. We have only three channels in 2.4 GHz; channel reuse in a dense deployment is already a problem there. With a good antenna, you can make the cell size smaller and get more radios closer together to provide adequate capacity in your design for 2.4-GHz users. 5 GHz has more channels; however, with 20-, 40-, and 80-MHz channel widths, we are using channels up faster, and cell isolation is becoming more of a problem.
Other problems that can be solved using directional antennas include high-interference environments – a shopping mall, for instance. Most of the stores in a shopping mall will have installed Wi-Fi, and this creates interference for your Wi-Fi. Using directional antennas, you can isolate your store from the neighbor by focusing the ears of the AP inward and making the receive sensitivity less behind the antenna. The front-to-back ratio of an antenna is responsible for this. Think of it as being like cupping your hands over your ears to hear a distant sound. When you do this, you focus the sound energy into your ears, but you also shield your ears to the surrounding noise, and this produces a better SNR – you experience it as better, more intelligible sound. Putting a directional antenna on your AP will similarly focus its ears, and it will experience better sound with less noise as well.
Newer antenna designs
● The external antenna connectors on the Catalyst APs are identical to the antenna connectors on previous APs. There is no difference in operation when the access point is used in dual-band (2.4 and 5 GHz) operation (the default mode). RF coverage and cell sizes are like those of the previous Aironet 2800 and 3800 Series.
● Like the prior external antenna versions, the new Catalyst 9120 Series access points now support the capability of dual 5-GHz operation. The main serving radios default to the following configuration:
◦ Dedicated 5-GHz radio is tied to the dual-band client-serving antennas at 4 dBi.
◦ (Exclusive OR) known as XOR radio (defaulted to 2.4 GHz) is tied to the dual-band client-serving antennas at 3 dBi.
◦ Dual 5-GHz mode: XOR 2.4-GHz disabled secondary 5-GHz radio is tied to the dedicated 5-GHz antennas at 4 dBi.
● Similarly, in the Catalyst 9120AXE access point, which has external antenna ports, for dual 5 GHz, a smart antenna connector must be used on the external antennas, as the additional 5-GHz radio cannot use the same top antennas on the access point that are being used by the primary 5-GHz radio.
Figure 5.
9120e antenna system using the DART connector for dual 5 GHz
● When a smart antenna connector is installed, the XOR radio (the radio that is defined in software as Radio 0) has its RF switched to the smart antenna connector.
● The smart antenna connector can detect the type of antenna used and has 16 digital lines as well as 4 analog RF lines.
● The self-identifying antenna ports are indicated by a different color (PURPLE). Figure 6 shows the traditional antenna ports and the DART ports.
Figure 6.
Catalyst 9120 antenna ports
When the smart antenna is not installed, the antenna on top of the unit is in Dual Radiating Element (DRE) mode. If the smart antenna connector is installed, the XOR (2.4 or 5 GHz, depending on the mode) goes out the smart connector. In this mode the XOR radio (unless in Monitor mode) can be configured for only one band, 2.4 GHz or the other band, 5 GHz. This is in Single Radiating Element (SRE) mode.
Figure 7.
Cables to use with existing RP-TNC
Unlike the Catalyst 9120AXE, the Catalyst 9130AXE does not have antenna ports. The 9130AXE requires the use of an external antenna system. The yellow cover (on the left) must be removed and a suitable antenna system installed via the 8-port DART smart connector, which is exposed once the yellow cover is removed. Do not operate the unit without a suitable antenna.
Figure 8.
C9130AXE antenna connector
Three new antennas have been designed to support the Cisco Catalyst C9130AXE:
● C-ANT9101: Ceiling mount omni, like AIR-ANT2524V4C-R=.
● C-ANT9102: Wall/pole mount omni, like AIR-ANT2544V4M-R=.
● C-ANT9103: Wall/pole mount patch, like AIR-ANT2566D4M-R=.
Figure 9.
Antenna options
In addition to new antennas being designed with the smart connector, conventional antennas using RP-TNC connectors may attach to the Catalyst 9120or 9130 Series using the smart connector.
Figure 10.
Smart connector
For more on this topic, see the Cisco Catalyst 9130 Series Access Point Deployment Guide at: https://www.cisco.com/c/en/us/products/collateral/wireless/catalyst-9100ax-access-points/deployment-guide-c07-743490.html.
RF deployment best practices
Some design considerations can be addressed by general best practice guidelines. The following applies to most situations:
The number of users per AP that we recommend is as follows:
● 30 to 50 for data-only users.
● 10 to 20 for voice users.
This number should be used as a guideline and can vary depending on the AP model, handset, or application in use. Check your handset/application requirements.
● The AP data rates should be limited to those designed and for which the site survey was performed. Enabling lower data rates can cause increases in co-channel interference and greater throughput variations for clients. A common minimum data rate to start with is 12 Mbps.
● The number of APs depends on coverage and throughput requirements, which can vary. For example, the Cisco internal Information Systems group currently uses one AP per 3000 square feet of floor space.
Radio Resource Management (RRM)
The RRM software that is embedded in the device acts as a built-in RF engineer to consistently provide real-time RF management of your wireless network. RRM enables devices to continually monitor their associated lightweight access points for the following information:
Traffic load: The total bandwidth used for transmitting and receiving traffic. It enables wireless LAN managers to track and plan network growth ahead of client demand.
●Interference: The amount of traffic coming from other 802.11 sources.
●Noise: The amount of non-802.11 traffic that is interfering with the currently assigned channel.
●Coverage: The RSSI and SNR for all connected clients.
●Other: The number of nearby access points.
RRM performs these functions:
● Radio resource monitoring
● Power control transmission
● Dynamic Channel Assignment (DCA)
● Coverage hole detection and correction
● RF grouping
Note: RRM grouping does not occur when an AP operates in a static channel that is not in the DCA channel list. The Neighbor Discovery Protocol (NDP) is sent only on DCA channels; therefore, when a radio operates on a non-DCA channel, it does not receive NDP on the channel.
Radio resource monitoring
RRM automatically detects and configures new devices and lightweight access points as they are added to the network. It then automatically adjusts the associated and nearby lightweight access points to optimize coverage and capacity.
Lightweight access points can scan all the valid channels for the country of operation as well as for channels available in other locations. The access points in local mode go off channel for a period not greater than 0 ms to monitor these channels for noise and interference. Packets collected during this time are analyzed to detect rogue access points, rogue clients, ad hoc clients, and interfering access points.
Note: In the presence of voice traffic or other critical traffic (in the last 100 ms), access points can defer off-channel measurements. The access points also defer off-channel measurements based on the WLAN scan priority configurations.
Each access point spends only 0.2 percent of its time off channel. This activity is distributed across all the access points so that adjacent access points are not scanning at the same time, which could adversely affect WLAN performance.
RF groups
An RF group is a logical collection of controllers that coordinate to conduct RRM in a globally optimized manner to perform network calculations on a per-radio basis. Separate RF groups exist for 2.4-GHz and 5-GHz networks. Clustering Catalyst 9800 Series controllers into a single RF group enables the RRM algorithms to scale beyond the capabilities of a single controller.
An RF group is created based on the following parameters:
● User-configured RF network name.
● Neighbor discovery performed at the radio level.
● Country list configured on the controller.
RF grouping runs between controllers.
Lightweight access points periodically send out neighbor messages over the air. Access points using the same RF group name validate messages from each other.
When access points on different controllers hear validated neighbor messages at a signal strength of 80 dBm or stronger, the controllers dynamically form an RF neighborhood in auto mode. In static mode, the leader is manually selected, and the members are added to the RF group.
Note: RF groups and mobility groups are similar in that they both define clusters of controllers, but they are different in terms of their use. An RF group facilitates scalable, systemwide, dynamic RF management, while a mobility group facilitates scalable, systemwide mobility and controller redundancy.
RF group leader
An RF group leader can be configured in one of two ways, as follows:
Note: The RF group leader is chosen based on the controller with the greatest AP capacity (platform limit.) If multiple controllers have the same capacity, the leader is the one with the highest management IP address.
●Auto mode: In this mode, the members of an RF group elect an RF group leader to maintain a primary power and channel scheme for the group. The RF grouping algorithm dynamically chooses the RF group leader and ensures that an RF group leader is always present. Group leader assignments can and do change (for instance, if the current RF group leader becomes inoperable or RF group members experience major changes).
●Static mode: In this mode, a user selects a controller as an RF group leader manually. The leader and the members are manually configured and fixed. If the members are unable to join the RF group, the reason is indicated. The leader tries to establish a connection with a member every minute if the member has not joined in the previous attempt.
The RF group leader analyzes real-time radio data collected by the system, calculates the power and channel assignments, and sends them to each of the controllers in the RF group. The RRM algorithms ensure systemwide stability and restrain channel and power scheme changes to the appropriate local RF neighborhoods.
Note: When a controller becomes both leader and member for a specific radio, you get to view the IPv4 and IPv6 address as part of the group leader.
When Controller A becomes a member and Controller B becomes a leader, Controller A displays either the IPv4 or IPv6 address of Controller B using the address it is connected with.
So if both leader and member are not the same, you get to view only one IPv4 or IPv6 address as a group leader in the member.
If DCA needs to use the worst-performing radio as the single criterion for adopting a new channel plan, it can result in pinning or cascading problems.
The main cause of both pinning and cascading is that any potential channel plan changes are controlled by the RF circumstances of the worst-performing radio. The DCA algorithm does not do this; instead, it does the following:
●Multiple local searches: The DCA search algorithm performs multiple local searches initiated by different radios in the same DCA run rather than performing a single global search that is driven by a single radio. This change addresses both pinning and cascading while maintaining the desired flexibility and adaptability of DCA and without jeopardizing stability.
●Multiple Channel Plan Change Initiators (CPCIs): Previously, the single worst radio was the sole initiator of a channel plan change. Now each radio in an RF group is evaluated and prioritized as a potential initiator. Intelligent randomization of the resulting list ensures that every radio is eventually evaluated, which eliminates the potential for pinning.
●Limiting the propagation of channel plan changes (localization): For each CPCI radio, the DCA algorithm performs a local search for a better channel plan, but only the CPCI radio itself and its one-hop neighboring access points are allowed to change their current transmit channels. The impact of an access point triggering a channel plan change is felt only to within two RF hops from that access point, and the actual channel plan changes are confined to within a one-hop RF neighborhood. Because this limitation applies across all CPCI radios, cascading cannot occur.
●Non-RSSI-based cumulative cost metric: A cumulative cost metric measures how well an entire region, neighborhood, or network performs with respect to a given channel plan. The individual cost metrics of all the access points in that area are considered to provide an overall understanding of the channel plan’s quality. These metrics ensure that the improvement or deterioration of each single radio is factored into any channel plan change. The objective is to prevent channel plan changes in which a single radio improves, but at the expense of multiple other radios experiencing a considerable performance decline.
The RRM algorithms run at a specified update interval, which is 600 seconds by default. Between update intervals, the RF group leader sends keep-alive messages to each of the RF group members and collects real-time RF data.
For more information on RRM, see the Catalyst 9800 Radio Resource Management Deployment Guide at https://www.cisco.com/c/en/us/td/docs/wireless/controller/technotes/8-8/b_C9800_rrm_dg.html.
RF group name
A controller is configured in an RF group name, which is sent to all the access points joined to the controller and used by the access points as the shared secret for generating the hashed MIC in the neighbor messages. To create an RF group, you configure all the controllers to be included in the group with the same RF group name.
If there is any possibility that an access point joined to a controller might hear RF transmissions from an access point on a different controller, you should configure the controller with the same RF group name. If RF transmissions between access points can be heard, systemwide RRM is recommended to avoid 802.11 interference and contention as much as possible.
Secure RF groups
Secure RF groups enable to encrypt and secure RF grouping and RRM message exchanges over a DTLS tunnel. During the DTLS handshake, controllers authenticate each other with a wireless management trust-point certificate.
Transmit Power Control (TPC)
The device dynamically controls access point transmit power based on the real-time wireless LAN conditions.
The TPC algorithm increases and decreases an access point’s power in response to changes in the RF environment. In most instances, TPC seeks to lower an access point's power to reduce interference, but in the case of a sudden change in the RF coverage – for example, if an access point fails or becomes disabled – TPC can also increase power on the surrounding access points. This feature is different from coverage hole detection, which is primarily concerned with clients. TPC provides enough RF power to achieve the required coverage levels while avoiding channel interference between access points. We recommend that you select TPCv1; the TPCv2 option is deprecated. With TPCv1, you can select the channel-aware mode; we recommend that you select this option for 5 GHz and leave it unchecked for 2.4 GHz.
Overriding the TPC algorithm with minimum and maximum transmit power settings
The TPC algorithm balances RF power in many diverse RF environments. However, it is possible that automatic power control will not be able to resolve some scenarios in which implementing an adequate RF design was not possible due to architectural restrictions or site restrictions – for example, when all the access points must be mounted in a central hallway, requiring them to be placed close together, but coverage is required to the edge of the building.
In these scenarios, you can configure maximum and minimum transmit power limits to override TPC recommendations. The maximum and minimum TPC power settings apply to all the access points through RF profiles in a RF network.
To set the maximum power level assignment and minimum power level assignment, enter the maximum and minimum transmit power used by RRM in the fields in the Tx Power Control window. The range for these parameters is 10 to 30 dBm. The minimum value cannot be greater than the maximum value; the maximum value cannot be less than the minimum value.
If you configure a maximum transmit power, RRM does not allow any access point attached to the controller to exceed this transmit power level (whether the power is set by RRM TPC or by coverage hole detection). For example, if you configure a maximum transmit power of 11 dBm, no access point will transmit above 11 dBm, unless the access point is configured manually.
Cisco APs support power level changes in 3-dB granularity. TPC Min and Max power settings allow for values in 1-dB increments. The resulting power level will be rounded to the nearest value supported in the allowed power entry for the AP model and the current serving channel.
Each AP model has its own set of power levels localized for its regulatory country and region. Moreover, the power levels for the same AP model will vary based on the band and channel it is set to. For more information on allowed power level vs. actual power (in dBm), use the show ap name <name> config slot <0|1|2|3> command to view the specific number of power levels, the range of power levels allowed, and the current power level setting on the AP.
Dynamic Channel Assignment (DCA)
Two adjacent access points on the same channel can cause either signal contention or signal collision. In a collision, data is not received by the access point. This functionality can become a problem when, for example, someone reading an email in a café affects the performance of the access point in a neighboring business. Even though these are separate networks, someone sending traffic to the café on channel 1 can disrupt communication in an enterprise using the same channel. Devices can dynamically allocate access point channel assignments to avoid conflict and increase capacity and performance. Channels are reused to avoid wasting scarce RF resources. In other words, channel 1 is allocated to a different access point far from the café, which is more effective than not using channel 1 altogether.
The device’s DCA capabilities are also useful in minimizing adjacent channel interference between access points. For example, two overlapping channels in the 802.11b/g band, such as 1 and 2, cannot simultaneously use 11 or 54 Mbps. By effectively reassigning channels, the device keeps adjacent channels that are separated.
The device examines a variety of real-time RF characteristics to efficiently handle channel assignments as follows:
●Access point received energy: The RSSI measured between each access point and its nearby neighboring access points. Channels are optimized for the highest network capacity.
●Noise: Noise can limit signal quality at the client and access point. An increase in noise reduces the effective cell size and degrades user experience. By optimizing channels to avoid noise sources, the device can optimize coverage while maintaining system capacity. If a channel is unusable due to excessive noise, that channel can be avoided.
●802.11 interference: Interference is any 802.11 traffic that is not a part of your WLAN, including rogue access points and neighboring wireless networks. Lightweight access points constantly scan all the channels looking for sources of interference. If the amount of 802.11 interference exceeds a predefined configurable threshold (the default is 10 percent), the access point sends an alert to the device. Using the RRM algorithms, the device may then dynamically rearrange channel assignments to increase system performance in the presence of the interference. Such an adjustment could result in adjacent lightweight access points being on the same channel, but this setup is preferable to having the access points remain on a channel that is unusable due to an interfering foreign access point.
● In addition, if other wireless networks are present, the device shifts the usage of channels to complement the other networks. For example, if one network is on channel 6, an adjacent WLAN is assigned to channel 1 or 11. This arrangement increases the capacity of the network by limiting the sharing of frequencies. If a channel has virtually no capacity remaining, the device may choose to avoid this channel. In huge deployments in which all nonoverlapping channels are occupied, the device does its best, but you must consider RF density when setting expectations.
●Load and utilization: When utilization monitoring is enabled, capacity calculations can consider that some access points are deployed in ways that cause them to carry more traffic than other access points, for example, a lobby versus an engineering area. The device can then assign channels to improve the access point that has performed the worst. The load is considered when changing the channel structure to minimize the impact on the clients that are currently in the WLAN. This metric keeps track of every access point’s transmitted and received packet counts to determine how busy the access points are. New clients avoid an overloaded access point and associate to a new access point. This load and utilization parameter is disabled by default.
The device combines this RF characteristic information with RRM algorithms to make systemwide decisions. Conflicting demands are resolved using soft-decision metrics that guarantee the best choice for minimizing network interference. The result is optimal channel configuration in a three-dimensional space, where access points on the floors above and below play a major factor in an overall WLAN configuration.
Note: DCA supports only 20-MHz channels in 2.4-GHz band.
Note: In a Dynamic Frequency Selection (DFS)-enabled AP environment, ensure that you enable the UNII2 channels option under the DCA channel to allow 100-MHz separation for the dual 5-GHz radios.
The RRM start-up mode is invoked under the following conditions:
● In a single-device environment, the RRM start-up mode is invoked after the device is upgraded and rebooted.
● In a multiple-device environment, the RRM start-up mode is invoked after an RF group leader is elected.
● You can trigger the RRM start-up mode from the Command-Line Interface (CLI).
The RRM start-up mode runs for 100 minutes (10 iterations at 10-minute intervals). The duration of the RRM start-up mode is independent of the DCA interval, sensitivity, and network size. The start-up mode consists of 10 DCA runs with high sensitivity (making channel changes easy and sensitive to the environment) to converge to a steady-state channel plan. After the start-up mode is finished, DCA continues to run at the specified interval and sensitivity.
Note: The DCA algorithm interval is set to 1 hour, but the algorithm always runs in default intervals of 10 minutes, channel allocation occurs at 10-minute intervals for the first 10 cycles, and channel changes occur as per the DCA algorithm every 10 minutes. After that, the DCA algorithm goes back to the configured time interval. This is common for both DCA interval and anchor time because it follows the steady state.
Note: If DCA/TPC is turned off on the RF group member, and auto is set on RF group leader, the channel or TX power on a member gets changed as per the algorithm that is run on the RF group leader.
Dynamic Bandwidth Selection (DBS)
While upgrading from 11n to 11ac, the DBS algorithm provides a smooth transition for various configurations.
The following describes the functionalities of DBS:
● It applies an additional layer of bias on top of those applied to the core DCA, for channel assignment to maximize the network throughput by dynamically varying the channel width.
● It fine-tunes the channel allocations by constantly monitoring the channel and base station subsystem statistics.
● It evaluates the transient parameters, such as 11n or 11ac client mix, load, and traffic flow types.
● It reacts to the fast-changing statistics by varying the BSS channel width or adapting to the unique and new channel orientations through 11ac for selection between 40-MHz and 80-MHz bandwidths.
Coverage hole detection and correction
The RRM coverage hole detection algorithm can detect areas of radio coverage in a WLAN that are below the level needed for robust radio performance. This feature can alert you to the need for an additional (or relocated) lightweight access point.
If clients on a lightweight access point are detected at threshold levels (RSSI, failed client count, percentage of failed packets, or number of failed packets) lower than those specified in the RRM configuration, the access point sends a “coverage hole” alert to the device. The alert indicates the existence of an area where clients are continually experiencing poor signal coverage without having a viable access point to which to roam. The device discriminates between coverage holes that can and cannot be corrected. For coverage holes that can be corrected, the device mitigates the coverage hole by increasing the transmit power level for that specific access point. The device does not mitigate coverage holes caused by clients that are unable to increase their transmit power or are statically set to a power level because increasing their downstream transmit power might increase interference in the network.
Cisco AI-Enhanced RRM
AI-Enhanced RRM is the next evolution of Cisco's award-winning RRM.
RRM runs as a service in a Catalyst 9800 Series wireless controller. It RRM manages the RF group based on dynamic measurements between every AP and its neighbor stored in a local database for the entire RF group. At runtime, the RRM draws the last 10 minutes of collected data and gently optimizes based on the current network conditions.
AI-Enhanced RRM integrates the power of artificial intelligence and machine learning into the reliable and trusted Cisco RRM product family algorithms in the cloud.
Note: AI-Enhanced RRM is coordinated through Cisco DNA Center (on-premises appliance) as a service. The current RRM sites are seamlessly transitioned to an intelligent centralized service. AI-Enhanced RRM, along with other Cisco DNA Center services, brings a host of new features with it.
Cisco AI-Enhanced RRM operates as a distributed RRM service. The controller collects RF telemetry from the Cisco access points and passes it through Cisco DNA Center to the Cisco AI Analytics Cloud, where the data is stored. The RRM algorithms run against this telemetry data stored in the cloud. AI analyzes the solutions and passes any configuration change information back to Cisco DNA Center. Cisco DNA Center maintains the control connection with the enrolled controller and passes any individual AP configuration changes back to the APs.
The following RRM algorithms run in the cloud, while the remaining ones work in the controller:
● DCA
● TPC
● DBS
● FRA
Note: The RRM algorithms run in the cloud against the telemetry data available in the cloud.
If the locations of controller and APs are provisioned previously, assigning a location enrolls the AI-Enhanced RRM Services and the profile to be pushed to the controller. Thus, AI-Enhanced RRM becomes the RF group leader for the subscribed controller.
For more information about Cisco DNA Center, see Cisco DNA Center User Guide. https://www-author4.cisco.com/c/en/us/support/cloud-systems-management/dna-center/products-user-guide-list.html.
Event-driven RRM
Spontaneous interference is interference that appears suddenly on a network, perhaps jamming a channel or a range of channels completely. The Cisco CleanAir® spectrum event-driven RRM feature allows you to set a threshold for air quality that, if exceeded, triggers an immediate channel change for the affected access point. Once a channel change occurs due to event-driven RRM, the channel is blocked for three hours to avoid selection. Most RF management systems can avoid interference, but this information takes time to propagate through the system. Cisco CleanAir relies on air quality measurements to continuously evaluate the spectrum and can trigger a move within 30 seconds. For example, if an access point detects interference from a video camera, it can recover by changing channels within 30 seconds of the camera becoming active.
Flexible Radio Assignment (FRA)
FRA takes advantage of the dual-band radios included in APs. It is a new feature added to RRM to analyze the Neighbor Discovery Protocol (NDP) measurements, which manages the hardware used to determine the role of the new flexible radio (2.4 GHz, 5 GHz, or monitor) in your network.
Traditional legacy dual-band APs always had two radio slots, (one slot per band) and were organized by the band they were serving, that is, slot 0 = 802.11b, g, n, and slot 1 = 802.11a, n, ac.
XOR support in 2.4-GHz or 5-GHz bands
The flexible radio (XOR) offers the ability to serve the 2.4-GHz or the 5-GHz bands or to passively monitor both bands on the same AP. The AP models that are offered are designed to support dual 5-GHz band operations, with the Cisco APs’ “I” models (such as the Catalyst 9120AXI) supporting a dedicated macro/micro architecture and the “E” and “P” models supporting a macro/macro architecture.
When using FRA with the internal antenna (“I” models), two 5-GHz radios can be used in a micro/macro cell mode. When using FRA with external antenna (“E” and “P” models), the antennas may be placed to enable the creation of two separate macro cells (wide-area cells) or two micro cells (small cells) for High Density Experience (HDX) or any combination.
FRA calculates and maintains a measurement of redundancy for 2.4-GHz radios and represents this as a new measurement metric called Coverage Overlap Factor (COF).
This feature is integrated into existing RRM and runs in mixed environments with legacy APs. The AP MODE selection sets the entire AP (slots 0 and 1) into one of several operating modes, including:
● Local mode
● Monitor mode
● FlexConnect mode
● Sniffer mode
● Spectrum Connect mode
Before XOR was introduced, changing the mode of an AP propagated the change to the entire AP, that is, both radio slot 0 and slot 1. The addition of the XOR radio in the slot 0 position provides the ability to operate a single radio interface in many of the previous modes, eliminating the need to place the whole AP into a mode. When this concept is applied to a single radio level, it is called a role. Three such roles can be assigned now:
● Client serving
● Either 2.4 GHz (1) or 5 GHz (2)
● Monitor-Monitor mode (3)
Note: A mode is assigned to a whole AP (slot 0 and slot 1).
Note: A role is assigned to a single radio interface (slot 0).
FRA functions
FRA performs several functions. On the 2.4-GHz and 5-GHz XOR models, FRA establishes the required 2.4-GHz coverage, identifies redundant radios, and converts them to either 5 GHz or a monitor role. For tri-radio and 5/6-GHz XOR models, FRA determines the 2.4-GHz coverage, and the redundant radios are converted to a monitor role. Additionally, FRA determines the best operating role for the 5-GHz tri-radio (as either a single 8x8 or a dual 4x4), based on connected client capabilities. For the 5/6-GHz XOR radio, the band that the radios should operate on is based on the availability of 6-GHz in the regulatory domain.
FRA also manages the resulting configurations of the radios to optimize client experience across flexible roles. Client steering is responsible for load-balancing client connections. For instance, from Cisco Aironet 2800 Aps through Cisco Catalyst 9120 Series Aps, all the internal antenna AP models perform dual 5-GHz roles as a macro/micro cell (a cell within a cell). The antennas on these models are built to support the directionality needed for the micro cell. FRA client steering helps to steer clients to the appropriate radio based on their position within the cell (closer clients are put on the micro cell).
The internal antenna tri-radio models operate as micro/meso, with the variable power balancing the frequency and power of dual 5 GHz to create two overlapping cells. Client steering and load balancing also drive clients to balance the two cells and optimize capacity. The FRA Aps that support external antennas operate as macro/macro, which allows full control over power and channels. The Catalyst 9166I AP also supports a macro/macro model when using the internal antennas.
In Catalyst 9130 and 9136 Aps, FRA also manages the operating mode of the band-locked 8x8 5-GHz tri-radio by monitoring client capabilities of connected clients. For instance, if the attached clients are largely Wi-Fi 5-capable clients, then beamforming should be multiuser multiple input, multiple output (MU-MIMO), ensuring better capacity with dual 4x4 5-GHz cells. However, if the same cell has a higher number of Wi-Fi 6-capable clients, then 8x8 spatial streams support more MU-MIMO capacity and increase the overall performance of the cell and client experience.
The Catalyst 9166 Series are the first Aps with a dual-band XOR radio covering the 5-GHz and 6-GHz bands. The criterion for role selection is the regulatory domain (that is, whether the country’s regulatory rules support 6-GHz operations). If yes, 6 GHz is chosen. If not, 5-GHz operations are chosen.
Configuration choices for all FRA radio models include the following:
● Automatic (allows FRA to manage role selection automatically).
● Client serving (manual role selection of 2.4 GHz, 5 GHz, or 6 GHz, or FRA is not engaged).
● Monitor (manual: no FRA).
● Sniffer (manual: no FRA).
Benefits of FRA
● Solves the problem of 2.4-GHz over coverage.
● Creating two diverse 5-GHz cells doubles the airtime that is available.
● Permits one AP with one Ethernet drop to function like two 5-GHz Aps.
● Introduces the concept of macro/micro cells for airtime efficiency.
● Allows more bandwidth to be applied to an area within a larger coverage cell.
● Can be used to address nonlinear traffic.
● Enhances HDX with one AP.
● XOR radio can be selected by the corresponding user in either band, servicing Client mode or Monitor mode.
Dual-band radio support
The dual-band (XOR) radio in the Aironet 2800, 3800, and 4800 Series and in the Catalyst 9120 Series AP models offers the ability to serve 2.4-GHz or 5-GHz bands or to passively monitor both of the bands on the same AP. These APs can be configured to serve clients in the 2.4-GHz and 5-GHz bands or to serially scan both the 2.4-GHz and 5-GHz bands on the flexible radio while the main 5-GHz radio serves clients.
Cisco AP models up and through the Catalyst 9120 Series are designed to support dual 5-GHz band operations, with the “I” model supporting a dedicated macro/micro architecture and the “E” and “P” models supporting macro/macro. The Catalyst 9130AXI and 9136 APs support dual 5-GHz operations as a micro/meso cell.
When a radio moves between bands (from 2.4 GHz to 5 GHz and vice versa), clients need to be steered to get an optimal distribution across radios. When an AP has two radios in the 5-GHz band, client steering algorithms contained in the FRA algorithm are used to steer a client between co-resident radios in the same band.
The XOR radio support can be steered manually or automatically:
Manual steering of a band on a radio: The band on the XOR radio can only be changed manually.
Automatic client and band steering on the radios is managed by the FRA feature that monitors and changes the band configurations as per site requirements.
Note: RF measurement will not run when a static channel is configured on slot 1. Due to this, the dual-band radio slot 0 will move only with the 5-GHz radio and not to the Monitor mode.
When the slot 1 radio is disabled, RF measurement will not run, and the dual-band radio slot 0 will be only on the 2.4-GHz radio.
Receiver Start of Packet Detection Threshold
The Receiver Start of Packet (Rx SOP) Detection Threshold feature determines the Wi-Fi signal level in dBm at which an access point's radio demodulates and decodes a packet. As the Wi-Fi level increases, the radio sensitivity decreases and the receiver cell size becomes smaller. Reduction of the cell size affects the distribution of clients in the network.
Rx SOP is used to address clients with weak RF links, sticky clients, and client load balancing across access points. Rx SOP helps to optimize network performance in high-density deployments, such as stadiums and auditoriums, where access points need to optimize the nearest and strongest clients.
Restrictions for Rx SOP
Rx SOP configuration is not applicable to the third radio module pluggable on Aironet 3600 Series APs.
Rx SOP configurations are supported only in Local, FlexConnect, Bridge, and Flex+Bridge modes.
Rx SOP configurations are not supported in the FlexConnect+PPPoE, FlexConnect+PPPoE-WIPS, and FlexConnect+OEAP submodes.
The following table shows the permitted range for the Rx SOP threshold.
Table 4.Rx SOP threshold
Client limit
This feature enforces a limit on the number of clients that can be associated with an AP. Further, you can configure the number of clients that can be associated with each AP radio.
IP theft
The IP theft feature prevents the use of an IP address that is already assigned to another device. If the controller finds that two wireless clients are using the same IP address, it declares the client with lesser precedence binding as the IP thief and allows the other client to continue. If a blocked list is enabled, the client is put on the exclusion list and thrown out.
The IP theft feature is enabled by default on the controller. The preference level of the clients (new and existing clients in the database) is also used to report IP theft. The preference level is a learning type or source of learning, such as DHCP, ARP, data glean (looking at the IP data packet that shows what IP address the client is using), and so on. Wired clients always get a higher preference level. If a wireless client tries to steal the wired IP, that client is declared as a thief.
The order of preference for IPv4 clients is:
● DHCPv4
● ARP
● Data packets
The order of preference for IPv6 clients is:
● DHCPv6
● NDP
● Data packets
Dynamic Frequency Selection (DFS)
DFS is the process of detecting radar signals and automatically setting the frequency on a DFS-enabled 5.0-GHz (802.11a/h) radio to avoid interference with the radar signals. Radios configured for use in a regulatory domain must not interfere with radar systems.
In normal DFS, when a radar signal is detected on any of the channels in the 40-MHz or 80-MHz bandwidth, the whole channel is blocked. With Flex DFS, if the radar signals are not detected on the secondary channel, the AP is moved to a secondary channel with a reduction in the bandwidth, usually by half.
Optimized Roaming
Optimized Roaming is a tool that can help resolve the problem of sticky clients that remain stubbornly associated to an access point instead of roaming to a more robust available connection. The client alone makes the decision as to when and to whom to roam, and not all clients are created equal. The Optimized Roaming feature borrows some of the same rich data gathered from the APs as the coverage hole algorithm detailed earlier in this chapter. Optimized roaming looks at the data RSSI of the client as measured by the AP against the Data RSSI threshold set in the Coverage Hole configuration dialog. If a client falls below this threshold, the client is sent a disassociation message (Reason 4 – Timeout). The default configuration sets Optimized Roaming as disabled and uses the Data RSSI in the Coverage Hole dialog for coverage hole calculations. Optimized Roaming also has an optional metric – data rate – that is disabled by default and can be used to form a double gate based on the RSSI threshold AND the data rate of the received data packets. If the data rate is also used, both must be true to trigger a disassociation event.
Optimized Roaming, once triggered for a given client, also prevents client reassociation when the client's RSSI is below the threshold and requires the client to be 6 dB above the disassociation threshold to reassociate to that AP. It is for this reason alone that it is not advised to also use the less-known RSSI low check feature. The two thresholds DO NOT work in conjunction with each another, and you can inadvertently lock out a cell’s access.
6-GHz client steering
From Cisco IOS XE Cupertino 17.7.1 onward, the Catalyst 9136I access point supports the 6-GHz band. The 6-GHz band provides more channels and more bandwidth and has less network congestion when compared to the existing 2.4-GHz and 5-GHz bands. As a result, wireless clients that are 6-GHz capable connect to the 6-GHz radio to take advantage of these benefits.
6-GHz client steering takes place when the controller receives a periodic client statistics report from the 2.4-GHz band or the 5-GHz band. The client steering configuration is enabled under the WLAN and is configured only for clients that are 6-GHz capable. If a client in the report is 6-GHz capable, client steering is triggered and the client is steered to the 6-GHz band.
Zero Wait DFS
● The U-NII-2 and U-NII-2C(e) bands, also known as the DFS channels (Dynamic Frequency Assignment), require a 60-second (or more) channel availability check (CAC) before being used by Wi-Fi to ensure that no radar is in operation.
● Zero Wait DFS allows the use of the AP resources to perform a preemptive CAC before a channel change is initiated, eliminating the 60- to 600-second delay experienced on a channel change to any DFS channel.
Prior to Release 17.8 of Cisco IOS XE, DFS CAC has been performed on demand as a precursor to assuming Wi-Fi operations on a channel. This behavior is required to verify that there is no radar operating on the channel we will assume. Part of this also requires that we continue to scan during channel operation, and we immediately abandon the channel if radar is detected. When RRM assigns a channel, it assigns the “best” channel available in the current DCA run. A second-best channel is also assigned at the time which is labeled as a future channel. In the event of a radar detection on the current DFS channel, the future channel would be scanned quickly and then used. This mini DCA has already ensured that the succession channel is a good choice based on the channel adjacencies. If that future channel happens to be a DFS-required channel, the AP would scan for 60 seconds (or 600 seconds if ETSI Terminal Doppler Weather Radar [TDWR] channels 120, 124, or 128) and then assume beaconing again on the new channel.
The Zero Wait DFS feature is supported for ETSI and FCC in the Catalyst 9130 Series APs only beginning with Cisco IOS XE Release 17.9, and support for the Catalyst 9136 Series APs is available starting from Cisco IOS XE Release 17.11.1.
Tri-radio support
The Catalyst 9130 Series APs can run 5 GHz in 8x8 or dual 5-GHz 4x4 mode.
The default mode on the 9130 Series is 5-GHz 8x8 and 2.4-GHz 4x4 mode. This default mode provides the highest throughput per single radio, with performance gains mainly in MU-MIMO client environments. This mode provides a better data rate but less range, with more receivers hearing the client for better Maximal-Ratio Combining (MRC).
There are instances when it becomes beneficial to change the operation of the 5-GHz radio from 8x8 into two independent 5-GHz 4x4 radios. The benefit with dual 5-GHz 4x4 radios is that it allows for macro-micro cell operation, which is very useful in high-density environments. It also permits more clients for greater performance when there are fewer Wi-Fi 6-capable clients or when the need arises to create two different 5-GHz Wi-Fi coverage cells or change operational modes such as monitoring.
Table 5.Catalyst 9130 radio roles
XOR radio – Sniffer mode
The XOR radio in APs such as the Aironet 2800, 3800, and 4800 Series and the Catalyst 9100 APs support the sniffer role in the single-radio interface.
The XOR radio offers the ability to operate as a single-radio interface in many modes. This eliminates the need to place the entire AP into a mode. When this concept is applied to a single radio level, it is called a role.
Note: The radio role is supported in Local and Flex Connect modes.
4. Security
The Cisco Unified Wireless Network solution provides end-to-end security of architecture and product security features to protect WLAN endpoints, the WLAN infrastructure, and client communications.
The solution builds upon the base security features of the IEEE 802.11-2012 standard by enhancing RF and network-based security features to help ensure overall security.
Figure 11.
Secure wireless topology
Wireless security mechanisms
Security is implemented using authentication and encryption in the WLAN network. The security mechanisms for WLAN networks are:
● Open authentication (no encryption).
● Wi-Fi Protected Access 2 (WPA2).
● Wi-Fi Protected Access 3 (WPA3).
● Opportunistic Wireless Encryption (OWE).
● Identity PSK (WPA2 PSK + MAC filtering) (iPSK).
● Multi-PSK (MPSK).
● Cisco Rogue Detection and Adaptive Wireless Intrusion Prevention System (aWIPS).
● Segmentation.
Figure 12.
Wi-Fi security timeline
WPA2
WPA2 is the second generation of Wi-Fi security based on the ratified IEEE 802.11i standard and is also approved by the Wi-Fi Alliance interoperability implementation of the 8 | |||||
8911 | dbpedia | 3 | 0 | https://en.wikipedia.org/wiki/Ace_in_the_Hole_(1951_film) | en | Ace in the Hole (1951 film) | [
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Ace in the HoleDirected byBilly WilderWritten byWalter Newman
Lesser Samuels
Billy WilderStory byVictor Desny (uncredited)Produced byBilly WilderStarringKirk Douglas
Jan Sterling
Robert Arthur
Porter HallCinematographyCharles LangEdited byArthur P. SchmidtMusic byHugo FriedhoferDistributed byParamount Pictures
Release date
Running time
111 minutesCountryUnited StatesLanguageEnglishBudget$1.8 millionBox office$1.3 million (rentals)[1]
Ace in the Hole, also known as The Big Carnival, is a 1951 American drama film directed by Billy Wilder. The film stars Kirk Douglas as a cynical, disgraced reporter who stops at nothing to try to regain a job on a major newspaper. The film co-stars Jan Sterling and features Robert Arthur and Porter Hall.[2]
It marked a series of firsts for auteur Billy Wilder: it was the first time he was involved in a project as a writer, producer, and director; his first film following his breakup with long-time writing partner Charles Brackett, with whom he had collaborated on The Lost Weekend and Sunset Boulevard, among others; and his first film to be a critical and commercial failure.
The story is a biting examination of the seedy relationship between the press, the news it reports and the manner in which it reports it. The film also shows how a gullible public can be manipulated by the press. Without consulting Wilder, Paramount Pictures executive Y. Frank Freeman changed the title to The Big Carnival just prior to its release.[4] Early television broadcasts retained that title, but when aired by Turner Classic Movies – and when released on DVD by The Criterion Collection in July 2007 – it reverted to Ace in the Hole.
In 2017, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[5]
The film is sometimes referred to as a film noir,[6] though some critics dispute this.[7]
Plot
[edit]
After being fired from eleven major newspapers due to his behavior and temper, Charles "Chuck" Tatum winds up in Albuquerque and offers himself to the publisher of the small Sun-Bulletin. Skeptical of Tatum, editor and publisher Jacob Boot hires Tatum for $60.
A year later, Tatum has grown bored with the slow pace of Albuquerque life. Boot sends Tatum and the newspaper's young photographer, Herbie Cook, to cover a rattlesnake hunt. When they stop for gas, the pair learn about Leo Minosa, a local man trapped in a collapsed cliff dwelling, and the two investigate. Tatum talks his way past the deputy sheriff and enters the cave with Cook. Despite falling rocks, Tatum ventures close enough to Leo to pass him some amenities. Tatum takes photographs of the trapped man, tries to cheer him up, and begins scheming his big story.
Leo's wife Lorraine is eager to leave Leo and their struggling gas station, but as tourists flock to the rescue site, the financial windfall leads her to go along with Tatum's scheme. After filing an initial report on the accident, Tatum persuades local sheriff Gus Kretzer to give him exclusive access to Leo in return for reportage that will guarantee Kretzer's reelection.
Kretzer and Tatum convince construction contractor Smollett to drill from above rather than shoring up the walls, extending the rescue from 12 hours to a week to keep the story going. As the days pass, the rescue site becomes an all-day carnival and Tatum starts drinking again. Cook loses his idealism and dreams of selling pictures to high-profile papers. Tatum quits the Sun-Bulletin, persuading Cook to quit with him, and Tatum talks Nagel, his former boss in New York, into hiring him to report exclusively from the scene for $1,000 a day plus his old job back.
Five days into the event, Leo develops pneumonia and is given 12 hours to live. Tatum sends a news flash: Leo will be rescued in 12 hours. However, Smollett tells him that shoring up the walls is now impossible due to the drilling. In a hypoxemic daze, Leo tells Tatum there is a fifth-year anniversary present for Lorraine in their bedroom. Tatum forces a reluctant Lorraine to open the gift, a fur stole, and Tatum makes her wear it. She protests, and Tatum begins to choke her with the stole. She stabs Tatum with the pair of scissors, and Tatum drives away.
Tatum takes the local priest to Leo to administer his last rites, and Leo dies. Tatum announces to the crowd that Leo died, proclaiming, "the circus is over." The other reporters send off the story to their newspapers ahead of Tatum. The carnival and crowd pack up to leave, and Lorraine is among them looking for a ride. Stumbling into his room and ridiculed by the other reporters, Cook tells Tatum that Nagel has fired him for letting other newspapers break the story of Leo's death. Tatum calls Nagel and tries to confess to killing Leo and purposely delaying the rescue, but Nagel hangs up on him without hearing his confession. Tatum and Cook drive back to the Sun-Bulletin offices, where Tatum tries to get back his position there. He collapses from his wound and dies.
Cast
[edit]
Kirk Douglas as Charles "Chuck" Tatum
Jan Sterling as Lorraine Minosa
Robert Arthur as Herbie Cook
Porter Hall as Jacob Q. Boot, editor, publisher, and owner of the Albuquerque Sun-Bulletin
Frank Cady as Al Federber, tourist and Pacific All-Risk insurance salesman
Geraldine Hall as Nellie Federber
Richard Benedict as Leo Minosa
Ray Teal as Sheriff Gus Kretzer
Lewis Martin as McCardle
John Berkes as Papa Minosa
Frances Dominguez as Mama Minosa
Gene Evans as Deputy Sheriff
Frank Jaquet as Sam Smollett
Harry Harvey Sr. as Dr. Hilton
Bob Bumpas as radio announcer
Richard Gaines as Nagel, the New York newspaper editor
Bert Moorhouse as Josh Morgan (uncredited)
Iron Eyes Cody as Indian Copy Boy (uncredited)
Production
[edit]
Development
[edit]
The film's plot has similarities with two real-life events that ended in tragedy. The first involved W. Floyd Collins, who in 1925 was trapped inside Sand Cave, Kentucky, following a landslide. A Louisville newspaper, The Courier-Journal, jumped on the story by dispatching reporter William Burke Miller to the scene. Miller's enterprising coverage turned the tragic episode into a national event and earned the writer a Pulitzer Prize. Collins's name is cited in the film as an example of a cave-in victim who becomes a media sensation. The second event took place in April 1949. Three-year-old Kathy Fiscus of San Marino, California, fell into an abandoned well and, during a rescue operation that lasted several days, thousands of people arrived to watch the action unfold. In both cases, the victims died before they were rescued.
After the film's release, screenwriter Victor Desny sued Wilder for plagiarism because he had contacted Wilder's secretary Rosella Stewart to propose a film based on the story of Floyd Collins in November 1949. Wilder's attorneys responded that, not only did an oral plot summary not constitute a formal story submission, but the Collins case was historical in nature and as such was not protected by copyright laws. In December 1953, Judge Stanley Mosk ruled in favor of Wilder and Paramount. Desny appealed and in August 1956 the California Supreme Court ruled his oral submission had been legitimate. Wilder's attorneys settled that same month, paying Desny $14,350 (equivalent to $161,000 in 2023).[4]
Writing
[edit]
In the original script, Tatum colluded with the local sheriff. Joseph Breen of the Hays Code office strongly objected to the on-screen depiction of a corrupt law enforcement officer, and insisted Wilder add dialogue making it clear the man eventually would be made to answer for his actions.
Filming
[edit]
The final cost of the film was $1,821,052, of which $250,000 was paid to Wilder as writer, producer and director. Its exterior set, (), which was constructed 19 miles west of Gallup, was the largest non-combat set ever constructed at the time. It measured 235 feet (72 m) high, 1,200 feet (370 m) wide, and 1,600 feet (490 m) deep and included an ancient cliff dwelling, collapsed cave, roadside stands, parking lots and a carnival site. Underground scenes were filmed in a mock-up at the Paramount Studios on Melrose Avenue in Hollywood.[12] More than 1,000 extras and 400 cars were utilized in the crowd scenes. After the film was completed, Paramount charged admission to the set.
Frank Cady's character identifies himself as a salesman for Pacific All-Risk Insurance, a fictitious company featured in Wilder's 1944 film Double Indemnity.
Soundtrack
[edit]
Jay Livingston and Ray Evans wrote the song "We're Coming, Leo," performed by a vocalist and band at the carnival.[14]
Reception
[edit]
Critical response
[edit]
At the time of its release, critics found little to admire. In his review in The New York Times, Bosley Crowther called it "a masterly film" but added, "Mr. Wilder has let imagination so fully take command of his yarn that it presents not only a distortion of journalistic practice but something of a dramatic grotesque ... [it] is badly weakened by a poorly constructed plot, which depends for its strength upon assumptions that are not only naïve but absurd. There isn't any denying that there are vicious newspaper men and that one might conceivably take advantage of a disaster for his own private gain. But to reckon that one could so tie up and maneuver a story of any size, while other reporters chew their fingers, is simply incredible."[15]
The Hollywood Reporter called it "ruthless and cynical ... a distorted study of corruption and mob psychology that ... is nothing more than a brazen, uncalled-for slap in the face of two respected and frequently effective American institutions – democratic government and the free press." Variety was more positive, noting "the performances are fine. Douglas enacts the heel reporter ably, giving it color to balance its unsympathetic character. Jan Sterling also is good in a role that has no softening touches, and Benedict's victim portrayal is first-rate. Billy Wilder's direction captures the feel of morbid expectancy that always comes out in the curious that flock to scenes of tragedy."[17]
Film critic Manny Farber in The Nation, July 14, 1951, wrote:
Ace in the Hole is built chiefly round the acting of a tough, corrupt newshound by Kirk Douglas. Douglas plays it in the worst style of the Yiddish theatre, bursting with self-pity, slowing everything with a muscular, tensed-up technique, and ranting as though he were trying to break the hearts of people blocks away from the theatre. His conceited hamming is pretty typical of the whole show…”[18]
Retrospective appraisals
[edit]
The film has found new respect among critics. Roger Ebert of the Chicago Sun-Times wrote in 2007, "Although the film is 56 years old, I found while watching it again that it still has all its power. It hasn't aged because Wilder and his co-writers, Walter Newman and Lesser Samuels, were so lean and mean [with their dialogue] ... [Kirk Douglas'] focus and energy ... is almost scary. There is nothing dated about [his] performance. It's as right-now as a sharpened knife."[19]
Dave Kehr in the Chicago Reader called it "cold, lurid, and fascinating"[20] and Nathan Lee of The Village Voice wrote, "Here is, half a century out of the past, a movie so acidly au courant it stings."[21]
Time Out London wrote, "As a diatribe against all that is worst in human nature, it has moments dipped in pure vitriol."[22] TV Guide called it "a searing example of writer-director Billy Wilder at his most brilliantly misanthropic" and adds, "An uncompromising portrait of human nature at its worst, the film ... stands as one of the great American films of the 1950s."[23]
Ed Gonzalez of Slant wrote that the film "... allowed Wilder to question the very nature of human interest stories and the twisted relationship between the American media and its public. More than 50 years after the film's release, when magazines compete to come up with the cattiest buzz terms and giddily celebrate the demise of celebrity relationships for buffo bucks, Ace in the Hole feels more relevant than ever."[24]
In his Slate review, Jack Shafer wrote in 2007: "If film noir illustrates the crackup of the American dream ... Ace in the Hole is an exemplar of the form."[6]
The film was included in film critic Roger Ebert's list of "The Great Movies" in 2007.[25] In September 2008, Empire published its list of the Top 500 greatest movies of all time. With votes from 10,000 readers of the magazine along with 500 key film critics and 150 film industry figures, this film is ranked number 385.[26] In 2015, the film ranked 100th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world.[27]
In 2022, Eddie Muller, founder and president of the Film Noir Foundation, in a Facebook "Noir or Not" segment stated that Ace in the Hole incorrectly gets labeled as a film noir because of director Wilder's other films Double Indemnity (1944) and Sunset Boulevard (1950), and because of the cynical storyline. Muller feels that Ace in the Hole is without many of the characteristics normally associated with film noir, and that it is more of a film about sleazy journalism.[7]
Awards and nominations
[edit]
Wins
National Board of Review Award: Best Actress – Jan Sterling; 1951.
Venice Film Festival: International Award for Best Director – Billy Wilder; 1951.
Venice Film Festival: Best Music – Hugo Friedhofer; 1951.
Nomination
Academy Award for Best Story and Screenplay – Billy Wilder, Lesser Samuels and Walter Newman; 1952.
Venice Film Festival: Golden Lion – Billy Wilder; 1951.
Legacy
[edit]
The 1992 The Simpsons episode "Radio Bart" largely references the storyline of Ace in the Hole, featuring Bart Simpson lowering a portable radio into a well, and using a wireless microphone to broadcast his voice from it. He convinces the public that a boy named "Timmy O'Toole" had fallen into it, prompting news coverage and charity campaigns.[28][29] Writer Jon Vitti noted that series creator Matt Groening "came in out of nowhere and just gave me, start to finish, the whole story."[30]
See also
[edit]
Media circus
References
[edit]
Sources
[edit]
Farber, Manny. 2009. Farber on Film: The Complete Film Writings of Manny Farber. Edited by Robert Polito. Library of America. ISBN 978-1-59853-050-6
Sikov, Ed (1998). On Sunset Boulevard: The Life and Times of Billy Wilder. New York: Hyperion. ISBN 0-7868-6194-0.
Further reading
Armstrong, Richard (February 2002). "Ace in the Hole". Senses of Cinema. Archived from the original on October 3, 2009 .
Freely accessible essay by Richard Armstrong, who published a biography of Wilder in 2000.
Maddin, Guy (July 16, 2007). "Ace in the Hole: Chin Up for Mother". The Criterion Collection .
Maddin is a filmmaker; publication of this essay accompanied the 2007 DVD release of Ace in the Hole by The Criterion Collection. | ||||||
8911 | dbpedia | 2 | 39 | https://www.southgatehouse.com/event/12012645/american-aquarium-jesse-daniel/ | en | American Aquarium, Jesse Daniel | [
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] | null | [] | 2017-12-18T01:34:35+00:00 | American Aquarium Pre-Show Meet & Greet Experience
One premium reserved ticket in the first rows -or- one general admission ticket to see American Aquarium live
VIP early entry into the venue
Exclusive meet & greet with | en | Southgate House | https://www.southgatehouse.com/event/12012645/american-aquarium-jesse-daniel/ | Jesse Daniel possesses the hard-won life experience that many sing about, but few have actually lived. Instead of wearing those trials like badges of honor, he has used them to forge the solid foundation from which he has built his career. After overcoming years of addiction and all that comes with it, he set out to make a life in music and hasn't looked back since. This unrivaled determination led to his debut in 2018, Jesse Daniel, which proved to be a major foot-in-the-door for him as an artist. After touring this record extensively he released his second album, Rollin’ On, in 2020. If the first record was a foot in the door, Rollin’ On was a battering ram, making it near impossible to ignore his name in country music. It let the world know that Daniel was here to stay and received national (and international) praise from the likes of Rolling Stone, Sirius XM Outlaw Country DJ Shooter Jennings, American Songwriter and Saving Country Music among many others. It’s success in spite of a global pandemic only highlighted the impact it had.
Daniel used the forced downtime of 2020 to write and record his best work to date; a twelve song album called Beyond These Walls, collaborating again with esteemed Grammy nominated producer, Tommy Detamore at Cherry Ridge Studios. A good portion of its songs were co-written by Jesse’s partner, bandmate and co-owner of their independent label Die True Records, Jodi Lyford, who is heard throughout singing harmony vocals. “I wanted this record to reflect where I’m at in life… a more mature album and version of my sound, but without sacrificing any of the things that make it “Jesse Daniel”. Every song on this record reflects a part of me.” says Daniel.The collection features members of George Strait’s “Ace In The Hole Band” (Ronnie Huckaby), Willie Nelson’s band (Kevin Smith), and even includes a duet, completely in spanish, with Raul Malo of The Mavericks.
Many have praised Daniel as a showman or performer, but less often as the songwriter he truly is. The subject matter on this album shed light onto this side of him that had been there all along, but many have overlooked. “Clayton Was A Cowboy” honors the timeless tradition of storytelling in country music, capturing the simplicity, hardship and tragedy that oftentimes go hand in hand with living truly and completely free. “Gray” is a sad but true glimpse into what addiction can look like. Written from the perspective of a friend, it covers the helplessness one feels while watching someone they love throw their life away. Daniel said, “I’ve been to a lot of funerals in the past few years, most of them were for friends who died far too young. I wrote this song to tell the truth about what it's like, and to try and expose the glamorous image people give addiction for what it is.”
Daniel’s worker's anthem, “El Trabajador”, taps into his upbringing, working the flea markets with his mother and step-father (a native of Northern Mexico), while “Soñando Contigo” covers unbearable grief and heartache in true Ranchera style.In the lyrics to the closing track, “I’ll Be Back Around”, is where the album gets its title. The only true bluegrass song on the album, it features masterful dobro played by Tommy Detamore, fiddle by Hank Singer and flatpicking guitar by John Carroll. While it is about doing time in prison, it transcends that narrative by being relatable to anyone who has been stuck somewhere against their will.
This album is a love letter to country music in its many forms. It will leave you with a sense of knowing Jesse Daniel better, both as an artist and person. He has grown immeasurably as a singer, songwriter, producer and bandleader since his humble beginnings in small town California and Beyond These Walls lays out just how far he has come and will continue to go. | |||||
8911 | dbpedia | 3 | 22 | https://medium.com/%40mitpress/job-creation-the-ace-in-the-hole-for-the-small-is-beautiful-advocates-a000fa8d5f9b | en | Job Creation: The Ace in the Hole for the Small Is Beautiful Advocates? | [
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] | 2018-01-22T16:17:48.539000+00:00 | In Atkinson’s and Lind’s new book, available this March, they argue that small business is not, as is widely claimed, the basis of American prosperity. Small business is not responsible for most of… | en | https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19 | Medium | https://medium.com/@mitpress/job-creation-the-ace-in-the-hole-for-the-small-is-beautiful-advocates-a000fa8d5f9b | In Atkinson’s and Lind’s new book, available this March, they argue that small business is not, as is widely claimed, the basis of American prosperity. Small business is not responsible for most of the country’s job creation and innovation. American democracy does not depend on the existence of brave bands of self-employed citizens. Small businesses are not systematically discriminated against by government policy makers. Rather, Atkinson and Lind argue, small businesses are not the font of jobs, because most small businesses fail. The only kind of small firm that contributes to technological innovation is the technological start-up, and its success depends on scaling up. The idea that self-employed citizens are the foundation of democracy is a relic of Jeffersonian dreams of an agrarian society. And governments, motivated by a confused mix of populist and free market ideology, in fact go out of their way to promote small business. Every modern president has sung the praises of small business, and every modern president, according to Atkinson and Lind, has been wrong. Below is an excerpt from chapter 5, looking at job creation:
Most Small Firms Are Dependent on Big Firms
In the natural world, “capstone species” — large animals or plants — help to shape an environment in which many smaller organisms can flourish. On the North American prairie, bison clear spaces for prairie dogs and grasses by grazing and wallowing. In tropical rainforests, giant trees provide support for vines and shade for smaller, shade-loving plants.
Like capstone species, in many sectors big firms provide “ecosystem services” to much greater numbers of small and medium-sized companies. Large corporations are customers for complex webs of smaller suppliers. Their spending benefits yet other firms, as does the spending of their large number of more highly paid employees. And large firms can help innovations scale up, by buying them from startups, or buying the startups. In advanced industrial economies, many small firms and big firms are mutually interdependent partners in a common productive enterprise — not natural enemies engaged in a battle to the death. Moreover, whether America thrives in the global economy is not whether Justin’s clothing shop on Main Street sells more pants. It is whether companies that export goods and services and compete in tough international markets do well; whether companies that drive productivity in their operations through the introduction of new technology do well; and whether high-growth entrepreneurial companies, especially ones that that develop and commercialize innovations, do well. While they may have Main Street suppliers, these are not Main Street companies. These are “Industrial Street” and “Office Complex Street” companies; the former being manufacturing firms, particularly those competing in international markets, and the latter being technology-based nonmanufacturing companies
Why does job creation or loss by large firms have a bigger effect on the unemployment rate than similar changes by small firms? One reason is, as we showed in Chapter 3, that larger firms are more likely to be globally traded. It’s important to understand the difference between what regional economists refer to as local-serving and export-serving businesses.
Consider the Maytag factory that closed in Newton, Iowa a few years ago. In a 60 Minutes segment about the suffering of local, small businesses in Newton, caused by the closing (the washers and dryers were to be made in Mexico), host Scott Pelly bemoaned the fact that these small companies weren’t getting help: “Three years after the beginning of the Great Recession, with interest rates the lowest they have ever been in history, banks are lending less money to the engines that create jobs.”[i]
This misses the point. Maytag was an export-serving business, meaning that it shipped products outside of the local labor market. While a small share of the washers and dryers coming off the assembly line were sold to local Newton residents, most were sold to customers throughout the nation or even the world, who sent money back to Maytag, who paid some of it to their local workers and contractors.
In contrast, the local Newton restaurants, dry cleaners, clothing stores, and barber shops are local-serving, as the lion’s share of their output is sold to Newton residents, including Maytag workers. If one of these local-serving small “Main Street” restaurants had gone out of business, it would have had no effect on the output of the Maytag factory. Moreover, another restaurant would more or less automatically expand or emerge to meet local demand.
But the Maytag factory closure had an immediate negative impact on the local-serving businesses, whose customers (Maytag workers, their suppliers, and the suppliers’ workers) had much less money to spend locally on meals, haircuts, dry cleaning, and other needs and desires. Conversely, if Newton Iowa were to attract a large company to occupy the abandoned Maytag facility, the health of Newton’s small businesses would immediately revive.
So what determines whether America thrives, including impacts on the unemployment rate, is not whether Justin’s clothing shop on Main Street sells more pants. It is whether companies that export goods and services and compete in tough international markets do well. As noted, while some small firms export, big firms are more likely to export…You can buy your copy of Big is Beautiful here.
About the Authors
Robert Atkinson is Founder and President of the Information Technology and Innovation Foundation, a Washington, D.C. think tank, and coauthor of Innovation Economics: The Race for Global Advantage.
Michael Lind is a Visiting Professor at the Lyndon B. Johnson School of Public Affairs of the University of Texas and author of Land of Promise: An Economic History of the United States. | ||||
8911 | dbpedia | 3 | 18 | https://newsroom.acehardware.com/ace-spotlights-iconic-jingle-in-new-ace-is-the-place-campaign/ | en | Ace spotlights iconic jingle in new “Ace is the Place” campaign | [
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] | 2016-03-02T14:30:00+01:00 | Ace Hardware, the largest retailer-owned hardware cooperative in the world, announced today the launch of a new advertisement campaign. The campaign, created by Chicago advertising agency O’Keefe Reinhard & Paul, leverages the signature “Ace is the place with the helpful hardware folks” jingle, featuring real-life Ace owners and associates and a... | en | https://content.presspage.com/favicon/1818.ico?758978445 | Ace spotlights iconic jingle in new “Ace is the Place” campaign | https://newsroom.acehardware.com/ace-spotlights-iconic-jingle-in-new-ace-is-the-place-campaign/ | Ace Hardware, the largest retailer-owned hardware cooperative in the world, announced today the launch of a new advertisement campaign. The campaign, created by Chicago advertising agency O’Keefe Reinhard & Paul, leverages the signature “Ace is the place with the helpful hardware folks” jingle, featuring real-life Ace owners and associates and actual Ace customers. With the familiar tune as a backdrop, the jingle’s lyrics are customized in humorous and memorable ways to highlight that Ace’s exceptional service and expertise, best brands and product selection help consumers succeed with their home maintenance and repair projects.
“With this campaign, we set out to accomplish something that no other retailer or brand can do, showcasing our three greatest differentiators – our people, our brand and our jingle – in a truly authentic way by featuring real Ace customers in real Ace stores, getting real problems solved by real Ace associates,” said John Surane, Executive Vice President of Merchandising, Marketing and Sales at Ace Hardware Corporation. “It’s unmistakably Ace.”
In developing their first campaign with Ace, O’Keefe Reinhard & Paul surveyed over 100 Ace retailers and employees for real-life instances of customer requests and the ways that Ace associates go the extra mile to help their customers. The team selected a variety of examples to demonstrate how Ace helps its customers tackle lawn and garden projects, paint selection, bug infestations, and more.
“We set out to capture the one-of-a-kind authenticity of Ace’s helpfulness – and found it in the relationships and stories of real customers and Ace employees,” explained Tom O’Keefe, CEO of O’Keefe Reinhard & Paul. “For us, putting a new twist on the iconic jingle was the perfect way to bring this authenticity to life.”
Launching today on television, audio and digital channels nationwide, the campaign features more than 30 videos filmed at three Ace stores in Houston, Orlando and Chicago, using a cast of 25 actual Ace owners and associates and 40 real customers. The ads were developed to support seasonal offerings and sales across focus categories including paint, lighting and lawn and garden, while also showcasing Ace’s unique mix of the best brands, such as Craftsman, Scotts, Valspar and Weber.
The campaign includes more than 25 unique 15 and 30-second spots that will air nationally on major television networks including CBS, USA Network, HGTV, Food Network and ESPN, among others. In addition, 15 unique :30 national radio spots will air on terrestrial and streaming radio (Spotify, Pandora) with companion banners. Online videos will be placed with companion banners on Hulu and YouTube with media integrations with Food Network, Animal Planet, 120 Sports, USA Network and DirecTV, among others. The campaign will also be extended across multiple consumer touch points including social media, acehardware.com, store signage, circulars, email, direct mail, and local market TV, audio, and display templates.
To see the debut campaign commercials, please visit https://www.youtube.com/user/acehardware.
# # # | ||||
8911 | dbpedia | 1 | 2 | https://www.wideopencountry.com/a-closer-look-at-the-ace-in-the-hole-band-the-legendary-group-behind-george-strait/ | en | A Closer Look at the Ace in the Hole Band, the Legendary Group Behind George Strait | [
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] | 2021-05-05T15:42:13+00:00 | The Ace in the Hole Band is, as the name suggests, the secret weapon behind George Strait's legendary career from 1975 and beyond. | en | Wide Open Country | https://www.wideopencountry.com/a-closer-look-at-the-ace-in-the-hole-band-the-legendary-group-behind-george-strait/ | Few artists become so famous that everybody knows their band too. Garth Brooks and his longtime band certainly meet that mark. But perhaps the most renowned group of musicians in country music is George Strait's legendary musical group, the Ace in the Hole Band.
Sadly, the Ace in the Hole Band and music community at large lost a giant when Mike Kennedy died in a car accident in 2018. Kennedy performed as the Ace in the Hole band's drummer for more than 30 years.
Let's take a closer look at some of the significant players from the rotating cast of George Strait's Ace in the Hole Band.
Early Beginnings
A lot of people don't realize it, but the Ace in the Hole Band came before George Strait. Back in the early 1970s, a group of students at what is now Texas State University in San Marcos (then Southwest Texas State University) formed a band called Stoney Ridge. When graduation came in 1975, that band broke up — but Ron Cabal, Mike Daily, and Terry Hale decided to form another group for traditional country music.
The trio posted fliers around campus looking for a lead singer. The advertisement was so simple it just said "country band looking for singer," and included a phone number. And that's precisely when a young agricultural science major named George Strait answered the call.
After formally changing their name to Ace in the Hole, the band played their first show ever at Kent Finlay's honky-tonk Cheatham Street Warehouse on October 13, 1975. At the time, they didn't have a permanent drummer, so Finlay's drummer Ted Stubblefield played for both Ace in the Hole and Finlay's band High Cotton Express.
Of course, after years of honing their chops in Central Texas, Strait started making trips to Nashville with Finlay and eventually signed with MCA Records. That's when everything changed. But despite the plethora of musicians available in Nashville, Strait stuck by his road warrior band.
Major Players
Ron Cabal was one of the founding band members and played guitar in the band for about eight years before eventually bowing out. He played a pivotal role in the group's early development before leaving in 1984. He sadly passed away in a hit-and-run accident in Austin in 1996.
Mike Daily (steel guitar) is another founding member who still plays with Strait. His dad Pappy Daily was also a big part of their early days since he first arranged for the band to record two songs in 1976.
Stoney Ridge's originally drummer Tommy Foote returned from Houston in late 1975 to rejoin the new band and held that position up until 1983. That's when he got out from behind the kit to become the road manager, a position he still holds to this day. Roger Montgomery played drums in 1987 when Mike Kennedy joined and played up until his recent passing.
The final remaining piece from the early days is bassist Terry Hale, one of the original Stoney Ridge members and Strait's bass player to this day. Throughout the rest of the 1980s, the Ace in the Hole band added several key players, including keyboardist Ronnie Huckaby, Rick McRae, and Benny McArthur on lead guitar and fiddle and Gene Elders on fiddle. All four have played with Strait for more than 30 years.
Still Going Strong
Though Strait retired from major tours a few years ago, he still performs on occasion with the group. The band frequently records with Strait in the studio and has even recorded an album without Strait on vocals. That 1994 record featured guest vocals from the legendary Mel Tillis and Darrell McCall.
And yes, they also got to have roles in the 1990s country classic Pure Country franchise.
With an 11-piece lineup in most scenarios, the Ace in the Hole Band remains one of the most critically regarded touring bands to this day. And though several members fill in and play with other artists, they stick together like a family for George.
Ace in the Hole Band Current Members
Mike Daily - steel guitar (1975 - present)
Terry Hale - bass guitar (1975 - present)
Ron Huckaby - keyboards (1983 - present)
Rick McRae - lead guitar (1984 - present)
Benny McArthur - guitar & fiddle (1984 - present)
Gene Elders - fiddle (1985 - present)
Wes Hightower - backing vocals (1999 - 2006; 2016 - present)
Marty Slayton - backing vocals (2000 - present)
Joe Manuel - acoustic guitar (2005 - present)
John Michael Whitby - keyboards (2006 - present)
Lonnie Wilson - drums (2019 - present)
This post was originally published on September 7, 2018.
Now Watch: Which George Strait Song Never Went to No. 1? | |||||
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] | null | [] | 2024-04-18T18:52:06+00:00 | June 6 | Georgia Parker Georgia Parker is a Western Swing performer from the hills of Central Texas. She holds the Ameripolitan Award for Western Swing Female of 2020, The Ameripolitan Award for We… | en | Summer in the Park | https://summerintheparksm.org/2024-artists/ | June 6 | Georgia Parker
Georgia Parker is a Western Swing performer from the hills of Central Texas. She holds the Ameripolitan Award for Western Swing Female of 2020, The Ameripolitan Award for Western Swing Band (Big Cedar Fever) for 2019, and the Academy of Western Artists Award for Western Swing Album (“Tumbleweeds” by Big Cedar Fever) for 2020. A Hill Country Texan through and through, her sound is of a quality and character that can only be acquired over many years of listening to country greats like Willie Nelson, Cindy Walker, and Bob Wills.
June 13 | Bill Kirchen & Too Much Fun
Bill Kirchen, the “Titan of the Telecaster” is a Grammy-nominated guitarist, vocalist, and songwriter. He embodies the spirit of rock ‘n’ roll, Western swing, and California honky-tonk, earning praise from Rolling Stone as “one of our best.” Kirchen’s odyssey began in Ann Arbor, where he honed his skills as a trombonist, laying the groundwork for his future mastery of the Telecaster guitar, which he now wields with undistorted, heartfelt passion. An Austinite, Kirchen’s versatility shines through his rootsy blend of blues, country, and rock, infused with high-octane energy and finesse. Having toured with acclaimed artists like Nick Lowe and Elvis Costello, his performances exemplify an unwavering commitment to entertaining and reveling in the moment. With a career spanning decades, Kirchen’s humorous and soulful approach to music captivates audiences, leaving them craving more.
June 20 | Texas Jamm Band
For over twenty years, even as members have come and gone, the Texas Jamm Band has kept its core players. The music remains the same as when the group first began filling the dance floors of dance halls, night clubs, and special events venues. To this day, fans continue to enjoy the timeless and classic sound of The Texas Jamm Band, featuring members of George Strait’s Ace in the Hole band.
June 27| Rochelle and the Sidewinders
Based in Austin, Texas, Rochelle and the Sidewinders are a high-energy blues rock band that’s a local legend. Led by Rochelle, the “Texas Songbird,” this dynamic five-piece ensemble blends classic blues with rock and roll to create an irresistible sound. Known for their catchy, groove-laden tunes and electrifying live performances. They have won several awards including the Austin Blues Society’s “Heart of Texas Blues Challenge.” Rochelle’s powerful vocals and striking stage presence, backed by the tight musicianship of the Sidewinders, deliver an unforgettable experience.
July 4 | Brave Combo
Trying to describe Brave Combo’s music requires a pretty extensive vocabulary – at least when it comes to musical styles. For the past three decades the Denton, Texas based quintet has perfected a world music mix that includes salsa, meringue, rock, cumbia, conjunto, polka, zydeco, classical, cha cha, the blues and more. They are America’s Premier Dance band and a rollicking, rocking, rhythmic global journey — offering what one critic recently wrote, “Even if you come for the party, you’ll leave with something of a musical education.”
July 11 | Matt Kirk and the Güefarers
Hailing from the heart of Texas, Matt Kirk and the Güeyfarers (pronounced Wayfarers) are more than just a musical group; they’re a celebration of family heritage and a fusion of diverse sounds. Led by the incomparable Matt Kirk, whose musical roots run deep thanks to his upbringing in the picturesque hill country of New Braunfels, the Güeyfarers bring a rich tapestry of influences to the stage. Matt, whose talents extend to lead vocals, guitars, mandolin, and harmonica, inherited his musical prowess from his mother, the renowned singer Sylvia Kirk. Together, they’ve lit up stages with their undeniable chemistry and soulful performances. But the magic doesn’t stop there. The Güeyfarers are a collective of some of the finest musicians in the area, each bringing their own flair to the mix. With Jimmy Hartman on bass, Brendon Custer keeping the rhythm alive on drums, and Matt Cain adding layers of melody on keys and Eric Demmer on the saxophone. Creating a sonic landscape that knows no bounds, with influences spanning folk country, blues, classic rock, Tejano, and Western Swing, their music transcends genres and transports listeners to a realm where every note tells a story. Matt Kirk and the Güeyfarers deliver an unforgettable live experience.
July 18 | Emily Gimble
Piano beckoned Emily early on – in fact, the Austin Music Awards named her “Best Keyboards” of the city three times (2013, 2014, 2018) – as did another instrument, full of natural range and feeling: her voice. “A Case of the Gimbles,” the 2005 album she recorded with her father and grandfather, showcased her vocals and launched Emily on a national family tour, playing folk festivals and charming audiences across the country.
“The time I got to spend traveling around the country playing music with my Dad and Grandpa are the most cherished musical memories of my life,” says Emily. “It was then that I really started learning how to communicate through music, speaking with my dad and grandpa through solos and spaces on stage.”
July 25 | Blue Water Highway
Based in the musical landscape of Austin, Texas, Blue Water Highway isn’t just a band — they’re a journey. With a sound that echoes the soul of Americana-folk rock, their harmonies ripple through modernity while honoring the roots of tradition. Drawing inspiration from city and country life, their music resonates with the depth of the heartland. Often compared to legendary acts such as the Eagles, Bruce Springsteen, and the Counting Crows. Over a decade of touring, sharing stages with icons like Bob Seger and Big Head Todd and the Monsters, they have honed their craft to perfection. At the helm of this musical voyage are Zack Kibodeaux and Greg Essington, childhood friends from Lake Jackson, whose bond forms the bedrock of the band. Alongside them stand Catherine Clark, a fellow opera singer, whose voice adds to the soulful harmony, and Kyle James Smith, whose basslines anchor the band’s sound. Together, they craft tight, inventive music that captures the essence of their namesake — the hometown coastal stretch from Surfside to Galveston. Blue Water Highway isn’t just a band you listen to; they’re a passage to somewhere deeper, somewhere real.
August 1 | Seth James
Seth James is a rare musical talent whose infectious sound blends the gritty Texas blues with
soulful R&B, rootsy Americana, and groove-laden funk. This lifelong West Texas rancher may
be clothed in a cowboy hat and boots, but his music embodies the rock, soul and blues styles
more associated with Detroit, Chicago, New Orleans and Memphis.
With virtuosic guitar chops, soulful vocals, and an innate ability to craft songs brimming with
groove. Seth comes from a long line of musical talent including his father, grandfather, great-
grandfather, and older brother, and has married a singer. Seth has spent years honing his
distinctive musical blend. His isolated ranch upbringing, with just one ’90s country station to
listen to, fueled his relentless hunt for music that resonated deeper. Inspired by the bluesy, soulful
sounds of Delbert McClinton, he studied and eventually collaborated with Delbert and other
musicians including Chris Stapleton.
Despite a prolific songwriting career collaborating with such well-known artists, Seth remains
humble about his achievements. This awe-shucks authenticity only makes his top-tier talent more
captivating. Whether crooning with an easy grace or unleashing a gripping soul shout, Seth’s
performances are an exercise in feeling good.
August 8 | Tejas Brothers
The Tejas Brothers are musicians with extreme dedication to the art of entertaining. They have been recognized as one of the best live acts to see in the Lone Star State. Their signature style of Tex-Mex Honky Tonk was crafted in the Stockyards of Fort Worth, TX. The Tejas Brothers are committed to providing fun, energetic and uplifting performances for audiences of all ages and various types of listeners. Whether you like Country or Tejano, Rock ‘n’ Roll or Blues, or just laughing, dancing or people watching… You’ll be so happy you came to this show!
August 15 | Kelly Willis
With rockabilly roots and a heartache-meets-honky-tonk voice, Kelly Willis has been labeled a country ingenue. As a new traditionalist singer-songwriter, her tunes effortlessly combine the storytelling and strings aspects of country music and the driving force of rock. Kelly Willis is the alluring voice and songwriting talent who pioneered both Americana and the Texas young country scene with her debut album in 1990, and has since, over the course of five more gems, proven how she can do it all from contemporary to traditional and beyond with finesse, smarts, and irresistible charm. | |||||
8911 | dbpedia | 2 | 8 | https://webermandolins.com/blog/exclusive-artist-interview-gene-elders | en | Exclusive Artist Interview: Gene Elders | [
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By Michael Eck
Texas fiddle master Gene Elders doesn’t consider himself a mandolinist.
“I almost hesitate to even call myself one,” he laughs, adding emphatically, “don't ask me to do anything fast.”
But he plays three to four mandolin numbers at each gig, and seeing as those dates are with multi-platinum country music legend George Strait, we’re going to call Elders a mandolinist whether he agrees with the epithet or not.
A Chicago native, Elders actually began his eight-string career in 2005, 21 years after he’d landed on Strait’s payroll.
It was a simple matter of efficacy. The set list called for such—specifically on “I Saw God Today”—and the Ace in the Hole Band’s guitarists were busy with their own parts. Knowing Elders was at least familiar with the mandolin’s tuning, they inducted him for ‘other duties as assigned.’
Things grew from there, and he’s anchored both roles in the band ever since.
When he was assigned the mandolin chair, Elders actually didn’t even have an instrument. He contacted Weber to see what might be on the workbench and was soon learning to pick and fret (a pretty huge leap from bowing and fingering) on an oval-hole F-body Big Sky.
“Since I can't do a whole lot with the mandolin technically, I have to think a lot more about each note, keeping it simple and concentrating on tone. That’s one reason I really love this Weber. It sounds wonderful. It's got a nice fat mid and low, and it's got a smooth, sweet high end on it. It just sounds great.”
Elders, who also spent 11 years with Lyle Lovett, learned violin before he played fiddle, and he thinks that distinction had an important effect on his approach and his sound.
As a youth in Illinois, his progressive parents wanted their children to be cultured; Elders studied classical technique for 12 years. When his ear leaned towards percussion, at age 18, his parents were open to the change in focus, with one caveat, that he take it seriously.
Elders studied the craft at Chicago’s now-defunct American Conservatory of Music.
“I did that for a few years,” he says, “and came to the realization that it was a lot of stuff to carry around, and I missed playing melody lines. So, I got the violin back out.”
Meeting student bluegrasser Jimmy Crawford turned Elders’ violin into a fiddle.
“Then,” Elders recalls, “I began what actually turned out to be the hardest part, which was learning how to play that instrument without looking at a sheet of music. I spent a lot of time with the Nitty Gritty Dirt Band's Will the Circle be Unbroken, which had just been released. That was my bible for a long time—Vassar Clements! I sequestered myself in a room and tried to copy everything I could on that record.”
When Crawford went back to his hometown of Roanoke, Virginia, Elders went with him.
“I lived there for about 10 years,” he says, “among other places I had gone to in the meantime for eight, nine months at a time.”
When he’d done all he felt he could in the Magic City, he lit west, with a nine-month layover in Chicago, landing in the Austin area in 1984, where he’s been ever since—making a home with his wife Betty, a noted songwriter whose work has been covered by Joan Baez, Eric Taylor, Sarah Elizabeth Campbell and others.
Strait had already scored a few number one smashes by the time Elders made the team. He almost didn’t, he remembers with a warm laugh indicative of his open heart.
“Soon after arriving in Austin, I got a call from Strait's people, and they were looking for another fiddle player and wanted to know if I was interested in trying out. I said sure and foolishly quit my painting job and started to woodshed all of George’s stuff. Well, I never got a call back! I had just about given up when the phone rang one Sunday morning.”
“It was Strait's people again and they said, ‘we just threw the fiddler out. We're in Houston, on our way to Dallas. We'll drive through Austin and pick you up."
“I said, ‘okay, I guess this'll be my audition, then.’"
34 years later, he’s still on the bus.
The gig is a good one, but with Strait’s enormous popularity, the Ace in the Hole Band is not given much room for creativity.
Elders has been scratching that itch of late with a recently-installed home studio, making use of the digital technology that has allowed millennials to fashion fully-produced albums on a shoestring. That same technology is allowing him to write with Nantucket resident A.W. Bullington. Despite a long friendship and a nice list of new songs, the two—who communicate online—haven’t actually been in the same room in almost 15 years.
Elders is using the studio as a laboratory to try out all kinds of new sounds, from the concertina to the flute.
“I’m totally making it up as I go along,” he says, “and I'm forced to keep it simple because I don't have the chops. It's been just an absolutely wonderful experience.”
One of his main tools when the light goes red is an F-body, f-hole Weber Fern octave mandolin.
“It's a wonderful instrument,” he says. “It just sounds so big, so rich and full, and the unison strings on an octave mandolin, at least on this one, are just magical.”
“I love it!”
And he says he’s not a mandolinist! | |||||
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] | null | [] | null | null | These are articles from the past which in reading lead you to realize just how solid this band has been.
In the February, 1977 issue of Action Magazine, there appeared an article with this lead paragraph:
Ace in the Hole can't be classified as a college band.
The members of this solid little country group admit that Southwest Texas University in San Marcos is more of a sideline than their music business. Today, as it was then, music is still first with George Strait's Ace in the Hole Band, and college is a thing of the past for all but Strait and steel guitar player Mike Daily. And graduation is almost upon these two. The popularity of Ace in the Hole was manifest last month as the band celebrated it's third anniversary of existence at the honky-tonk where the band got its start. Kent Finlay's Cheatham Street Warehouse in San Marcos. "I think Ace in the Hole is one hell of a band" Finlay said while watching a ant-like stream of students pour into Cheatham Street. "George has all the tools to become a successful recording artist, and all the members of his band are serious about their music. These are the kind of people who eventually succeed in the music business".
In offering a 50 cent admission and a free keg of beer, Finlay insured his favorite band a good anniversary crowd. But the free beer was only icing on the cake, for Ace in the Hole draws Texans with its tight, solid brand of country honky-tonk stomp. Coeds at SWTSU were carrying "Ace in the Hole Anniversary" placards on campus that day of the party and others were displaying gas-filled balloons which floated in the night sky above Cheatham Street Warehouse. Like Finlay, the students and fans of the town were showing their appreciation to a band of hard working musicians.
Strait's name fits the man, for there isn't a straighter looking and shooting young musician in the business. Nor a more dedicated one. And he was letting the hammer down at the anniversary party, playing first one country song and then another as Ace in the Hole believers filled Finlay's dusty and ill-lighted dance floor wall to wall."
Everyone is out of school except me and Mike Daily" Strait said. "I'll get out next semester, and I believe Mike will graduate after this semester. And then its music all the way."
That the band has stayed intact to a member is stark evidence that Ace in the Hole means business. And there is no indication that steel player Mike Daily, drummer Tommy Foote, bass player Terry Hale or lead guitarist Ron Cable will do anything other than ride the road with Pearsall native George Strait in the months and years to come. "We will go into the studio to do a album" Strait said. "We cut a single last year that got a little air play here and there and this kinda surprised me. We are inexperienced, but I believe that more work and more time in the studio will pay off for us in the long run. We are paying our dues, and we will continue paying them until something breaks. I've got some original songs that will go on the album, and we also intend to record some of Darrell Staedtler's stuff. Something might come of it. We are going to record at the Sound Masters Studio in Houston. That's where Frenchy Burke and Kenny Dale record. It's a good studio."
Although Strait and Mike Daily still have college courses to attend, Ace in the Hole is for all practical purposes a full time working band. They have regular gigs from San Marcos to Houston to Huntsville to Luckenbach and all points inbetween. And this solid country group is still searching for a solid location closer to San Antonio than their regular stop at Pat Molak's Greune Hall. "We've played San Antonio a few times" Strait said, "but not enough to establish a regular following. And I sure would like to find us a spot. I feel that San Antonio country music fans might like us." And that they would, for Ace in the Hole and George Strait are country musicians fashioned after the style of Moe Bandy. Their country is hard, tight and without frills and many rock licks. There is a marked improvement in the overall sound since last year, and Strait works with a new intensity and confidence, which was lacking when the boys got together. His demeanor is reserved and shy, but his voice is forceful and bell clear.
1980 Article
Backstage: Ace In The Hole Playing Their Cards
By Jeff Franks
One of the enduring fantasies many people seem to share is the desire to be a musician of one kind or another. For example, I have always been convinced I am one of the world's greatest vocal talents waiting to be discovered by some sharpie promoter but thus far, only those four shower walls have been treated to my soulful renditions of any number of popular songs.
One thing holding me back is a steadfast refusal to learn any one complete song. As a result, I end up singing the same musical phrases over and over and I must admit (though it pains me) even I get bored with my thwarted attempts at song making. I shudder to think what would happen if I actually ever stepped up to perform for a room full of people. They provide life insurance for just such occasions.
But my own inability to remember songs has always spurred questions in my mind about real musicians, mainly how in God's name do they learn and have at their fingertips so many different numbers? There is no limit to my admiration for the musician who can ask an audience for a request, then actually perform a suggested song. In my opinion, this is the height of competence.
Recently, I realized I had a lot of questions about the life of a musician, so I decided to go Strait to the source., none other than Mr. Show Business himself. Tom Foote one of my old high school friends who plays drums for one of this areas popular bands Ace in the Hole featuring George Strait. My intent was two-fold, to learn about and give Ace in the Hole some publicity and to determine what it's like to be a musician.
For those of you may not know them, Ace in the Hole does indeed feature "George Strait", who many regard as the finest singer to come out of this area in a long long time. Joining him are Ron Cable on lead guitar and vocals, Terry Hale bass and vocals, Mike Daily on steel guitar and of course Foote on drums. I'm no music critic but people like Kent Finlay, Cheatum Street Warehouse owner and fellow songwriter-musician consider them one of the best group of musicians in central Texas.
They play country and western music with a heavy emphasis on Bob Wills type songs. Occasionally they slip into something like a Beatles song, but even these come out with a country beat. Frankly, I'm a city boy and have never taken that much interest in C/W sound. But frequently Cheatum Street the past few months has developed my taste to the point where I really enjoy listening to Ace in the Hole. Evidentially. I am not the only one-they've been drawing big crowds at the warehouse all summer long.
Ace in the Hole formed in October 1975. Ron, Terry, Mike and Tom had been in a group previously but it split up and Tom move to Houston to make his fortune selling radiators. The other three remained in San Marcos, going to SWT and searching around for other musicians interested in getting something started.
George in the meantime was making his way to San Marcos via Hawaii where he was singing in a Army country-western band. After completion of his tour in the military, he hauled his wife and kid here to enroll in school. With music still on his mind, he tacked up a card at the student union building asking anyone interested in forming a group to contact him. Before long Ron, Mike and Terry spotted the notice, arranged a meeting and Ace in the Hole developed from there. On October 13th 1975 they played their first public performance. A few months later in January, Tom dropped everything in Houston an signed on for the duration. I will resist the impulse here to say "The rest is history" and merely point out that they have been playing together ever since and are apparently stronger musically and as an organization today than at any time in the past. This is what we call progress.
An Ace in the Hole performance is always marked by one overwhelming phenomenon-dancing. People love to dance to their music.
According to Foote, in many of the clubs they play, dancing rather than applause is how the audience expresses it's appreciation for the quality of the performance. The key to the bands success in getting people on the dance floor is a combination of the music selected and the energy with which it is played. It also helps "that we truly enjoy what we are doing". Foote said. This feeling radiates from the band to the audience and tends to enhance the enjoyment of both.
Ace in the Hole's repertoire of songs is a vast one. Foote said they no longer keep a song list, but attempt to learn several new ones every two weeks or so. Do they forget songs over a period of time? Yep, Foote, said it happens.
New songs are usually suggested by George or Ron, bases more or less on their own personal taste and what they feel will fit the bands style. The typical progression is this: Say George recommends a song. He in turn will know the words and the chord progression and will pass that on to the band. They get that down, put in whatever flourishes they feel are needed and after a few rehearsals, presto a new song. Sometimes this is done with amazing speed. Recently, Foote said the band learned three new instrumentals in one day. Once in a great while they will try a song for the first time on stage, no practice or rehearsal preceding it. "Redneck Mother" for instance was learned in this manner. it helps that everyone in the band is pretty quick about picking up new songs. Foote said, adding "I am probably the slowest of all". Even Mr. Show Business has his flaws.
Songs that are forgotten are ones that are seldom played. Conversely, there are songs that are played so often that band members will humming them in their graves, ones such as "Night Life" and "Pop a Top". While one does get sick of playing some of the same songs over and over again, each one presents a challenge of trying to play it as well as possible each time, Foote said.
Though Tom said he never gets bored with being a musician, there are moments when things are not all what they are cracked up to be. Traveling and setting up equipment, for instance, gets rather old. Some nights (and this does not happen much anymore) few people show up and at those times when that mutual exchange of energy between audience and musicians is lacking, "You just have to tough it out and play" Tom said.
Constantly dealing with people gets tiresome, too. Musicians are in a precarious position. They seek out and must have the attention of people, otherwise their lives as performers are pretty well over. Nonetheless they are human themselves, so there are times they just don't care to converse with the adoring public. It is at such times that a career of a musician closely parallels that of a politician, complete with handshakes, forced smiles and stilted conversation. Clubs with private rooms where band members may retreat during breaks are highly prized.
Part of the problem in dealing with people is that there are large numbers of people out there that want to be musicians. They do not always keep this fact to themselves, preferring instead to confide in the nearest band member in hopes of gaining his attention. Often, they will ask for auditions, other times advice. After the hundredth time this little scenario is played out, musicians begin to observe it all with jaundice eye. They become adept at inoffensive evasive answers. This is probably one of the hardest parts of being a musician.
Why does one become a musician? For the glory, for the girls, for the hell of it, I guess. The money is ok but only gets real good if you become a big star. One thing that constantly Surprised me during my conversations is the attitude of some women toward musicians. They adore them. They make exotic propositions to them. They long to be in their company. For a married man like George, it creates interesting problems. Lets just say his wife is not very appreciative of all the attention some women pay to her husband. If the situation were reversed and his wife were the musician, "I don't think I could put up with that" George admitted.
The fascination of women for male musicians is intriguing though somewhat baffling. Perhaps there is an emotional aspect of singing songs and playing music with feeling that attracts them. Or maybe it is the Hollywoodish promise of an exciting life amid big stars awaiting a lucky woman who hooks up with a musician. Or maybe it's just the beer and booze. I have always suspected that there is a aspect of power involved somewhere, but who knows.
Anyway, Ace in the Hole has no plans to break up at this point, primarily because they sense growing momentum in their music. Finlay believes they will go on to do much bigger success and definitely predicts George will be a star on the national horizon. "He's the finest singer I have ever seen" Finlay said in a matter of fact voice. In the future, the band intends to start playing more original music written primarily by George and Ron. A recording contract, the goal of any serious group, may fall their way one of these days and they have already released a single record. | ||||||||
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WANT MORE COUNTRY MUSIC NEWS? CLICK HERE.
Oak Ridge Boys legend Joe Bonsall died after his battle with ALS, and Dave Loggins also passed away.
The brings the count of performers or key country music figures who have died this year to 23.
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Greatest country music singer of all time? How they rank according to data
Alan Jackson is retiring. Here’s the list of country music legends saying farewell this year
The following is a look back at all of those lost in this year thus far:
Norah Lee Allen
It has been an emotional year for The Oak Ridge Boys, and things took a particularly heartbreaking turn on Easter.
According to Taste of Country, Norah Lee Allen, the wife of lead singer Duane Allen, died Sunday morning after battling an illness for “an extended period of time.” The site reported that she had been at Vanderbilt Hospital when she died.
Allen reportedly shared the news on social media Sunday.
“This morning, my wife of 54 years and 8 months took her last breath of air on planet Earth,” he wrote. “Norah Lee went to be with Jesus at 7:28 am, Easter morning. She had not been feeling well for some time. Her family all spent the night with her last night at Vanderbilt Hospital. We took time singing with and to her, telling her stories, and loving her every second that God let us share her here on this Earth.”
The Grand Ole Opry took time to remember Allen, too.
“During (Wednesday’s show), we paused to remember a beloved member of our Opry family we lost earlier this week, Norah Lee Allen,” a post on the Opry’s X page, formerly Twitter, read. “For decades, Norah Lee added her voice to Opry performances as one of our background vocalists, our Opry Singers.
“She was also a member of our family as the wife of Duane Allen of Opry group The Oak Ridge Boys,” the post continued. “She will be lovingly remembered by all who knew her and all who knew her voice here at the Grand Ole Opry.”
Joe Bonsall
The country music world is sending its prayers to The Oak Ridge Boys after longtime member Joe Bonsall died in July.
Bonsall, who was 76, passed away due to complications from Amyotrophic Lateral Scleroris (ALS).
The band shared an obit post to its X, formerly Twitter, account announcing his death.
“As a 50-year member of the American music group The Oak Ridge Boys, Joe was a member of the Grand Ole Opry and inducted into the Philadelphia Music Hall of Fame, the Gospel Music Hall of Fame, the Vocal Group Hall of Fame, and the prestigious Country Music Hall of Fame,” the post read.
You can see that post and the responses here.
Heartbroken fans were quick to respond with prayers and well-wishes.
“Sincerely so sorry to hear,” one person wrote. “Have seen the Oaks many times through the years, and Joe always gave an amazing performance. Was funny and engaged the audience. Seriously saddened by this. RIP and condolences to his family.”
“My sincerest thoughts and prayers for the band and family he’ll surely be missed,” he continued. “We know he’s in heaven singing his heart out.”
“My heart is broken,” another wrote. “Prayers for his family, brothers in music, and all of those that loved him. #RIPJoeBonsall.”
Bonsall retired from touring with the band in January.
“I am now at a point where walking is impossible, so I have basically retired from the road,” he reportedly said. “It has just gotten too difficult. It has been a great 50 years, and I am thankful to all the Oak Ridge Boys band crew and staff for the constant love and support shown to me through it all. I will never forget, and for those of you have been constantly holding me up in prayer, I think you and ask for you to keep on praying.”
He returned to social media to address fans after that initial announcement.
“I am overwhelmed by the love shown to me this week,” he wrote on X, formerly Twitter. “I think I have heard from everyone I have ever known and many many more …. Thank you doesn’t seem adequate … but THANK YOU.”
Fran Boyd
Fran Boyd, a country music groundbreaker and champion of the genre, died earlier this month.
She was 84.
Billboard wrote that she died on March 9. The site said that Boyd “played a key role in shaping and advancing the (Academy of Country Music) from its early years in California in the late 1960s, through the start of the millennium.”
Boyd was reportedly the first paid employee of the ACM, coming onboard in 1968 as executive secretary. She worked her way all the way up to executive director. Per Billboard, she “oversaw nearly every aspect of the annual (ACM) awards” show.
She worked for the ACM for more than three decades before retiring in 2002.
The Academy of Country Music posted on X, formerly Twitter, regarding Boyd’s death.
You can see that post, here.
“Fran Boyd played an essential part in the Academy’s history, stretching way back to the 1960s and steering the ship through decades of change, innovation, and growth, all while fostering an incredible passion for country music,” Gayle Holcomb, ACM Board Sergeant-At-Arms told Billboard. “Fran will always be remembered as a champion for our industry, its artists, and this organization. On behalf of the ACM Officers and Board of Directors, I send our gratitude, prayers and condolences to the Boyd family.”
Don Cason
Singer, hit songwriter, producer and author Buzz Cason died in June.
He was 84. No cause of death was reported.
“Buzz Cason never concerned himself too much with musical boundaries,” Country Music Hall of Fame and Museum CEO Kyle Young said. “He just lived and breathed music. As a singer, songwriter, producer, and publisher, he helped shape and expand the sound of Nashville in countless ways across seven decades.”
Cason’s career in music began in the 1960s when he helped found The Casuals, known as Nashville’s first rock band. He then pursued a solo career and went on to sing backup vocals for the likes of Elvis Presley, Kenny Rogers, John Denver and Roy Orbison, according to Taste of Country.
As a songwriter and producer he combined with the likes of Dolly Parton, the Oak Ridge Boys, Martina McBride, Mel Tillis and Jimmy Buffett. His biggest hit song, “Everlasting Love,” was co-written with Mac Gayden. Taste of Country said that song is one of the few to make the Billboard Hot 100 in four consecutive decades.
Larry Collins
Larry Collins, a former country music child star turned legendary guitarist and song writer, died on Jan. 5.
He was 79. Per reports, Collins died of natural causes.
He first made his splash in country music alongside his older sister, Lorrie, when they formed the “The Collins Kids” duo when Larry was just 9 years old. They recorded a series of hits — “Hop, Skip and Kump,” “Hoy Hoy,” and “Beetle Bug Bop” — with music catering to children. The became regulars on “Town Hall Party” in 1954 and they performed together into the 60s.
Per reports, Lorrie had her first child in 1961 and stepped away from music to focus on family. The duo did reunite years later in the 90s.
While Lorrie, who died in 2018, focused on building her family, Larry moved on to a solo career where he made, perhaps, his biggest mark as a songwriter. He is credited as the co-writer for “Delta Dawn,” which became Tanya Tucker’s first hit song among other songs.
Allison Cornell
Allison Cornell died in February.
She was a part of Shania Twain’s band for years.
“Allison Cornell was such a talented and wonderful person,” Twain wrote on X, formerly Twitter. “It was a privilege, as an artist, to have her on stage with me through a lot of my touring career. Feeling very sad. Allison’s memory will live on but sadly another beautiful human has gone too soon. Rest in Peace (heart emoji).”
A post on Cornell’s artist management page also addressed her death.
“It is with great sadness that we say farewell to Allison Shropshire Cornell,” the post began. “Rest in Peace. Heaven has opened up its gates to an incredible talent!”
Gene Elders
Gene Elders, a longtime fiddle player in Country Music Hall of Famer George Strait’s legendary Ace in the Hole Band, has died.
No cause of death has been reported.
It was the second heartbreaking death to rock Strait in a day’s time after his manager, Erv Woolsey, also passed away.
“Hard to believe we lost two of our music family members on the same day,” Strait posted on X, formerly Twitter. “Our Ace in the Hole treasured band member Gene Elders passed away yesterday afternoon shortly after we lost Erv. All of our prayers go out to both families. We loved him so much.”
Elders’ website said he played in Strait’s band since 1984. It said he also played in Lyle Lovett’s Large Band for 11 years, and also played on recordings for Joan Baez, Lucinda Williams and Dan Fogelberg.
Fans took to social media following the news to remember Elders.
“I’ve been fortunate enough to watch Gene Elders play that haunting fiddle outro on ‘Amarillo By Morning’ live several times,” one person wrote. “The arena goes dark except for a long spotlight on Gene, it sends chills every time. RIP Gene Elders.”
“Today was a devastating day for the Strait camp,” another person wrote. “Our hearts are hurting. Rest in Peace Gene Elders. Rest in Peace Erv Woolsey. We will miss you both.”
Tom Foote
George Strait revealed in may that a member of his operation had died for the third time this year.
The latest death was Tom Foote, a former drummer for Strait’s Ace in the Hole band and the singer’s longtime road manager.
The singer announced the death on Tuesday on X, formerly Twitter.
“We lost another one of our good friends and a huge part of our musical journey yesterday,” Strait wrote. “Tom Foote, our one-time drummer and long-time road manager for around 48 years, suddenly passed away at his home after our rehearsal. The band and I were with him most of the afternoon, and he was great. Just doing what he loved to do which was making sure we were taken care of. 2024 is taking its toll on the Ace in the Hole group. We’re all heartbroken to say the least. Rest in peace brother Tom. You will be hugely missed. I’ll see you down the road amigo.”
Foote was reportedly the drummer for a band that hired Strait to be its new singer back in 1975. That band eventually became the Ace in hte Hole Band. He reportedly stayed on as drummer through 1983 when he moved into his role as road manager.
“So sorry to hear this,” one person responded to Strait. “Prayers for peace and comfort!”
“My prayers for his family and yours,” another wrote.
“I’m so sorry about your (loss),” another wrote. “This year has really been a trying year for you and your group king George. My prayers are with you all. Hold on … keeping playing that true country music. Your long time fans love it. Prayers going up.”
And there were plenty more responses like that. You can see them here.
Foote’s death comes after Gene Elders, a longtime fiddle player in Strait’s Ace in the Hole Band, and Erv Woolsey, his manager, both died within a day of one another back in March.
Kinky Friedman
Kinky Friedman was a legend, and if you don’t believe it, just check the headlines.
Friedman, 79, died Thursday. He had reportedly been battling Parkinson’s disease for years.
He was a country music singer. He ran to be the governor of Texas. He wrote books. He wrote songs. He was a satirist. One story described him as a “rabble rouser.”
And his name … well, the guy was unique.
“Kinky Friedman stepped on a rainbow at his beloved Echo Hill surrounded by family & friends,” a post to his X, formerly Twitter account, said on Thursday. “Kinkster endured tremendous pain and unthinkable loss in recent years but he never lost his fighting spirit and quick wit. Kinky will live on as his books are read and his songs are sung.”
A close friend of Friedman’s, Kent Perkins, told The Associated Press that he “died peacefully.”
“He smoked a cigar, went to bed and never woke up,” he said.
Perkins called Friedman “the last free person on earth.”
“He had an irreverence about him,” he said. “He was a fearless writer.”
As a performer he toured with the likes of Bob Dylan.
He put out 18 albums, the first coming in 1973 and the last dropping in 2018.
William “Rusty” Golden
William “Rusty” Golden, the son of legendary Oak Ridge Boys performer William Lee Golden, died on July 1.
He was 65.
He died at his home in Hendersonville, Tennessee, according to a press release shared by the band.
“This is the hardest thing ever for a father to have to face,” William Lee Golden said in the release. “I love my family more than anything. Rusty was a great musician, a talented songwriter, and a wonderful son. We appreciate your thoughts and prayers for the days ahead. I love you, son.”
Rusty Golden followed in his father’s footsteps as a musician, singer and songwriter. He even earned an RIAA Gold record as a songwriter on The Oak Ridge Boys’ Bobbie Sue album.
He moved into gospel music later in life after undergoing a quadruple bypass.
William Lee Golden also posted on his X account, formerly Twitter, about his son’s death.
“We thank you all for your love and support of Rusty over the years and kindly ask for privacy for our family during this difficult time,” he wrote.
You can read more about his life and accolades here.
Wayland Holyfield
Wayland Holyfield might not be a name that most country music fans know, but that probably should not be the case.
Because the guy was an icon.
Holyfield died on Monday, according to multiple reports. He was 82.
So, what made Holyfield so iconic in the country music world?
Well, the guy was one of the greatest songwriters the genre has ever seen. Holyfield helped write 14 No. 1 hits and had more than 40 songs reach the Top 10 during his time, according to Taste of Country.
The site said Holyfield wrote songs for some of country music’s most legendary performers including George Strait, George Jones, the Judds, Brooks & Dunn, Randy Travis, Reba McEntire, Waylon Jennings, Conway Twitty “and many more.”
“Wayland Holyfield — who died May 6 — wrote sons of unflagging devotion, including the Don Williams hit “You’re My Best Friend” and Anne Murray’s “Could I Have this Dance,” the Country Music Hall of Fame and Museum said in a post on X, formerly Twitter. “Holyfield was devoted to his wife, to the craft of songwriting, and to advocating for the rights of his peers.”
Mark James
Mark James, a legendary songwriter and hitmaker, died on June 8.
He was 83.
James, who was a Houston native, died on June 8 at his home in Nashville.
James won a pair of Grammys in 1983 for his “Always on My Mind,” which was performed by Willie Nelson. He also wrote the hits, “Hooked on a Feeling,” and “Suspicious Minds.” He is a member of the Songwriters Hall of Fame.
“Mark’s legacy and zest for life will live on in the hearts of those who loved him; and through his timeless lyrics and melodies that have been the soundtrack of lovers for generations,” his family said according to the Hollywood Reporter.
Along with being inducted into the Songwriters Hall of Fame, he was also named by BMI as one of the Songwriters of the Century for 2000. He is also a member of the Texas Songwriters Hall of Fame, the New York Songwriters Hall of Fame and the Nashville Songwriters Hall of Fame, according to the Hollywood Observer.
Along with Nelson, James wrote hits for the likes of Elvis Presley, B.J. Thomas and Brenda Lee.
Toby Keith
Toby Keith died on Feb. 5 following a battle with stomach cancer.
He was 62.
It was tragic news, especially, for a man who battled so bravely such a horrible disease, but if there’s any solace to be found for his fans, it could be in some of his final words. Because, in his final days, Keith sat down with News 9 in Oklahoma to talk about his journey.
He was noticeably thinner as he talked about battling cancer, gave his thoughts on dying and, yes, even talked about death.
He called cancer a “long dark hallway,” but he also approached the subject in a way that only a man at complete peace could. And that is something he pinned on faith.
“You take it for granted on the days that things are good, and you lean on it when days are bad,” he said. “It has taught me to lean on it a little more every day.”
And that is when Keith talked about thinking about, at times, the possibility that he might die.
“I was going through all the chemo, radiation, surgery, and I got to the point where I was comfortable with whatever happened,” he said. “I had my brain wrapped around it, and I was in a good spot either way.”
That, he said, was a point that people with faith are not able to so easily get to.
So, if there is any comfort in news like this, perhaps it is that Keith had faith. And, mentally, he was prepared and comforted by his faith.
Dave Loggins
Dave Loggins, a Grammy-nominated singer/songwriter who wrote songs for some of the biggest names in music, died in July.
He was 76. No cause of death has been reported.
As a singer, Loggins was best known for his 1974 hit, “Please Come to Boston,” which reached No. 5 on the Billboard Hot 100 that year. It was the first of his four Grammy nominations.
He is also known for “Augusta,” which is the theme song for the Masters golf tournament.
While he was a talented singer, Billboard called him “one of the most prolific songwriters of his generation.”
The site noted that Loggins wrote for the likes of Johnny Cash, Roby Keith, Wynonna Judd, Ray Charles, Smokey Robinson, Reba McEntire, Tanya Tucker, Kenny Rogers and Willie Nelson.
“I just heard about the passing of Dave Loggins,” Lee Greenwood wrote on X, formerly Twitter. “Dave was an incredible singer, guitar player, and a writer. It was his music that drew me to Nashville, Tennessee in 1979. Dave was from Bristol, TN, but he made the world know who he was by the songs he wrote and sang. We will miss his great talent, but his songs will live forever. We send prayers of healing and comfort to the Loggins family. I’m the number one fan of the man from Tennessee.”
Mary Martin
Mary Martin might not be a name that the average country music fan would know, but it should be because she had a major influence on the industry.
The manager and executive, who helped create stars in the genre, died on July 4.
She was 85.
Time and again, Mary Martin spotted great talents and elevated their careers,” Country Music Hall of Fame and Museum CEO Kyle Young said in a statement posted to Instagram. “Early on, she connected Bob Dylan to her friends the Hawks, who became the Band. She managed Leonard Cohen in his first musical outings, the guided the budding solo careers of Van Morrison, Rodney Crowell, and Vince Gill. At Warner Bros., she signed future Country Music Hall of Fame member Emmylou Harris, at RCA she helped sign and develop Clint Black and Lorrie Morgan, and she encouraged a young Keith Urban to move from Australia to Nashville. Mary’s unerring feel for songs and performers was legendary, and she was a fierce ally for the artists she represented.”
“The greatest lady in music you probably never heard about,” one person responded. “Half of the people represented in my music collection probably benefited from her insight, intelligence and uncanny musical sense.”
Mojo Nixon
The headline in Rolling Stone called Mojo Nixon an “unabashed outlaw cult hero,” and if you dig into the story you quickly find out that’s just about a perfect way to sum the guy up.
Nixon was one heckuva interesting guy.
He died on Feb. 7 at the age of 66, and even how he went was out of the ordinary. He was a host aboard the Outlaw Country Cruise and his family said he suffered a “cardiac event,” that took his life.
“How you should live is how you should die,” the family told Rolling Stone. “Mojo Nixon was full-tilt, wide-open rock hard, root hog, corner on two wheels + on fire. Passing after a blazing show, a raging night, closing the bar, taking no prisoners + a good breakfast with bandmates and friends.
“A cardiac event on the Outlaw Country Cruise is about right… & that’s just how he did it, Mojo has left the building,” they added. “Since Elvis is everywhere, we know he was waiting for him in the alley out back. Heaven help us all.”
Rolling Stone wrote that Nixon “enjoyed a supremely weird yet singular career.”
His big break came in 1987 with his hit novelty song “Elvis is Everywhere,” that became a regular on MTV.
He put out six albums alongside Skid Roper, and five more solo projects. He also served as a DJ for SiriusXM’s Outlaw Country for years, too.
Joe Scaife
Legendary country music hitmaker Joe Scaife died in June, according to The Tennessean.
He was 68. No cause of death was given.
According to Taste of Country, Scaife produced such hits as “Redneck Woman” by Gretchen Wilson, and Billy Ray Cyrus’ mega-hit, “Achy Breaky Heart.” The site said he also helped K.T. Oslin, Montgomery Gentry, Shania Twain and Toby Keith, among others, deliver hits.
The Tennessean said he helped deliver records that sold more than 80 million copies.
“You were the coolest hang there ever was,” his daughter, Jaela Scaife Harris, wrote on Facebook. “Anyone who knows me know that there is no one in the world I love more than Joe Scaife. Words will never do him justice. He was the absolute coolest, most down to earth, incredible dad I could have ever asked for. I don’t know how I am going to make it without him, but I know he is going wide open on his boat in heaven. I love you so much daddy and I can’t wait to see you again. Happy first Father’s Day in Heaven.”
You can see her post here.
In a separate post she thanked everyone “who has helped us through this difficult time.”
“There will be a celebration of life at a later date on Music Row,” she added.
Margo Smith
Margo Smith might not be a name that most young country music fans know, but if you Google her you will see “legend” right there next to her name.
Sadly, the headlines will also mention that she has died at the age of 84. According to multiple reports, Smith actually passed away on Tuesday, Jan. 23. A cause of death has not been reported.
Smith was reportedly a kindergarten teacher in Ohio for around a decade before her career took off.
Known as “The Tennessee Yodeler,” she then churned out 18 studio albums between 1971 and 2005.
Smith was named ASACP Country Artist of the Year in 1979 and won the CCMA Living Legend Award in 2001.
The Academy of Country Music tweeted Monday about her death.
“Please join the Academy in mourning the passing of Country star Margo Smith,” it said in a statement on X, formerly Twitter. “Nominated for ACM Most Promising Female Vocalist in 1976, she had two #1 hits in the 1970s: “Don’t Break the Heart That Loves You” and “It Only Hurts for a Little While.” Boasting a show-stopping talent for yodeling, she was known as “The Tennessee Yodeler.” We send our love and healing to her family, friends and fans.”
Jo-El Sonnier
Jo-El Sonnier might not be a name that most fans of modern country music would know well but read up and it doesn’t take long to realize the guy was a legend.
Check out the videos of performances and it becomes obvious, too, that seeing him perform in person was a high-energy affair.
He put his heart and soul into a show, and apparently, he did that right up until the end. Sonnier died back on Jan. 13, and now new details are being reported and it turns out he actually died after a performance.
Louisiana Music Hall of Fame Executive Director Mike Shepard told WWL Radio New Orleans that the 77-year-old Sonnier “died doing what he loved.”
“Jo-EL’s death on stage after a successful encore is actually the only way a musician should go out,” he said.
The station reported that Sonnier, a singer/songwriter who played the accordion, had a long list of accolades that included a Grammy in 2015 and an ACM Male Vocalist of the Year nomination. He was reportedly inducted into seven different Music Hall of Fames and worked as a studio musician for a long list of stars including Dolly Parton and Johnny Cash.
“He loved the idea of being honored for his music,” Shepard told WWL, “being honored for what he loved to do, pure as his heart.”
Roni Stoneman
Country music legend Roni Stoneman died on Feb. 22.
She was 85. No cause of death was given.
While her name may not be familiar to modern-day country music fans, Stoneman was known as the “first lady of the banjo,” and was a popular performer on the hit TV show, “Hee Haw.”
Stoneman was a native of Washington, D.C.
She was the daughter of Ernest “Pop” Stoneman, who was reportedly one of the first performers to make a career of recording country music.
Country Music Hall of Fame and Museum and CEO Kyle Young said country music was “a birthright and her life’s work.”
“The second youngest of 23 children born to Hattie and Ernest ‘Pop” stoneman, Roni was an integral part of a bedrock country music family, who were longtime fixtures in the country music scene of Washington D.C.” Young said. “For 18 years on ‘Hee Haw,’ she stole scenes as both a skillful banjo player and as a comical, gap-toothed country character. She was a great talent and a strong woman.”
Banjo News said Stoneman said she glued picks to her fingers so she could play the banjo faster.
Jeremy Tepper
Jeremy Tepper, a legend in the country music world, has died on June 14.
He was 60.
Tepper reportedly suffered a heart attack. Variety reported that his wife, singer Laura Cantrell, announced that he died on social media.
Tepper occupied multiple roles across his years, working as a musician, journalist, executive and finally the program director of SiriusXM’s “Outlaw Country,” according to Variety.
“Jeremy Tepper, a beloved member of SiriusXM, profoundly influenced us with his unwavering dedication to music and innovative spirit,” SiriusXM said in a statement on X, formerly Twitter. “His contributions, in shaping Outlaw Country and Willie’s Roadhouse, are beyond measure. Our thoughts are with his loved ones during this time.”
Stevie Van Zandt also posted on X following Tepper’s death.
“Lost my good friend Jeremy Tepper last night,” he wrote. “An incredibly tragic loss so young. He ran my Outlaw Country station on SiriusXM brilliantly. It is actually quite a complicated format and he made it look easy. Our deepest condolences to Laura and his family and friends.”
Variety referred to Tepper as a “music lifer.” According to the site, that trek began when he was the frontman for the band World Famous Blue Jays and then co-founded the record label, Diesel Only, in 1990. He also served as the country music critic for Pulse! Magazine and was the editor of the Journal of Country Music, per Variety.
The site said he had been the format manager for SiriusXM’s Outlaw Country channel since 2004. It noted that he also worked with the “Willie’s Roadhouse” and “Road Dog Trucking” channels.
Erv Woolsey
Legendary country music figure Eugene Ervine “Erv” Woolsey has died.
He was 80.
Woolsey reportedly died Wednesday from complications following surgery, according to multiple reports.
While Woolsey may not be known to country music fans as an artist, he was one of the genre’s most influential managers. Most notably, he was the long-time manager of Country Music Hall of Famer George Strait, as well as stars Lee Ann Womack, Dierks Bentley, Ronnie Milsap and Clay Walker.
Strait posted about Woolsey on X, formerly Twitter, on Wednesday.
“My manager for around 45 years and most importantly my friend for even longer, Erv Woolsey, passed away this morning,” he wrote. “He had complications from surgery and just couldn’t overcome it. He was a very tough man, and fought hard, but sadly it was just too much. We will miss him so very much and will never forget all the time we had together. Won’t ever be the same without him.”
According to a Billboard report, Woolsey worked for several labels before moving to Nashville in 1973 and become the head of promotions for ABC Records. The site said that Woolsey helped guide the careers of several top artists there, but it was during his time as the owner of The Prairie Rose, a club in Texas, that he first met Strait and began to book him for regular shows at there.
Billboard said Woolsey worked for MCA in the 1980s and helped artists such as Loretta Lynn, Tanya Tucker, Conway Twitty and the Oak Ridge Boys find radio success. And, then in 1981, he reportedly got MCA records to sign Strait.
He wasn’t just a manager, though.
Per Billboard, Woolsey did write “I Too Deep” for Strait and also had a hot country chart topper that he wrote, “I Can Still Make Cheyenne.”
Arch Yancey
Arch Yancey, a Country Radio Hall of Famer, died in March.
He was 88. No cause of death was reported.
Country Air Check reported that Yancey died on Monday.
The site said that Yancey got his first break way back in 1955 when he beat out Johnny Cash for a job at WBIP in Boonesville, Mississippi. The site reported that just three years later, Yancey was at Top 40 KNUZ-AM in Houston.
He reportedly spent 31 years on the air before retiring in 1989.
Country Air Check reported that, among his awards, he won Gavin Country Personality of the Year in 1971 and was ACM Personality of the Year in 1982.
It said he was inducted into the Country Radio Hall of Fame in 2006.
“It was one big blur of good times,” Yancey said back in 2005 of his career. “It was pretty wild.” | ||||
8911 | dbpedia | 0 | 21 | https://www.yardbarker.com/entertainment/articles/21_iconic_musicians_and_bands_that_hail_from_texas/s1__40343929 | en | 21 iconic musicians and bands that hail from Texas | [
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] | 2024-07-08T13:00:20-04:00 | Even though it's the second-largest state in the union, Texas has historically been home to an outsized share of immensely talented musicians. These are 21 of Texas's most iconic talents, from Barry White and Beyonce to Townes Van Zandt and Waylon Jennings. | en | /apple-touch-icon.png?v=2 | Yardbarker | https://www.yardbarker.com/entertainment/articles/21_iconic_musicians_and_bands_that_hail_from_texas/s1__40343929 | Even though it's the second-largest state in the union, Texas has historically been home to an outsized share of immensely talented musicians. Regardless of genre or era, the Lone Star State has produced countless superstars, all of whom are legends in their own right.
Flip through the slideshow below for 21 of Texas's most iconic talents, from Barry White and Beyonce to Townes Van Zandt and Waylon Jennings.
1 of 21
George Jones
Beth Gwinn/Getty Images
Before he was the king of Nashville, George Jones was a small-town boy from Colmesneil, a tiny East Texas town where he grew up in the Pentecostal church. He began his career as a radio DJ in Jasper when he was just a teen, then started recording music in Beaumont. The rest, as they say, is history.
8 of 21
Kelly Clarkson
Matt Winkelmeyer/Getty Images for dcp
Before she won the first season of American Idol, Kelly Clarkson was a standout choir student at her high school in Burleson, Texas. Clarkson later moved to California to pursue her showbiz dreams, but made her way back to her hometown just in time to audition for Idol, and the rest is history.
12 of 21
Waylon Jennings
Tom Hill/Getty Images
Waylon Jennings was born in 1937 in the tiny West Texas town of Littlefield, and is so Texan that his very first band was called the Texas Longhorns. His storied career as one of the founders of outlaw country earned him a spot in the Texas Country Music Hall of Fame in 1999.
14 of 21
Buddy Holly
Bettmann
Though his career was tragically cut short when he died in a plane crash in 1959, Buddy Holly's influence has still played a major role in the state's musical history. Holly was born in Lubbock in 1936, and decided to strike out on his own as a musician after seeing Elvis Presley perform in the Hub City as a teenager. | ||||
8911 | dbpedia | 2 | 38 | https://www.aceintheholeproductions.com/ | en | Ace In The Hole | [
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] | null | [] | null | Home page of Ace In The Hole | https://aceintheholeproductions.com/home | Who Is "Ace In The Hole"
Ace In The Hole is owned by Tommy and Tina Walker.
Tommy is the heart of this business. He has been with the company for over 25 years, starting as a sound tech and an emcee as well as entertaining in many of the productions. Tommy plans to continue the tradition of bringing to you exciting shows and top-notch entertainment to Ace In The Hole that you’ve come to know and love.
Tina is the “behind the scene’s” owner, by handling the day to day office responsibilities. You may see her at a show here or there as she does love to see you all in person. | |||||||
8911 | dbpedia | 0 | 37 | https://ci.mount-dora.fl.us/1485/Corn-Festival | en | Mount Dora, FL - Official Website | https://ci.mount-dora.fl.us/images/favicon.ico | https://ci.mount-dora.fl.us/images/favicon.ico | [
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] | null | [] | null | Corn Festival | en | /images/favicon.ico | null | Mark Wills is a country artist known for his string of hit singles, including "Wish You Were Here," "Jacob’s Ladder," and "I Do (Cherish You)." These songs, along with others, have solidified his status in country music since the late ’90s and early ’00s. Wills' debut single, "Jacob’s Ladder," marked the beginning of his eight Top 10 hits, leading to the release of his self-titled debut album, praised for its blend of lively tunes and poignant ballads. Hits like "19 Somethin’" have topped the Billboard Hot Country Songs chart, earning him RIAA Gold certification. In 2022, Wills collaborated with the acapella group Home Free to re-record his hit "Don’t Laugh at Me," accompanied by a new music video that earned the collaborators 3 Gold Telly Awards. He continues to tour, bringing his high-energy performances to fans worldwide, while also supporting U.S. troops with numerous performances abroad.
Nine Days, known for their hit single “Absolutely (Story of a Girl),” took a hiatus after chart-topping success in 2000. Despite challenges with their follow-up album, the band reunited in 2014, adopting a new approach to songwriting and collaborating with Nashville songwriters. Their latest album, ‘Snapshots,’ reflects their evolution with familiar yet matured sound, featuring relatable tracks like “Snapshot” and “So Called Perfect Life.” The band's revamped version of “Absolutely (Story of a Girl)” captures their journey and growth, thanks to producer Jim Scott's guidance, marking a new chapter for Nine Days after learning from past experiences and taking a more prudent approach to recording.
Shelby Darrall, reminiscent of her hometown in Napa Valley, embraces her journey as a country storyteller, relishing every milestone along the way. Starting her career in the tasting rooms of wineries in Calistoga, California, she inherited a musical spirit from her father, a member of Silver Creek. Encouraged by her roots, she ventured to Nashville, where her charisma and powerful vocals earned her respect on Music Row. Collaborating with esteemed songwriters, she began releasing original music and sharing the stage with notable acts like Sam Hunt and Little Big Town. With over 8.5 million global streams and inclusion on major playlists, Darrall's music resonates with audiences, blending her life experiences with authentic storytelling. As she embraces this new chapter, she looks forward to connecting with fans nationwide, her songs reflecting the threads of her wine country upbringing and her passion for intimate storytelling.
Will Jones has been immersed in Country music since childhood, joining his family's bluegrass band, The Cana Ramblers, at the age of six. The band gained national recognition with their 2009 album, "No Expectations." Transitioning to a solo career as a singer-songwriter at 17, Will has performed extensively across the southern United States. His music has graced high-profile events alongside renowned figures in the country music scene, including Tracy Lawrence, Sierra Hull, and Johnny Cash, among others. With a lifelong dedication to Country music, Will Jones continues to make his mark on the genre with his talent and passion for storytelling through song. | |||
8911 | dbpedia | 2 | 96 | https://www.jsonline.com/story/entertainment/music/2023/06/04/george-strait-chris-stapleton-little-big-town-break-record-epic-milwaukee-show-american-family-field/70280851007/ | en | George Strait, Chris Stapleton, Little Big Town team up for historic Milwaukee concert | [
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] | 2023-06-04T00:00:00 | Strait played his first Milwaukee show in 14 years Saturday, one of just eight stadium concerts this year, at American Family Field. | en | Milwaukee Journal Sentinel | https://www.jsonline.com/story/entertainment/music/2023/06/04/george-strait-chris-stapleton-little-big-town-break-record-epic-milwaukee-show-american-family-field/70280851007/ | George Strait already had secured himself a place in Milwaukee Brewers and local concert history as the first artist to headline Miller Park a little over a month after it opened in 2001.
But that wasn’t enough for the King of Country Music.
On Saturday, Strait returned to the Brewers ballpark, now called American Family Field, with special guests Chris Stapleton and Little Big Town. And he set a new concert attendance record for the 22-year-old stadium, performing in front of 46,641 fans, besting Paul McCartney’s record from a decade ago by a few thousand people.
I guess that’s what happens when you only schedule eight stadium shows this year, you haven’t played Milwaukee since 2009 and you have a staggering 61 Top 10 songs on the Billboard country charts — more than anybody else.
Naturally, Strait couldn’t get to all of them Saturday, although I wish he would have swapped out his glorified jingle promoting his Codigo tequila brand for one of the 37 No. 1 songs he skipped.
Nevertheless, the 71-year-old Strait offered a generous set — 32 songs over two hours and 12 minutes — and made sure to include signatures like “The Chair” and “Amarillo by Morning,” the latter, Strait said Saturday, being his favorite song that he’s ever recorded.
RELATED: With big concerts with Morgan Wallen, George Strait and more, Milwaukee has become a must-play market for country music.
RELATED: From Drake to Post Malone to Willie Nelson, here are 17 top Milwaukee concerts this summer
With support from the 11-member “Ace in the Hole” band (named after a hit that also was skipped Saturday), Strait’s setlist in Milwaukee was nicely plotted, frequently going back and forth between somber songs and playful tunes.
The cheeky “Ocean Front Property” was placed before tears-in-your-beer breakup ballad “Nobody in His Right Mind Would’ve Left Her,” both released in 1986. And ode to miracles “I Saw God Today,” one of his last No. 1 songs, from 2008, appeared Saturday before his last gold-certified single from 2019, the swinging “Every Little Honky Tonk Bar.”
Strait has never been the most animated performer, and the old cowboy isn’t going to learn new tricks. But he is blessed to have a catalogue with some of the sharpest songwriting of any country artist, and Saturday he let the storytelling seize the spotlight, expressed with a golden croon that showed no strain while offering enough emotional nuance to embody the material.
For “I Can Still Make Cheyenne,” Strait Saturday squeezed his eyes shut for the haunted last lines “And she always expected the worst in the back of her mind.” But for subsequent song “Check Yes or No,” Strait sang of that famous lifelong love with Emmylou Hayes with a pearly white smile and smitten twinkle in his eyes.
But there were two categories of songs Saturday where Strait offered his most impassioned vocals. They included thoughtful end-of-life reflections — "When The Credits Roll," "I'll Always Remember You," "The Cowboy Rides Away" — delivered Saturday with a heightened poignancy and understanding natural for a man in his twilight years.
And then there were the covers, during which an eager Strait, with almost childlike glee, honored his heroes, from Merle Haggard (via a sobering "Misery and Gin") to Waylon Jennings through "Waymore Blues," with standout guitar sizzle from Rick McRae.
Strait's take on Johnny Cash's "Folsom Prison Blues" was the best part of his set, with McRae, along with longtime Strait bandmates Joe Manuel on acoustic guitar and Gene Elders on fiddle, offering crackling solos. And Strait shared the covers joy with Stapleton, who joined him at the tail end of Townes Van Zandt's classic "Pancho and Lefty," one of three songs they did together Saturday (the others were Strait originals "You Don't Know What You're Missing" and "Love's Gonna Make It Alright," two songs Stapleton co-wrote).
"I can't believe I'm on stage singing with George Strait," a beaming Stapleton blurted out at one point.
Believe it, Chris: there were 46,641 people in Milwaukee who were witnesses.
More: These are all of the arena, amphitheater and stadium concerts in Milwaukee in 2023
More: From Summerfest to Country Thunder, the 6 best music festivals in Wisconsin this summer
Chris Stapleton brings out a guest for his third Milwaukee show since 2021
It’s been a long time since Strait’s been in these parts, but maybe Stapleton should consider getting a place here. Milwaukee is one of the only cities in the world to get three Stapleton shows over three years — each one sold-out in a huge venue, despite no new music since 2020.
Given his esteemed company, this, naturally, was a shorter Stapleton set than at Summerfest in 2021 or Fiserv Forum last October, with 18 songs in 82 minutes and virtually no banter.
But Stapleton treated any repeat customers to one very special bonus: harmonica master Mickey Raphael, who’s been on the road with Willie Nelson for 50 years.
Raphael’s signature radiant tone was heavenly for “The Devil Wears Music,” enhancing the lonesome lyrics about life on the road, with Stapleton at the song's climax embracing the seductive allure of his profession with sweet and smoky guitar licks and hellfire vocals. Raphael also playfully tried to one-up a fellow legendary country sideman, lap steel ace (and Stapleton band regular) Paul Franklin during “Hard Livin’,” before Stapleton answered them both with a soulful yell and a gut-punch guitar solo (although he and Franklin let their special guest get the final say on his harmonica).
Do we dare dream of yet another Chris Stapleton Milwaukee show in 2024? If we’re lucky — and I bet he could sell out the Brewers stadium with his name topping the bill. (Although I hope we'll get some new songs before the next show.)
Little Big Town kicks off the night with spectacular vocals
Pity those who take Little Big Town for granted. Despite all their awards and accolades over a 25-year career, they don’t have the pedigree of the two A-listers on the bill (few do); during their night-opening set, there were pockets of empty seats in the stadium. But over 63 minutes, they showcased a vocal richness and soul worthy of Stapleton, and storytelling prowess worthy of Strait. Plus, they had something the other fellas didn’t: four-part harmonies, which sounded angelic even on a playful summer jam like “Pontoon.”
Each powerhouse vocalist also had ample opportunity to shine on lead — from Kimberly Schlapman with bluegrass barn burner “Evangeline”; to Karen Fairchild with a heart-crushing “Girl Crush”; to Jimi Westbrook's moving post-pandemic reflection “Rich Man”; to Philip Sweet closing the set with gracious “Friends of Mine” with his tender voice and keys.
So sure, Little Big Town may not have been the primary selling point Saturday, but they’re future Hall of Famers for sure.
6 takeaways from George Strait's Milwaukee concert
Before introducing Strait, Saturday’s announcer cried out “Go Pack Go.” As one should.
During “The Weight of the Badge,” Strait honored Milwaukee police, with pictures of officers (and local firefighters) and the Milwaukee Police logo appearing on the big screens.
After 20 songs, Strait brought out Leroy Sisco, CEO and founder of the Military Warriors Support Foundation, who announced that through Strait’s support the foundation was giving away a mortgage-free home — the 105th with Strait — to a veteran who was badly injured by an IED. Up in my section of the stadium, folks were sitting the entire show — but when that veteran was introduced on stage, nearly everyone got on their feet to give him a standing ovation.
Morgan Wallen’s management denied having the roof open for his Milwaukee tour kickoff at American Family Field in April despite the magnificent weather that first night. Thankfully, such cruelty was not repeated Saturday. The roof was open the whole night, and it was bliss.
As far as traffic went: From the moment I first hit the brakes by the stadium, to the moment I parked, it took me 58 minutes. So, worse than Wallen (46 minutes), but much better than Janet Jackson at the American Family Insurance Amphitheater last month (a whopping 82 minutes). So if you’re coming back out to the stadium for Pink Aug. 14, give yourself tons of time — especially since that show will be on a Monday night.
Anyone waiting to get in by the left field entrance got free preshow entertainment from concertgoers who hopped out of cars off the freeway, trekked up a steep hill, and attempted to climb over a fence. It was perilous, but with some hoisting from fellow country fans, they cleared the fence to the cheers of many (until cops figured out what was going on and kept a patrol at the spot).
George Strait's American Family Field setlist
"Deep in the Heart of Texas"
"Stars on the Water"
"I Got a Car"
"The Fireman"
"How 'Bout Them Cowgirls"
"Run"
"Here for a Good Time"
"I Can Still Make Cheyenne"
"Check Yes or No"
"Wrapped"
"Waymore's Blues" (Waylon Jennings cover)
"The Weight of the Badge"
"Ocean Front Property"
"Nobody in His Right Mind Would've Left Her"
"When the Credits Roll"
"Misery and Gin" (Merle Haggard cover)
"Pancho and Lefty" (Townes Van Zandt cover, with Chris Stapleton)
"You Don't Know What You're Missing" (with Chris Stapleton)
"Love's Gonna Make It Alright" (with Chris Stapleton)
"I Saw God Today"
"Every Little Honky Tonk Bar"
"The Chair"
"Give It Away"
"Amarillo By Morning"
"I'll Always Remember You"
"Troubador"
"Unwound"
"Codigo"
"All My Ex's Live in Texas"
"Folsom Prison Blues" (Johnny Cash cover)
"Take Me to Texas"
"The Cowboy Rides Away" | |||||
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] | null | [] | 2018-07-13T17:07:02+00:00 | With free shows for the public and school groups, the Academy’s Planetarium enhances K-20 STEM outreach as well as cadet education. | en | United States Air Force Academy | https://www.usafa.edu/facilities/planetarium/ | Schedule
All public shows are free, open to the public, and are first come, first seated. Once the planetarium’s 110 seats are filled, the Planetarium is full and additional guests will be asked to attend the next showing.
All guests must exit the Planetarium after each show. Guests are welcome to re-queue for the next show, but only after exiting to allow everyone the opportunity to enjoy the Planetarium.
We thank you for your understanding and adherence to these policies.
Planetarium Schedule: The below schedule of Planetarium public shows and times is the ONLY official Planetarium schedule.
Please note: All Planetarium shows/times are subject to change or cancellation without notice.
August Show Schedule Monday, August 19 Noon – Forward! To the Moon
1 p.m. – Live Solar System Tour
2 p.m. – Fighter Pilot
3 p.m. – D-Day: Normandy 1944
4 p.m. – Astronaut Tuesday, August 20 10:30 a.m. – Homeschool Open House
Preview show of this year’s Homeschool Open House Programs & Robot Explorers
(Online RSVP Required)
2 p.m. – Cosmic Mashups: Gravity, Galaxies, and Supermassive Black Holes
2:30 p.m. – Eclipses & Phases of the Moon
3 p.m. – Great Bear Rainforest
4 p.m. – Astronaut
4:30 p.m. – Oasis in Space Wednesday, August 21 Noon – Superpower Dogs
1 p.m. – Live James Webb Space Telescope Update
2 p.m. – From Earth to the Universe
3 p.m. – Galileo’s Moon: The Apollo 15 Story
4 p.m. – Black Holes Friday, August 23 11 a.m. – D-Day: Normandy 1944
Noon – Live Solar System Tour
1 p.m. – Volcanoes
2 p.m. – Experience the Aurora Monday, August 26 11 a.m. – Astronaut
Noon – Live Exoplanet Extravaganza Show
1 p.m. – Superpower Dogs
2 p.m. – Volcanoes Thursday, August 29 2 p.m. – Live Night Sky & Universe Tour
3 p.m. – Fighter Pilot
4 p.m. – Cosmic Mashups: Gravity, Galaxies, and Supermassive Black Holes
Evening Show:
5 p.m. – Humpback Whales Friday, August 30 CLOSED to public for USAFA Event September Show Schedule Monday, September 2 CLOSED – Labor Day Wednesday, September 4 1 p.m. – Live ‘The Space of Star Trek’ show
2 p.m. – Great Bear Rainforest
3 p.m. – Two Small Pieces of Glass
4 p.m. – D-Day: Normandy 1944 Thursday, September 5 Noon – Superpower Dogs
1 p.m. – Oasis in Space
2 p.m. – Apollo 11: First Steps
3 p.m. – Dream Big
4 p.m. – Fighter Pilot Friday, September 6 Celebrating Star Trek Day:
11 a.m. – Live ‘The Space of Star Trek’ show
Noon – Forward! To the Moon
1 p.m. – Live ‘The Space of Star Trek’ show
2 p.m. – Oasis in Space
Coming soon: more Star Trek Day information Monday, September 9 10:30 a.m. – Homeschool Open House: Live Earth’s Place in the Universe show & From Earth to the Universe (Online RSVP Required)
12 p.m. – Live Night Sky Tour
1 p.m. – Superpower Dogs Wednesday, September 11 Noon – Cosmic Mashups
12:30 p.m. – Black Holes
1 p.m. – Astronaut
2 p.m. – Volcanoes
3 p.m. – Humpback Whales
4 p.m. – Fighter Pilot Thursday, September 12 1 p.m. – Live James Webb Space Telescope update
2 p.m. – Great Bear Rainforest
3 p.m. – Black Holes
4 p.m. – Dream Big Friday, September 13 Noon – Special Show: In Saturn’s Rings
1 p.m. – Cosmic Mashups: Gravity, Galaxies, and Supermassive Black Holes
2 p.m. – Humpback Whales
3 p.m. – Special Show: In Saturn’s Rings Monday, September 16 1 p.m. – Astronaut
2 p.m. – Special Show: In Saturn’s Rings
3 p.m. – Volcanoes
4 p.m. – Forward! To the Moon Tuesday, September 17 1 p.m. – Astronaut
2 p.m. – Special Show: In Saturn’s Rings
3 p.m. – Volcanoes
4 p.m. – Forward! To the Moon
Evening Shows:
5 p.m. – Volcanoes
6 p.m. – Forward! To the Moon Thursday, September 19 Noon – Flight Adventures
12:30 p.m. – Two Small Pieces of Glass
1 p.m. – Volcanoes
2 p.m. – Apollo 11: First Steps
3 p.m. – Great Bear Rainforest Friday, September 20 Noon – Special Show: In Saturn’s Rings
1 p.m. – Eclipses & Phases of the Moon
2 p.m. – Humpback Whales
3 p.m. – Fighter Pilot
4 p.m. – Dream Big Saturday, September 21 11 a.m. – Astronaut
Noon – D-Day: Normandy 1944
1 p.m. – Fighter Pilot
2 p.m. – From Earth to the Universe Monday, September 23 1 p.m. – Live James Webb Space Telescope update
2 p.m. – The Dark Matter Mystery
3 p.m. – Experience the Aurora
4 p.m. – Great Bear Rainforest Tuesday, September 24 1 p.m. – Apollo 11: First Steps
2 p.m. – Astronaut
3 p.m. – Eclipses & Phases of the Moon
4 p.m. – Forward! To the Moon
Evening Show:
5 p.m. – Fighter Pilot Wednesday, September 25 10:30 a.m. – Homeschool Open House: Live Space Systems (Earth-Moon-Sun) show & Volcanoes (Online RSVP Required)
Noon – Live Night Sky Tour
1 p.m. – Dream Big Thursday, September 26 1 p.m. – Humpback Whales
2 p.m. – Cosmic Mashups: Gravity, Galaxies, and Supermassive Black Holes
3 p.m. – Superpower Dogs
4 p.m. – Black Holes Monday, September 30 A Day of Cool Space Science!
Noon – Black Holes
12:30 p.m. – Live Night Sky Tour
1 p.m. – Flight Adventures
1:30 p.m. – Two Small Pieces of Glass
2 p.m. – Oasis in Space
3 p.m. – Live Solar System Tour
4 p.m. – Cosmic Mashups: Gravity, Galaxies, and Supermassive Black Holes
Evening Show:
5 p.m. – Apollo 11: First Steps
School Field Trips and Group Shows
Elementary, Middle, and High Schools may reserve planetarium field trips at no cost. When requesting a school visit, teachers may select from the list of programs found just below our schedule. We also offer live, interactive astronomy shows tailored to your grade’s science standards.
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Planetarium Field Trip/Group Visit Request
If you would like to schedule a school field trip or a group showing in the planetarium, please click the button below and complete the online request form.
Field Trips or Groups requesting a private show need to be a minimum of 20 people. If you have a special request for less than 20 people, please send a direct email to planetarium@afacademy.af.edu for consideration.
STEM Activity add-on is NOT yet available for 2024-25 school year.
We are currently NOT BOOKING STEM Activity add-ons, only field trips to the Planetarium.
Our Planetarium school field trips and group showings are free of charge as a service to the community provided by the U.S. Air Force Academy. | |||||
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Musical artist
George Harvey Strait Sr. (born May 18, 1952) is an American country music singer, songwriter, actor, and music producer. He is credited for pioneering the neotraditional country style in the 1980s,[2] famed for his authentic cowboy image and roots-oriented sound at a time when the Nashville music industry was dominated by country pop crossover acts. Given his influence on the genre, Strait has been nicknamed the "King of Country Music" by writers and music critics.[3][4][5][6] He currently holds the record for the most number one songs on all charts by an artist, in any genre of music.[3][7]
Strait's success began when his first single "Unwound" was a hit in 1981, helping introduce the neotraditional movement to the mainstream. During the 1980s, seven of his albums reached number one on the country charts. In the 2000s, he was named Artist of the Decade by the Academy of Country Music, elected into the Country Music Hall of Fame, and won his first Grammy award for the album Troubadour. Strait was named CMA Entertainer of the Year in 1989, 1990 and 2013, and ACM Entertainer of the Year in 1990 and 2014. He has been nominated for more CMA and ACM awards and has more wins in both categories than any other artist.
By 2009, he broke Conway Twitty's previous record for the most number-one hits on Billboard's Hot Country Songs chart when his 44 number one singles surpassed Twitty's 40.[8] Strait has amassed 60 number-one hits.[9] "Give It All We Got Tonight" was number one in 2013,[10] breaking a record also previously set by Twitty. Strait holds the record for most number one songs on all charts by an artist in any genre of music."[3][7]
Strait has been known for his touring career beginning when he designed a 360-degree configuration and introduced festival style tours. For example, the Strait Tours earned $99 million in three years.[11] His final concert for The Cowboy Rides Away Tour at AT&T Stadium in Arlington, Texas in June 2014, drew 104,793 people. It set a new record for the largest indoor concert in North America.[12] In 2024 he set the record for the largest ticketed concert for a single act in U.S. history, with over 110,905 people at Kyle Field in College Station, Texas.[13][14]
Strait has sold more than 120 million records worldwide, making him one of the best-selling music artists of all time.[15] He holds the RIAA record for most certified platinum albums by any artist, with 33 certified platinum albums. He also has 13 multi-platinum and 38 gold albums. His best-selling album is Pure Country (1992), which sold 6 million (6× platinum). His highest certified album is Strait Out of the Box (1995), which sold 2 million copies (it went 8× Platinum due to being a box set with four CDs). According to the RIAA, Strait is the 12th best-selling album recording artist in the United States overall selling over 69 million records across the United States.[16]
Early life
[edit]
George Harvey Strait Sr. was born on May 18, 1952, in Poteet, Texas, to John Byron Strait Sr. (January 11, 1922 – June 4, 2013),[17] and Doris Jean Couser (June 26, 1930 – January 30, 2010).
He grew up in nearby Pearsall, in Frio County where his father was a junior high school mathematics teacher and the owner of a 2,000-acre (810 ha) cattle ranch outside of Big Wells, Texas. The family worked at the ranch on the weekends and in the summers. When George was in the fourth grade, his father and mother were divorced, and his mother moved away with his sister, Pency. George and his brother John "Buddy" Jr. (1950–2009) grew up with their father.[18] For most of his early life, George was in ranching alongside his older brother Buddy and his father John.[19]
Strait began his musical career while attending Pearsall High School, where he performed in a rock and roll garage band, known as the Stoics, taking most of their influence and inspiration from the Beatles and other British Invasion-era rock groups.[20] "The Beatles were big," Strait confirmed. "I listened to them a lot and that whole bunch of groups that were popular then." He performed in other rock bands during his high school tenure.[19] His musical preference soon turned to country with singers Hank Thompson, Lefty Frizzell, Merle Haggard, George Jones, Bob Wills, Hank Williams, and Frank Sinatra influencing his style. Strait did not tune in to and listen to country music radio often as a youth, usually selecting the news and the farmer's report instead. His introduction to country music came mostly by way of live performances, which according to Strait could be heard in every town in Texas.[21]
Marriage and military service
[edit]
He eloped with his high school sweetheart, Norma Voss after their high school graduation.[19] The couple initially married in Mexico on December 4, 1971. In the same year, he enlisted in the United States Army as an infantryman. While stationed at Schofield Barracks adjacent to Wahiawa, Hawaii as part of the 25th Infantry Division, George auditioned and began performing with an Army-sponsored country music band, "Rambling Country", which also played off-base under the name "Santee".[19][22] On October 6, 1972, while still in Hawaii, George and Norma had their first child, Jenifer.[23] He served in the United States Army from 1971 to 1975 and ultimately attained the rank of corporal.[24]
Higher education
[edit]
After George Strait was honorably discharged from the Army in 1975, he enrolled at Southwest Texas State University (now Texas State University) in San Marcos. He graduated with a degree in agriculture.[25] He was also presented an honorary doctoral degree by his alma mater–Texas State University in San Marcos–in a private ceremony on May 26, 2006.[25] Strait is a loyal alumnus of the college; in 1985 he established an endowment fund for the development and operation of the Freeman Ranch for agricultural purposes, land and wildlife management, and gifts of scholarships.[25]
Music career
[edit]
1970s
[edit]
During his college years, Strait joined the country band Stoney Ridge, answering a flyer the band posted around campus looking for a new vocalist. Strait renamed the group the Ace in the Hole Band, and quickly became the lead; they began to perform at different honky-tonks and bars around south and central Texas, traveling as far east as Huntsville and Houston.[27] They gained a regional following and opened for national acts such as The Texas Playboys. Soon his band was given the opportunity to record several Strait-penned singles, including "That Don't Change The Way I Feel About You" and "I Can't Go On Dying Like This" for the Houston-based D Records independent label. However, the songs never achieved wide recognition, and Strait continued to manage his family cattle ranch during the day to make some extra cash.[27][28]
While he continued to play with his band, without any real connections to the recording industry, Strait became friends with Erv Woolsey, who operated one of the bars in which the Ace in the Hole band played and who had previously worked for the major label MCA Records. Woolsey convinced some of his Music Row (Nashville) connections to come to Texas and to listen to Strait and his band play. Impressed with the performance but concerned that they could not market the Western Swing sound that the band featured, they left without offering a deal.
After several unsuccessful trips to Nashville in search of a record deal in which Strait was turned down by every label in town, he considered giving up music altogether. He was offered a job designing cattle pens and decided to take it. He gave the band notice that he was leaving, but after a discussion with his wife, she convinced him to give pursuing music one more year. Not long afterward, a major label, MCA, signed Strait to a recording contract in February 1981. The initial deal was for one song. If the single did well, the label would consider doing an album.[29] The Ace in the Hole band remained with Strait, performing as the backup and touring band for the now solo career of Strait.[28]
1980s
[edit]
In the spring of 1981, Strait released his first single for MCA Records, titled "Unwound", which climbed to number six on the Billboard Hot Country Songs chart that year and was included on his debut album Strait Country. The record featured two other singles including "Down and Out", a number 16 hit for Strait, and "If You're Thinking You Want a Stranger (There's One Coming Home)".[30]
Strait Country was hailed by critics as being a "new-traditionalist" breakthrough that broke the trend of pop-influenced country prevalent at the time.[30] The critically acclaimed Strait from the Heart, his second album, was released in 1982 and featured the first number-one single of his career, "Fool Hearted Memory" and the top-five Western ballad "Amarillo by Morning" which was originally sung and written by Terry Stafford in 1973. It later became one of Strait's signature songs.[33] In 1983, Strait made his first appearance at the Houston Livestock Show and Rodeo, when the headlining star, Eddie Rabbitt became sick with the flu. Performing at that rodeo has since become a mainstay throughout his career. He has made more than 20 appearances at the rodeo and played for more than one million fans.
Strait recorded 17 number ones during the decade, including a string of five that lasted from 1983 to 1984[34] from his next two albums Right or Wrong, his first number-one album and the CMA award-winning Does Fort Worth Ever Cross Your Mind. The next year, he won the CMA award for top male vocalist, and released his first greatest hits compilation, which featured songs from his first three albums. Also in 1985, Strait released Something Special, the third-straight number-one album of his career, featuring the number-one single "The Chair".[30] In 1986, Strait repeated as the CMA vocalist of the year and released his fourth number-one album #7.
Strait and his family were struck with tragedy when his 13-year-old daughter, Jenifer, was killed in a one-car, alcohol-unrelated accident in 1986. She was riding in a Ford Mustang driven by Gregory Wilson Allen, 18, of Staples, Texas. Allen was charged with a class A misdemeanor for vehicular homicide. Mike Cox, spokesman for the Texas Department of Public Safety in Austin, said, "The responding trooper determined the cause of accident to be excessive speed and that the car did not negotiate the turn properly. Jenifer was riding in the front passenger seat, and none of the four occupants was wearing seat belts at the time.[35] When the vehicle flipped over onto its passenger's side, Jenifer was partially ejected, killing her on impact.[35][36] The incident caused George to greatly limit his contact with the media. He stopped doing interviews for many years after the accident; he and his family did not wish to discuss Jenifer's death.[37]
George Strait's grief did not hinder his performance, however, or his output; as he released 11 straight number-one hits, starting with "Nobody in His Right Mind Would've Left Her" in 1986 and ending with "Ace in the Hole" in 1989.[34] The singles spanned four albums including #7, Ocean Front Property in 1987, If You Ain't Lovin' You Ain't Livin' in 1988, and 1989's Beyond the Blue Neon, all of which reached the number one spot on country album charts. Ocean Front Property was the first country album to ever debut at number one on the charts by any artist. The streak included such songs as "Ocean Front Property", "All My Ex's Live in Texas", "Famous Last Words of a Fool", and "Baby Blue". Strait finished the decade by winning the CMA Entertainer of the Year award in 1989. One year later, he won the award again.[30]
1990s
[edit]
Strait began the decade with the release of his 10th studio album, Livin' It Up, which featured two number-one hits, including "Love Without End, Amen", his first multiweek hit, and "I've Come to Expect It From You". Both songs remained first for five weeks in 1990. Chill of an Early Fall shortly followed in 1991, and received positive reviews. Entertainment Weekly noted that the album marked a shift for Strait from "repeating himself" in his previous works to producing different material.[38] It produced the number-one songs "If I Know Me" and "You Know Me Better Than That", but ended his streak of 31 straight top-10 hits with the cover of "Lovesick Blues", which peaked at number 24. The record blocked his run of eight top-charting albums with its peak of number four. In the spring of 1992, Holding My Own was released. It did not produce any number ones, but did include two top-five songs, including "So Much Like My Dad".
Later in 1992, Strait played the main character in the film Pure Country, and released the film's soundtrack. It was his most successful studio album, producing such hits as "Heartland", "I Cross My Heart", and "When Did You Stop Loving Me", and peaked at number one and number six respectively on the Country and Billboard 200 album charts. The success continued with his next album, Easy Come, Easy Go in 1993, which reached the top five on the Billboard 200 and featured the hits "I'd Like to Have That One Back", "The Man in Love with You", and the number-one title track.[30]
His next four albums, including Lead On in 1994, Blue Clear Sky in 1996, Carrying Your Love with Me in 1997, and 1998's One Step at a Time, all charted at number one, with Blue Clear Sky claiming the spot on its debut week, and Carrying Your Love with Me peaking at number one on the Billboard 200 for the first time in Strait's career. This series of albums produced eight number-one singles for Strait, including "You Can't Make a Heart Love Somebody", "Carried Away", "One Night at a Time", and "I Just Want to Dance with You".[30]
During this period, Strait also released a four-disc, box-set career retrospective, Strait Out of the Box, in 1995, which also included two new songs, the top 5 hit "I Know She Still Loves Me" and the No.1 hit "Check Yes or No". It became the second-best selling box set ever with shipments of 8 million in the United States. He was named as the CMA's Top Male Vocalist in 1997 and 1998.[30] Starting in 1997, and continuing until 2001, Strait headlined the George Strait Country Music Festival, which included artists such as Tim McGraw, Faith Hill, Kenny Chesney, Alan Jackson, and others.[30]
In an effort to introduce these acts to as many fans as possible, the festival promised not to visit any market more than twice. It played only a small number of dates, usually no more than 20 a year, but still managed to be the ninth-biggest grossing tour of 1998.[39]
Strait completed the decade with the album Always Never the Same in 1999, which peaked at number two on country charts and matched the cross-over success of Pure Country by reaching number six on the Billboard 200. The record produced the hits "What Do You Say to That", "Meanwhile", and the number-one "Write This Down". Reviews of the album's material were generally mixed, but Entertainment Weekly observed that at this point in his career, Strait could record the "most lightweight" material and "make it soar" on the radio with his "grace".[38] All in all, Strait scored 17 number-one hits on the Billboard country airplay charts in the decade, and carried his successes into the next century.[18]
2000s
[edit]
Strait released a self-titled album in 2000, which despite a number-one and number-seven showing on the country and Billboard 200 album charts, respectively, produced no number-one singles, and was the first studio album of his career to not be certified platinum. The singles "Go On" and "If You Can Do Anything Else" were released from the record, with both peaking in the top five. In May 2001, The Road Less Traveled was released. Reviews for the album were mostly positive; Rolling Stone described it as sticking to the formula, "but adds a few twists that make it superior to his last few releases."[40] It featured "vocal processing", and was considered by some critics as an experimental album.[28] Three singles were released from it, two of which reached number one, including "She'll Leave You with a Smile", his 50th on combined charts and "Living and Living Well", both of which reached the top 30 of Billboard Hot 100, with the former peaking at number 23, Strait's highest rank on the chart. The single "Run" peaked at number two and reached number 34 on the Billboard 100. Strait released two records in 2003. For the Last Time: Live from the Astrodome was a recording of the last Houston Livestock Show and Rodeo to take place in the Astrodome. The performance itself set the record for paid attendance at the venue, with 68,266 people, breaking Latin superstar Selena's previous record of about 67,000 in 1995.[41]
His next album, Honkytonkville was described as "a fiery set of hard country", and was praised "for its mixture of the old Strait with his modern, superstar self."[28] It did not produce any number ones for Strait, but included the hits "Cowboys Like Us" and a cover of Bruce Robison's "Desperately". His 2004 performance at Reliant Stadium set a new rodeo attendance record, with 68,679 spectators. That year, he issued a greatest hits package billed as 50 Number Ones, chronicling the number-one hits of his career from all charts, starting with "Fool Hearted Memory" and ending with "She'll Leave You With a Smile." A new track, "I Hate Everything", was also included, and became his 51st overall number one in 2004.
The next year, Somewhere Down in Texas arrived, which produced the hit "You'll Be There", marking Strait's first appearance on the adult contemporary chart. The next year, he embarked on a tour that included only 18 performances, but grossed over $15 million. He attributed this success to the fact that his band and he are "musically very tight", have a large pool of songs to draw from, and perform those songs very similarly to how they sound on their albums.[42]
On October 3, 2006, Strait marked his 30th year in the music industry with the release of a new album titled It Just Comes Natural. The album was recorded in Key West, Florida, in Jimmy Buffett's Shrimp Boat Sound Studio (said to be a better recording location due to lack of allergy flare-ups during recording process), which was also the recording location of Troubadour.[citation needed] It featured 15 new songs. Strait's long-time friend and songwriter, Dean Dillon, co-wrote two of the songs on the album. It received generally positive reviews from critics. People, in their four-star review, remarked, "If ever there was a natural in country music, it's Strait," while USA Today raved that "he continues to make such consistent quality look easy". The first single from the album, "Give It Away" reached number one, making one of its co-writers, country legend "Whispering Bill" Anderson, the first songwriter to have a number-one hit in five different decades. The title track, "It Just Comes Natural" became his 42nd Billboard number one.[citation needed]
In 2007, "Wrapped" reached number one on the Mediabase 24/7 country music charts, giving Strait his 55th overall number-one single. From January through April of that year, Strait headlined a 23-date arena tour with country-music legend Ronnie Milsap and then-newcomer Taylor Swift. He released a new album titled Troubadour on April 1, 2008. The CD contained 12 tracks, including a duet with Patty Loveless and another with long-time songwriter Dean Dillon. The lead single from the album, "I Saw God Today", debuted at number 19 on the Radio and Records and Billboard charts. It is the highest debut ever for a single from Strait and the fourth-highest debut for a song in country-music history. Troubadour debuted at number one on the Billboard Top 200 album charts, selling over 160,000 copies in its first week of release. "River of Love", the third single from the album, became his 57th number-one song in 2009.[43]
In April 2009, Strait was honored by the Academy of Country Music with the Artist of the Decade Award, which was presented to Strait by the previous ACM Artist of the Decade, Garth Brooks. In June of that year, he headlined the first event at the new Dallas Cowboys Stadium in Arlington, Texas. Strait's single "Living for the Night" was released on May 28, 2009, and was written by Strait, his son Bubba, and Dean Dillon. The song was the lead single from his album Twang, released on August 11, 2009. Twang was certified gold for selling over 500,000 copies.[citation needed]
2010s
[edit]
In 2010, Billboard ranked Strait number one in the top-25 country artists of the past 25 years.[44] On September 6, 2011, Strait released the album, Here for a Good Time, which yielded two number-one singles—"Here for a Good Time" and "Love's Gonna Make It Alright"—bringing Strait's number-one singles total to 59. The album's third single, "Drinkin' Man", was less successful, peaking at number 37.
In October 2012, Strait released the single "Give It All We Got Tonight",[45] which was included on his album Love Is Everything, released on May 14, 2013. The song initiated a "60 for 60" movement by Strait's label, to make the song his 60th number-one single on all country charts while he was still 60 years old.[46] The song reached the top of the Mediabase charts in May 2013. The album's next single, "I Believe", reached number 50 on the U.S. Country Airplay chart, making it Strait's first single to miss the top 40. Strait won the 2013 CMA Entertainer of the Year award.
In November 2013, Billboard presented Strait with its Legend of Live honor during the 10th annual Billboard Touring Awards ceremony.[47] The award honors the concert industry's top artist based on Billboard's Boxscore chart and box-office performance.[48] Strait is the first country artist to receive Billboard's highest touring accolade.[49] On April 19, 2015, Strait made a guest appearance at the 2015 ACM Awards, he performed "All My Ex's Lives in Texas" and his new single "Let it Go".[50]
In 2016, Strait was selected as one of 30 artists to perform on "Forever Country", for a mash-up track of "Take Me Home, Country Roads", "On the Road Again", and "I Will Always Love You", which celebrates 50 years of the CMA Awards.[51]
In 2018, Strait released a single called "Codigo", after a brand of tequila produced by a company in which he had invested.[52]
The Cowboy Rides Away Tour
[edit]
On September 26, 2012, Strait announced that he was retiring from touring, and that his Cowboy Rides Away Tour would be his last.[53][54] Tickets for both arenas and stadiums on the Cowboy Rides Away Tour sold out in a matter of hours. The tour started on January 18, 2013, in Lubbock, Texas, and was divided into two legs: 21 concerts in 2013 and 26 concerts in 2014. The tour ended in Arlington, Texas, on June 7, 2014. Strait was supported on the tour by his longtime 11-member touring group, the Ace in the Hole Band. For the 2013 leg, Martina McBride was the opening performer.[53]
On January 9, 2014, Strait initiated the second leg of the tour, which featured the opening performers Jason Aldean, Eric Church, Martina McBride, Miranda Lambert, Little Big Town, Vince Gill, Lee Ann Womack, Merle Haggard, Chris Young, Ronnie Dunn, Luke Bryan, Tim McGraw, Kenny Chesney, Alan Jackson, and Asleep at the Wheel.[56] Many of these performers gathered together for the tour's final concert in Arlington, Texas on June 7, before 104,793 fans - at the time the largest ticketed attendance ever at a single-headlining act concert in the United States. Strait would then break his own record, ten years later. The concert also set a record for the largest gross at a single-show country concert, $18,194,374, and broke the 33-year-old record as well for "largest indoor concert ever," easily surpassing the 87,500 fans who attended the December 5, 1981, Rolling Stones concert at the New Orleans Superdome (opening acts, The Neville Brothers, followed by George Thorogood and the Destroyers).
A live album recorded from the final concert in Arlington titled The Cowboy Rides Away: Live from AT&T Stadium was released on September 16, 2014, with DVD/CDs of the concert being released on November 10, 2014, with Walmart exclusively releasing a deluxe edition including two CDs, as well. This deluxe DVD is the entire over three-hour concert and the accompanying two CDs have 28 of the 40 songs sung that night.[57] On August 29, 2014, the Country Music Television channel broadcast a two-hour concert special of the event titled George Strait: The Cowboy Rides Away.[57] This CMT concert special had 1+1⁄4 hours of music from the concert and interviews.
Strait broke the record for most fans at a U.S. concert by a single headlining act on Saturday, June 15, 2024, with a concert at Kyle Field at Texas A&M University in College Station, Texas, with 110,905 fans in attendance. The record was previously held by The Grateful Dead who had 107,019 fans in attendance at their 1977 show at Raceway Park in New Jersey.[58] The show also set a new record for Texas A&M’s Kyle Field for most fans at a single event. The previous record was on October 11, 2014, with 110,633 fans, for a Texas A&M football game against Ole Miss.[59]
Musical style
[edit]
Strait's style of country music has been largely labeled as neotraditional country, which relies on traditional instrumentation in country music, i.e. fiddle and pedal steel guitar.[60][2][61] His style has also been labeled as Texas country, Western swing,[62][60] and honky-tonk.[60][62]
Personal life
[edit]
Strait eloped in Mexico with his high school sweetheart Norma in December 1971.[63] Their first child, Jenifer, was born on October 6, 1972. Their son, George Harvey Strait Jr., known as "Bubba", was born in 1981.[64]
Jenifer was killed in an automobile accident in San Marcos on June 25, 1986, at age 13. The family set up the Jenifer Lyn Strait Foundation, which donates money to children's charities in the San Antonio area.[65] George Strait Jr., who is a graduate of Texas A&M, competed as a Professional Rodeo Cowboys Association team-roping competitor.[66] Strait was able to watch his son compete at the Houston Livestock Show and Rodeo in 2006 shortly before taking the stage for his own performance.[67]
On April 10, 2009, John Byron “Buddy” Strait, who was George's older brother, died at the age of 58.
Since 2010, Strait has served as spokesman for the VF Corporation's Wrangler National Patriot program, a campaign designed to raise awareness and funds for America's wounded and fallen military veterans and their families.[68] Strait says, "I've been a part of the Wrangler family for a long time... when they came to me with the idea for supporting fallen and wounded American veterans and their families, I knew I wanted to get involved."[68] He also appeared in commercials for Tractor Supply Company.[69]
In February 2012, Strait became a grandfather when George Strait Jr. and his wife Tamara had their first child, a son, George Harvey Strait III.[70]
Strait owns a Gulfstream G450 business jet; its tail number is N518GS.[71] His personal aircraft is housed at the Landmark Aviation facility in San Antonio. He teamed up with Texas Governor Greg Abbott to help with disaster relief efforts in the wake of Hurricane Harvey which devastated coastal areas of Texas.[72]
Strait along with long-time friend and business partner Tom Cusick created the Vaqueros Del Mar (Cowboys of the Sea) Invitational Golf Tournament and Concert held annually at Strait and Cusick's Texas Hill Country resort Tapatio Springs Resort near Boerne, Texas. The Invitational raises money for David Feherty's Troops First Foundation, benefiting wounded servicemen, servicewomen and their families. Since its beginning in 2012, more than US$5 million have been raised by the events.[73][74][75] In January 2018, George Strait was named the 2018 Texan of the Year by the Texas Legislative Conference, a statewide group of business and political leaders. Strait was honored for his fundraising efforts in the wake of the widespread flooding following Hurricane Harvey.[76][77]
Discography
[edit]
In more than 30 years of recording, all of which have been spent with MCA Records, George Strait has garnered 61 number-one songs on all country charts (including Mediabase 24/7, the former Radio & Records chart, and the now-defunct Gavin Report chart), and has more number-one hits than any other artist in a single genre. His 44 Billboard country number-one hits are a record, four more than Conway Twitty's total that includes several duets with Loretta Lynn.[78] Additionally, Strait is also the first artist in the history of Billboard to have at least one single enter the top 10 of a Billboard chart for 30 consecutive years, starting in 1981 when his debut single "Unwound" peaked at number six on the Hot Country Singles chart. All of his top-10 singles have been on that chart.[79] Strait has sold more than 68 million records in the United States alone,[80] and his certifications from the RIAA include 13 multiplatinum, 33 platinum, and 38 gold albums.[81]
Filmography
[edit]
Strait has acted in several films. He had a bit part in The Soldier (1982) and starred in Pure Country (1992). He also appeared as himself in Grand Champion (2002).
The film Pure Country featured George Strait in the lead role as Dusty Chandler, a famous country singer who strays too far from his country roots and traditional sound. It provided the opportunity for Strait to branch out from his own traditional country sound for a more rock-and-roll approach. The film had little success at the box office and took in only $15 million, but the soundtrack also called Pure Country, produced several hit singles for Strait. It has become his best-selling album to date. Strait had a limited role in the sequel to Pure Country, Pure Country 2: The Gift.[82]
Year Title Role 1982 The Soldier Himself 1992 Pure Country Wyatt "Dusty" Chandler 2002 Grand Champion Himself 2003 King of the Hill Voice of Cornell 2010 Pure Country 2: The Gift Himself
Honors and awards
[edit]
Strait holds the record for most number-one albums and singles, gold albums, platinum albums, and multiplatinum albums in the history of country music, and is 11th in the most number-one albums in all other genres. Strait is third only to Elvis Presley and The Beatles with the most gold and platinum albums in the history of music.[83] Strait has been certified as the 12th-best selling artist in American history, with career record sales of 70 million in the United States.[84]
Strait has held the world record for most number one hit singles across all charts and genres with 60 number-one hits since 2013,[3][7] and is the only artist in the history of music of any kind to have a top-10 hit every year for 30 years. He is also second all-time in top-10 hits in the history of music, currently five away from breaking the all-time record held by Eddy Arnold, who had 92 in his historic career. Strait has won 22 CMA Awards, including consecutive Entertainer of the Year honors in 1989 and 1990, and also just recently won that same honor in 2013 (and is the only artist to win the top honor in three different decades) and holds the career record for CMA nominations (as a whole) and the most consecutively of all time.
As of 2009, he holds the record for the most CMA awards. Strait also holds those same records for wins and nominations for the Academy of Country Music Awards. Strait was elected into the Country Music Hall of Fame in 2006, performing his then-latest number-one hit "Give it Away" right before accepting his replica Hall of Fame plaque at the 40th CMA Awards. He was only the second artist (after Eddy Arnold in 1966) to be inducted into the Hall of Fame while still actively recording and producing chart-topping hits and albums.
As of June 8, 2010, Strait was named the top country-music artist of the past 25 years according to Billboard. In October 2008, the Academy of Country Music Awards named Strait their Artist of the Decade for the 2000s. He was presented the award by the previous winner Garth Brooks. Past winners of the award are Marty Robbins (1960s), Loretta Lynn (1970s), Alabama (1980s), and Garth Brooks (1990s).[85] With the win of the entertainer-of-the-year award in 2013, he is the only artist to ever win that award in three different decades and also was the oldest winner. The win is currently the longest span between wins for that award, as well. Strait is also tied with Merle Haggard for the most male vocalist-of-the-year awards.
On June 1, 2013, Strait appeared at the Alamodome, in San Antonio, Texas, before 70,000 fans in the last concert of the first half of his two-year farewell tour. Governor Rick Perry, who was in attendance with First Lady Anita Thigpen Perry, announced that May 18, Strait's birthday, would be "George Strait Day" in Texas each year.[86]
In 2023, Rolling Stone ranked Strait at number 156 on its list of the 200 Greatest Singers of All Time.[87]
Year Award Category Work 1985 Academy of Country Music Top Male Vocalist — [88] 1985 Country Music Association Male Vocalist of the Year — [89] 1985 Country Music Association Album of the Year Does Fort Worth Ever Cross Your Mind [89] 1986 Academy of Country Music Top Male Vocalist — [88] 1986 Academy of Country Music Album of the Year Does Fort Worth Ever Cross Your Mind [88] 1986 Music City News Country Male Artist of the Year — 1986 Country Music Association Male Vocalist of the Year — [89] 1986 Billboard Year-End Awards Top Country Artist — 1987 Billboard Year-End Awards Top Country Artist — 1988 Academy of Country Music Top Male Vocalist — [88] 1989 Country Music Association Entertainer of the Year — [89] 1989 Special Connie B. Gay Award — 1989 Academy of Country Music Entertainer of the Year — [88] 1989 Special Presidential American Success Award — 1990 Country Music Association Entertainer of the Year — [89] 1990 Radio & Records Country Performer of the Year — 1991 American Music Awards Favorite Country Male Artist — 1993 Academy of Country Music Tex Ritter Movie of the Year Pure Country [88] 1995 Academy of Country Music Single of the Year "Check Yes or No" [88] 1995 ASCAP Voice Of Music Award — 1996 TNN/Music City News Video of the Year "Check Yes or No" 1996 TNN/Music City News Single of the Year "Check Yes or No" 1996 TNN/Music City News Album of the Year Lead On 1996 Music City News Country Single of the Year "Check Yes or No" 1996 Country Music Association Single of the Year "Check Yes or No" [89] 1996 Country Music Association Album of the Year Blue Clear Sky [89] 1996 Country Music Association Male Vocalist of the Year — [89] 1996 Academy of Country Music Top Male Vocalist — [88] 1996 Academy of Country Music Album of the Year Blue Clear Sky [88] 1996 Radio & Records Best Single "Check Yes or No" [88] 1996 Radio & Records Best Male Vocalist — 1996 Radio & Records Most Valuable Performer — 1997 TNN/Music City News Album of the Year Blue Clear Sky 1997 Country Music Association Male Vocalist of the Year — [89] 1997 Country Music Association Album of the Year Carrying Your Love With Me [89] 1997 American Music Awards Favorite Country Album Blue Clear Sky 1997 Academy of Country Music Top Male Vocalist — [88] 1997 Academy of Country Music Album of the Year Carrying Your Love With Me [88] 1997 Radio & Records Best Album Blue Clear Sky 1997 Radio & Records Best Male Vocalist — 1998 Country Music Association Male Vocalist of the Year — [89] 1998 American Music Awards Favorite Country Male Artist — 1998 American Music Awards Favorite Country Album Carrying Your Love With Me 1998 Radio & Records Best Male Vocalist — 1999 Country Weekly Golden Pick Awards Favorite Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Line Dance Song "I Just Want to Dance with You" 1999 Country Weekly Golden Pick Awards Favorite Video Entertainer — 1999 Country Weekly Golden Pick Awards Favorite Male Artist — 1999 Country Weekly Golden Pick Awards Favorite Entertainer — 1999 Country Weekly / TNN/CMT Music Awards Album of the Year One Step at a Time 2000 Country Weekly / TNN/CMT Music Awards Impact Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Single of the Year "Write This Down" 2000 Country Weekly / TNN/CMT Music Awards Male Artist of the Year — 2000 Country Weekly / TNN/CMT Music Awards Entertainer of the Year — 2000 Country Weekly / TNN/CMT Music Awards Album of the Year Always Never The Same 2000 Country Music Association Vocal Event of the Year "Murder on Music Row" (with Alan Jackson) [89] 2001 Country Music Association Song of the Year "Murder On Music Row" (awarded to songwriters) [89] 2002 Country Weekly Favorite Collaborative Song "Designated Drinker" (with Alan Jackson) 2003 CMT 40 Greatest Men of Country Music Ranked No. 9[citation needed] — 2003 Academy of Country Music Special Achievement Award (in recognition of 50 No. 1 Songs) — [88] 2003 Special Award National Medal of Arts — 2004 Cheyenne Frontier Days Hall of Fame — [90] 2005 Country Music Association Musical Event of the Year "Good News, Bad News" (with Lee Ann Womack) [89] 2006 Honorary Doctoral Degree Texas State University–San Marcos — 2006 Country Music Hall of Fame Inducted into the Country Music Hall of Fame — 2006 Academy of Country Music Single Record of the Year (artist) "Give It Away" [89] 2006 Academy of Country Music Single Record of the Year (producer) "Give It Away" [89] 2006 Academy of Country Music Song of the Year (artist) "Give It Away" [89] 2007 Country Music Association Song of the Year "Give It Away" (awarded to songwriter Jamey Johnson) [89] 2007 Country Music Association Album of the Year It Just Comes Natural (for artist and producer) [89] 2008 Country Music Association Single of the Year "I Saw God Today" [89] 2008 Country Music Association Album of the Year Troubadour [89] 2009 Grammy Awards Best Country Album Troubadour 2009 Academy of Country Music Artist of the Decade — [88] 2010 Billboard.com Top Country Artist of the Past 25 Years — [91] 2013 Country Radio Broadcasters Inc. Country Radio Broadcasters Career Achievement Award — 2013 ASCAP ASCAP Founders Award — 2013 Billboard Touring Awards Legend of Live Award — 2013 Country Music Association Entertainer of the Year — [89] 2014 Academy of Country Music Entertainer of the Year — [88] 2015 Academy of Country Music 50th Anniversary Milestone Award Winner — [88] 2017 Academy of Country Music Cliffie Stone Icon Award — [88] 2020 Billboard Music Awards Top Country Tour 2021 National Cowboy and Western Heritage Museum Western Heritage Awards Lifetime Achievement Award [92]
References
[edit]
Citations
[edit]
Sources
[edit] | ||||||
8911 | dbpedia | 0 | 17 | https://www.newyorker.com/magazine/2017/07/24/george-straits-long-ride | en | George Strait’s Long Ride | [
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] | 2017-07-24T00:00:00 | For decades, he’s been country’s most consistent hitmaker. Can he keep holding on? | en | https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico | The New Yorker | https://www.newyorker.com/magazine/2017/07/24/george-straits-long-ride | George Strait has discovered that when he isn’t wearing a cowboy hat people often don’t realize that he is George Strait. In San Antonio, where he lives, he can usually visit restaurants unmolested, so long as he doesn’t smile too widely—he is famous for his smile, which is bright and crooked. One time, in Key West, where he records, he was sitting outside the studio, naked from the neck up, when a woman accosted him. She said, “My husband says that George Strait is in there, cutting a record, and I told him that can’t be true. Why would he cut a record in this little place?”
Strait’s response was not, strictly speaking, a lie. “Honey,” he said, “I was just in there, and I didn’t see him.”
He is, by some measures, the most popular country-music singer of all time and, by any measure, the most consistent. Since 1981, when he made his début, he has placed eighty-six singles on Billboard’s Top 10 country chart, and more than half of them have gone to No. 1. Everywhere that there is a country radio station, there are generations of listeners who regard Strait’s music as part of the landscape; they are intimately connected to these songs, even if they can’t quite say that they are intimately connected to the man who sings them. When Strait first emerged, he was acclaimed as “the honky-tonk Frank Sinatra,” a designation that fits him even better now than it did then. Like Sinatra, Strait is chiefly an interpreter, not a songwriter, and he is committed to the old-fashioned idea that an entertainer’s job is to entertain, and not necessarily to bare his soul. He isn’t so much a great character as a great narrator, telling a variety of stories instead of returning endlessly to his own. “I don’t think there’s anything autobiographical about my material, unless it’s subconsciously,” Strait once said. “I just look for a song I like, and when I hear it I know it right away.”
On a Friday night earlier this year, at T-Mobile Arena, a few paces from the Las Vegas Strip, nearly twenty thousand fans came together to hear Strait make his way through more than thirty of his biggest hits—a fraction of the total. “We have a lot of songs to play for you tonight, a whole lot,” he said, and then he didn’t say much more. Strait prefers to give his audience as few distractions as possible: he likes to play on a stage in the center of the arena floor, with four microphones arranged like compass points; every two songs, he moves, counterclockwise, to the next microphone, so that people in each quadrant of the crowd can feel as if he were singing just to them. Because he was playing in the round, there was no backdrop, and nothing in the way of pyrotechnics, with the important exception of that smile. His onstage outfit, which has barely changed in forty years, includes, along with the cowboy hat and cowboy boots, a button-down shirt and bluejeans, ironed stiff enough to form an exoskeleton. A promotional contract obliges him to wear Wrangler jeans, and decades of ranching and roping inclines him to wear them stacked—that is, long and bunched up, so that he could, if necessary, mount a horse without fear of exposing any extra boot.
Strait doesn’t believe in disappointing paying customers, so he endeavors to play every song that anyone wants to hear. Casual listeners may know him best for “All My Ex’s Live in Texas,” a slightly drunken-sounding novelty song that long ago transcended its novelty status, elevated by countless bleary-eyed sing-alongs: “Texas is the place I’d dearly love to be / But all my ex’s live in Texas / And that’s why I hang my hat in Tennessee.” In this arena, though, people were just as excited for “Check Yes or No,” a good-natured radio perennial about a love affair that begins in the third grade and lasts well past the third chorus. One key to Strait’s success is that he is stubborn but not too stubborn. He adores the rough-hewn music and iconography of his native Texas, but he has never been too cool to sing sweeter, softer songs about suburban love gone right. He is a traditionalist, but not a revivalist: instead of evoking a bygone past, he prefers to evoke a familiar, unchanging present. The quintessential George Strait song involves a man who feels something strongly but can express it only winkingly. “If you leave me, I won’t miss you,” he declares, at the start of “Ocean Front Property,” followed by a chorus made up of declarations that are, likewise, lies. “I’ve got some oceanfront property in Arizona / From my front porch, you can see the sea,” he sings. “If you buy that, I’ll throw the Golden Gate in, free.”
A George Strait concert is a master class in the art of restraint. “He just stands there,” an executive once marvelled, “and people go fucking crazy.” Strait leans away from the high notes, sways gently with the up-tempo songs, and says just enough to remind fans that they are not, in fact, listening to his records; all night, he strums an acoustic guitar that no one can hear, maybe not even him.
In Las Vegas, he waited until near the end of his set for “Amarillo by Morning.” His crowds are generationally diverse, and some of the older fans had begun to sink into their seats by then. But just about everyone stood up at the sound of the fiddle overture that introduces the opening stanza, one of the most memorable in country music:
Amarillo by morning
Up from San Antone
Everything that I got
Is just what I’ve got on
The song—the stoic lament of a travelling rodeo pro—was originally recorded, in 1973, by Terry Stafford, a former rock-and-roll singer. Chris LeDoux, a real-life rodeo champion who also built a do-it-yourself career as a country act, cut a version a few years later, which found its way to Strait, who made the song his own. Stafford sang it with a crooner’s quaver, and LeDoux intoned the lyrics wistfully, accompanied by a harmonica. By comparison, Strait’s version, the only one that most people will ever hear, is masterfully plain. He occasionally approaches a syllable from above, using a mournful grace note, but he has an easy, conversational way of putting a melody across, as if he were singing to keep from talking.
Strait released “Amarillo by Morning” in 1983, and it helped establish him as one of the decade’s first new country stars. The song was so popular that he sometimes had to play it twice in a set, back when he was playing as many as four sets a night in Texas roadhouses. “It was probably our most requested song,” he says, “but it wasn’t a No. 1 record.” Like virtually all successful country singers, Strait pays attention to the charts, and he can discuss his placements with the unembarrassed candor of an athlete recalling his career statistics. “Amarillo by Morning” peaked at No. 4. Strait’s longtime manager, Erv Woolsey, noticed that some otherwise reliable radio stations declined to put Strait’s version into heavy rotation; he suspects that, especially in the Southwest, the modest success of the earlier recordings had made the song too familiar. “It was kind of wore out in certain places,” Woolsey says. But it resonated, and it has endured. Last year, a twenty-year-old contestant on “Mongolia’s Got Talent” became a viral video star because of his uncannily Strait-like rendition of “Amarillo by Morning.” And in Las Vegas “Amarillo by Morning” worked as well as it ever did. When it was over, Strait looked out at the crowd and gestured toward the roof with both hands—jokingly asking for more applause, as if he needed it.
Strait recently turned sixty-five, and he is officially semiretired. In 2012, he announced that he was quitting the touring life, and, after a two-year sendoff tour, he played a final show at AT&T Stadium, the home of the Dallas Cowboys, in front of more than a hundred thousand people. He didn’t quit recording, though, and in 2015 he announced a series of weekend concerts in Las Vegas. Louis Messina, Strait’s promoter, likes to point out that this is not a traditional Vegas residency: a washed-up star imprisoned in a casino theatre, entertaining a few hundred fans and gamblers, night after night. Strait is an arena headliner, not a lounge act, and every night the preshow playlist pays subtle tribute to his staying power. Concertgoers hear a selection of recent country hits: “Take a Back Road,” by Rodney Atkins; “Girl in a Country Song,” by Maddie & Tae; “Rewind,” by Rascal Flatts; “Might Get Lucky,” by Darius Rucker. What they have in common is that all of them mention Strait. Rucker sings, “Dance around the kitchen to a George Strait song”— hoping, like the others, to borrow some of Strait’s unimpeachable country credibility.
When Strait goes to Las Vegas, he flies from Texas in the plane he owns, and stays at the Mansion, a semiprivate hotel hidden next to the MGM Grand. But his bus comes, too, and remains parked behind the arena, allowing him to enjoy, in small doses, the life of a touring musician. It was Saturday afternoon in Las Vegas, and Strait was incognito on his bus, wearing a light-blue baseball cap and lightweight Nike running shoes. In the early decades of his career, he spent his downtime on horseback, turning himself into a decent competitor in the sport of team roping. He is still fit and trim, but these days he prefers fishing and golfing, and he enhances his year-round tan with frequent trips to the Bahamas and Mexico. In person, he is warm but watchful, and surprisingly shy; he seems like a man who does not crave attention, even though he has spent most of his life courting it.
“We had some rough edges last night, and I’ve already talked to my guys,” Strait said. Some members of his band have been playing with him since the nineteen-seventies, and they know him as an easygoing but exacting leader who wants his songs to sound just the way fans remember them. “A lot of times, maybe I’m the only one that notices,” Strait said. “But sometimes not.”
He has always been a singles artist, and even people who have worked closely with him sometimes struggle to name a favorite album—they like all his songs, especially the hits. Without quite planning it, he built his career for maximum longevity, amassing one hit after another, never allowing himself a year off or a radical musical departure. In the late nineteen-eighties and early nineties, he helped inspire a wave of cowboy-hat-wearing country singers who were known as “hat acts,” including Alan Jackson and Garth Brooks. Strait became a beloved elder statesman without giving up the role he values more: hitmaker. And then, around the beginning of this decade, something happened that was both inevitable and shocking: Strait’s songs stopped making their way up the country chart. “Radio’s not playing me anymore,” he said. “Which is a hard pill to swallow, after all these years.” His last album, “Cold Beer Conversation,” was released in 2015, and it was the first major release of his career that did not spawn a Top 10 hit. “I hung on for dear life, for a lot of years,” Strait said, chuckling softly.
There is, of course, life beyond the Billboard charts. Willie Nelson and Dolly Parton, for instance, remain two of the most revered and beloved stars in the country-music galaxy, even though they stopped making hits in the nineteen-eighties. But Strait has always resisted becoming a legacy act—indeed, his legacy is inseparable from his miraculous ability to stay current, reigning as the defining voice of country music throughout the eighties, the nineties, and the aughts. He is, by all accounts, intensely (if quietly) competitive: he wants to win, and radio spins and chart positions are an objective way of keeping score. On that Saturday night in Las Vegas, with those undetectable rough edges smoothed away, Strait and his band cruised through an even longer set, and he permitted himself to take some satisfaction in the fact that, once more, tens of thousands of fans had driven or flown into the desert just to watch him stand there and sing. “This is our eighth show in this building,” he said. “Sold out every one of ’em.”
George Strait grew up in Pearsall, Texas, near the interstate that runs south through Laredo to the Mexican border. His parents split when he was young, and Strait was brought up by his father, a math teacher who also became the proprietor of the family’s cattle ranch, down the road in Big Wells. Strait developed a lifelong obsession with ranching, although he also had other interests: after high school, he married his girlfriend, Norma, spent a few semesters in college, and then joined the Army, which assigned him to the 25th Infantry Division, stationed at Schofield Barracks, in Hawaii. The soldiers had to be ready to ship out to Vietnam at a few hours’ notice, but the call never came, and in his downtime—for no good reason that he has ever been able to articulate—Strait bought a battered guitar and some old songbooks and taught himself to play and sing. When the division put together a country band, Strait was chosen to lead it, and by the time he returned to Texas, in 1975, he had resolved to pursue a career in music.
It wasn’t an absurd idea: Texas was full of small bars where unpretentious country bands could bash out a living. Just to be safe, though, Strait enrolled at Southwest Texas State University, in San Marcos, where he studied agricultural education, and where, one day, he came upon a bulletin-board notice from a group in search of a singer. He auditioned with “Fraulein,” a country classic from the fifties, and was hired as the lead singer of the group, which was called the Ace in the Hole Band. One of the members was a pedal-steel player named Mike Daily, who has performed with Strait ever since. Daily’s grandfather was Pappy Daily, a legendary country impresario who discovered George Jones, and his father ran an independent label, which issued three Ace in the Hole Band singles in the late nineteen-seventies—Strait’s first recordings. Daily remembers that Strait wasn’t planning on staying local forever. “I’m here to try to make it,” Strait told the musicians, and Daily knew that making it would probably entail going to Nashville, where talent scouts typically signed singers, not bands.
In the late seventies, some of the most successful country singers were gentle balladeers like Kenny Rogers and Barbara Mandrell, and the executives who initially heard Strait’s demos thought he would likely remain a local favorite. His prospects may have improved with the release, in 1980, of “Urban Cowboy,” in which John Travolta and Debra Winger do battle with a mechanical bull in a honky-tonk called Gilley’s. (The film was not, despite its plot, a comedy.) “Urban Cowboy” glamorized rowdy Texas bars and all the creatures that called them home, and it created a new demand for singing cowboys like Strait. He got a record deal the next year, and had success with his début single, “Unwound,” a brisk drinking song built on a long-winded complaint: “That woman that I had wrapped around my finger just come unwound.” He recorded it with session musicians but continued to use the Ace in the Hole Band when he was on tour, as he almost always was. Strait was happy to go around the country promoting “Unwound,” but Woolsey, his manager, remembers rebuffing the record executives who wanted Strait to dress up, taking off his cowboy hat and trading his stacked jeans for slacks. “You don’t understand,” Woolsey told them. “Where he’s from, that is dressing up.”
From the beginning, Strait was marketed—and celebrated—as an avatar of “real” country, at a time of anxiety about country’s identity. The genre was getting popular and, not coincidentally, going pop, growing a bit more glamorous and a lot harder to define. In 1981, the year Strait emerged, Mandrell topped the chart with “I Was Country When Country Wasn’t Cool,” a charming ode to country authenticity (flannel shirts, the Grand Ole Opry, “puttin’ peanuts in my Coke”) that seemed both defiant and defensive—its piano-driven arrangement was practically soft rock. Strait, whose music was sometimes described as “hard country,” espoused a more uncompromising aesthetic. News accounts invariably mentioned that he was “a real, live cowboy,” and headline writers rarely resisted the urge to connect his name to his style (“SOME REAL STRAIT-FORWARD COUNTRY”; “PLAYING IT STRAIT”; “COUNTRY MUSIC SERVED STRAIT UP”). After a string of hits, Strait parted with his original producer, Blake Mevis, telling one reporter that Mevis “was looking for more mass appeal, middle-of-the-road stuff,” while he wanted to record “basic country music.”
Many of Strait’s early records were produced by Jimmy Bowen, who was smart enough not to interfere too much. “I once told George Strait he might try to liven up his stage act just a touch,” Bowen has recalled. (Strait says that he does not remember the conversation.) “He did: he waved his cowboy hat a few times during the show. But George could get away with just standing there looking and sounding terrific.” Strait’s popularity was driven by his status as a sex symbol. Women deluged the stage with flowers, so many that disposal became a serious problem. At first, the bus would stop by a dumpster on the way out of town; later, the crew devised a system for donating them to local hospitals. Reba McEntire, who was also conquering country music at the time, once recalled a show that she played with Strait in Oklahoma. “The girls was gettin’ after him so bad,” she said, “that the club had to stack bales of hay in front of the stage.” (She added her own honest appraisal: “He’s a sexy little rascal.”) When Strait toured in the mid-eighties, he brought along, as his opening act, Kathy Mattea, who was then a rising star. Onstage, she made a habit of calling Strait “the Mark Harmon of country music,” by way of acknowledging his appeal. “He was handsome, and he was low-key, and he was charming,” Mattea says now. For her, the Mark Harmon line was an act of professional self-defense, a way of winning over his female fans by endorsing their fandom. “I had to relate to those women,” she says. “I had to show them that I could feel what they felt.”
Strait didn’t brag about his heartthrob status. (“I don’t know what it is, but I hope it doesn’t stop,” he told one reporter.) He did, however, find canny ways to capitalize on it. One of his most popular songs is “The Fireman,” the sly chronicle of a ladies’ man who serves as a kind of first responder in local bars, “making my rounds all over town, puttin’ out old flames.” And, in 1992, he starred in a feature film, “Pure Country,” playing a moodier, more reckless version of himself: a country singer named Dusty, who grows disillusioned with the music business and its compromises. Strait was reluctant to make a movie, but he was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley, who was a friend of Weintraub’s. After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. “Elvis hated making those movies,” he said—but they transformed him from a pop star to an icon. Strait read a script and agreed to make the film, with some caveats. In the part where Dusty, having absconded from his own tour, takes refuge at a ranch, Strait wanted to do his own roping. And although the script had him falling in love with a humble woman from his home town, he thought that a proposed kissing scene was unnecessary (and potentially embarrassing), so he and his co-star, Isabel Glasser, made do with meaningful looks.
“Pure Country” was released in 1992, and attracted middling reviews—“Fans of the star will enjoy it more than dispassionate observers,” Roger Ebert said—and worse than middling returns, earning only fifteen million dollars at the box office. But the movie, which borrowed its plot from an old Presley vehicle, had an easygoing charm that encouraged repeat viewing. (Strait wears a white hat, and on two separate occasions he vanquishes a bad guy wearing a black hat.) “Pure Country” became one of the biggest home-video hits of the nineteen-nineties, and it has been a cable-television staple ever since. Near the end of the film, Dusty rejects sinful pyrotechnics, and recommits himself to the path of musical righteousness. “I’m going to play the guitar and sing,” he tells his manager. “No more smoke, no volcano blasts, and no more light shows.” In other words, Dusty finally sees the wisdom of conducting himself like George Strait. The film’s soundtrack inverted this process. “Heartland,” the movie’s energetic, rock-influenced opening song, marked a modest departure for Strait. “It’s about as rocked up and popped up as you can get and still pass it along to the country market,” he said at the time. At first, he hesitated to record it, until he realized that he could sing it in character, as Dusty. The song went to No. 1, and the soundtrack sold more than six million copies—it is the best-selling album of Strait’s career.
George Strait might be “pure country,” but country music has always been a mixed-up genre. As it happens, Hawaii, where Strait learned to sing, is one of the genre’s many wellsprings: it was there, in the late nineteenth century, that a guitarist named Joseph Kekuku figured out that he could bend pitches by laying the guitar on his lap and sliding a steel bar along the strings. In the early twentieth century, mainland musicians adopted the steel guitar, including Leon McAuliffe, a Texas virtuoso who played with one of the region’s most popular acts: Bob Wills and His Texas Playboys. Wills was a fiddler, and in the nineteen-thirties and forties his group pioneered a style known as Western swing. This was dance music, fusing the lively rhythms of jazz to the lonesome sound of Western ballads, and Wills liked to call his group “the most versatile band in America.” (Among his big hits was “San Antonio Rose,” which was later recorded by Bing Crosby and Patsy Cline.) Wills had begun his career as a blackface minstrel, and most of his musical heroes were black jazz musicians, although his band was all white. His biographer, Charles R. Townsend, reported that Wills once, on a bender in Tulsa, asked a black trumpeter to join the group. “When Bob sobered up,” Townsend wrote, “he decided Oklahoma was not ready for an integrated band.”
By the time Wills died, in 1975, he was esteemed as a founding father of country music, even though he never thought of himself as “country,” in style or in sensibility. The term, as it is now used, is an abbreviation of “country and Western,” a category generally associated with rural white communities and meant to corral a wide range of styles that flourished from Appalachia to the Southwest. These styles were jammed together by a transformative technology: radio, and the “barn dance” variety shows that flourished on the airwaves. The most influential of these was the Grand Ole Opry, a Nashville show that began to be broadcast nationwide in 1939; it was so popular that it altered America’s musical economy, pulling in enough musicians and entrepreneurs to make Nashville the unquestioned home of country music. (Nowadays, hardly anyone stops to wonder why a city not known for ranching is synonymous with cowboy hats.) But a certain amount of tension between Nashville country and Texas country is built into the relationship, dating back at least as far as 1944, when Wills came to town to play the Opry and was nearly thrown out. The organizers were accustomed to string bands, and Wills insisted on performing with a drummer.
In an odd way, the rise of rock and roll strengthened country music’s sense of identity—after Presley, young people who chose to be country fans were also choosing to resist the hegemony of rock and pop. Strait was born in 1952, and by the time he got to high school he and his friends were listening to the Beatles and other rock-and-roll bands. Although the old country songs were part of the local environment, Strait didn’t start paying close attention until after college, when he encountered some albums by a brilliant and mercurial singer-songwriter from California: Merle Haggard, a country “outlaw” who was also obsessed with the genre’s history. In 1970, the same year as his anti-antiwar hit “The Fightin’ Side of Me,” Haggard released “A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills),” which helped Strait discover the Texas classics that became the foundation of his first live sets. Strait, like many of his peers and most of his successors, is in some sense a convert to the genre: he is country by birth, but also by choice.
The early Ace in the Hole Band recordings featured some songs written by Strait, including a wonderfully mopey lament, “I Just Can’t Go on Dying Like This.” But after Strait got his record deal he decided that he had neither the time nor the inclination to compose. “I was finding what I thought were better songs than what I was writing,” he says now. “Maybe I was intimidated, a little bit.” As Strait grew more successful, he became especially popular among Nashville songwriters, who like nothing better than a reliable hitmaker who always needs material. When Strait came to town to record, songwriters would lie in wait outside the studio, carrying demo tapes with the most stereotypically George Strait songs they had: songs about cowboys, songs about Texas, songs about the Alamo. What Strait really wanted, though, was memorable and interesting melodies. His string of hits is in large part a result of his ability to identify a great tune. He would review hundreds of demos himself, often deciding within thirty seconds whether a song sounded like something he might want to cut. Occasionally, he asked to alter a word or two; in “All My Ex’s,” a reference to the Brazos River became a reference to the Frio River, which flows closer to his home town. Often, though, Strait learned each song quickly and sang it much the same way it sounded on the demo.
The songwriter whom Strait relied on most was Dean Dillon, who co-wrote his début single, “Unwound,” and whose songs have appeared on nearly every one of his albums since then. The two met a few years after Strait cut “Unwound.” (The song was originally pitched to Johnny Paycheck, who excelled at both singing and raising hell. “He was in jail, so they gave it to me,” Strait recalls.) Dillon had grown up in Tennessee, in love with country music but also with singer-songwriters like James Taylor and Carole King, who inspired him to experiment with unusual chords and structures. Dillon was once a recording artist, too, but he eventually decided that, since Strait was having so much success with his songs, he might as well become a full-time songwriter. Where Strait is polite and self-effacing, Dillon is a big, ornery personality: when Strait asked Dillon to put out his cigarette during their first meeting, he responded by exhaling a mouthful of smoke. “I didn’t give a shit, and I didn’t care who knew it,” he says. Their partnership has provided Strait’s music with a welcome dose of subversion, helping to keep him from becoming predictable. Dillon co-wrote “Marina Del Rey,” an early hit that upended listeners’ expectations of Strait: it was distinctly unrustic, a piano ballad about a man on an airplane, daydreaming about the woman he left behind on a Los Angeles beach. And “The Chair,” also co-written by Dillon, became one of Strait’s signature hits and a staple of his live sets, despite having nothing that could be considered a chorus. (It is a wry, lilting account of a man chatting up a woman in a bar.) Strait realized that, because his identity was so firmly fixed in fans’ minds, he could permit himself some latitude. “People looked at me as a traditional country singer,” he says. “So those songs were thought of as ‘Well, those are traditional, because George did it.’ ”
In 1986, Strait’s daughter, Jenifer, was killed in a car accident. She was thirteen, and although Strait resolved to keep working, he couldn’t bear to grieve in public. “I just kind of shut down,” he says. “I just didn’t feel like talking about it, so I quit doing interviews.” In 1988, he released an aching lament called “Baby Blue”: “Like a breath of spring, she came and left, and I still don’t know why / So here’s to you, and whoever holds my baby blue tonight.” Strait never explained why he chose to record “Baby Blue”—in the liner notes to his 1995 boxed set, he said only that it was a “pretty song,” and that Aaron Barker, who wrote it, cut such a good demo that Strait was hard-pressed to improve on it. Over the years, Strait’s temporary solution evolved into a permanent way of working, and of living: he stayed productive, and he stayed mum. Friends describe him as kind but quiet, and not easy to get to know. Messina, Strait’s promoter, has been working closely with him since the nineties; their relationship is close, but not overly familiar. “I tried never to cross the line,” Messina says. “We don’t talk about personal things.” Tony Brown produced nineteen of Strait’s albums, beginning with “Pure Country,” and he deserves as much credit as anyone for Strait’s longevity. But in 2014, when Strait decided that he was ready to work with someone else, Brown received the news not from Strait but from Erv Woolsey, his manager.
Successful country singers typically move to Nashville, but Strait never did. He lives outside San Antonio, and although he used to visit Nashville to record, he found that the climate exacerbated his allergies, which is why he now records in Key West, at a studio that belongs to his friend Jimmy Buffett. In Texas, Strait keeps a low profile; he has adopted the life style of a contented, golf-obsessed businessman without ceasing to represent, for many fans, a connection to an older, more rugged way of living. He emerges once a year for the George Strait Team Roping Classic, which he created in 1982 and has presided over ever since. Team roping is one of the seven events included in a rodeo competition, and, like many sports, it is based on a useful skill honed well past the point of usefulness. A steer—a castrated male—is released from a pen and pursued by two riders on horseback: one, called the header, throws a loop of rope around the steer’s horns, and the other, the heeler, ropes the steer’s hind legs, immobilizing the animal. Strait was a pretty good roper, and he used to compete in his own tournament, although he never won. He sometimes worked in partnership with his son, George, Jr., known as Bubba, who roped full time for several years, until a wayward loop nearly severed his index finger, prompting him to consider anew the sport’s punishing ratio of reward to risk.
This year’s roping event, the thirty-fifth, was held at the San Antonio Rose Palace, a dirt-floor arena on the northern edge of the city, largely untouched by time or technology. (It is down the road from Tapatio Springs, a golf resort that Strait and a partner recently bought and renovated.) A couple of announcers called the action, their voices both amplified and distorted by an antiquated public-address system. In the venders’ area, next to the arena, stands sold T-shirts, cowboy boots, jewelry, cattle feed; near the entrance, some kids were learning to heel by tossing loops at a dummy on wheels. More than five hundred teams competed over two days, creating an agreeably repetitive spectacle. A top roping team can finish its work in less than five seconds, after which the steer is released to trot back to the pen, and the next team gets ready. No less than Nashville, perhaps, the sport rewards perfectionism and patience: everyone is trying to solve the same problem, over and over again.
On Saturday morning, championship day, Strait made his grand arrival on horseback, taking a ceremonial lap around the arena as fans hung over the railings, angling for selfies. A cowboy preacher asked for protection: “We pray that no harm, in any form or fashion, comes near the horses, the steer, or the cowboys.” (In fact, many of the steer were destined to become steak, just not quite yet.) Strait watched with his family, from a box next to the announcer’s booth, descending when the action was finished to present the prizes—more than a hundred thousand dollars apiece for the two winners, along with new trucks and trailers. All weekend long, the loudspeakers played nothing but George Strait songs, and it is a testament to his legacy that some attendees might not have noticed. His music is so synonymous with the genre that a selection of his hits might simply sound, to the casual listener, like a classic-country playlist.
When Strait first emerged, he was sometimes grouped with other old-fashioned country singers, such as John Anderson and Ricky Skaggs, but he soon became the singular example for a generation to follow: the “hat acts,” they were called, and not always fondly. The most consequential of the hat acts was the one whom the term fit least well: Garth Brooks, who idolized Strait, also managed to succeed by refusing to follow Strait’s example. Where Strait was stoic, Brooks was eager and emotive, straining for high notes, quavering or snarling, amplifying his Oklahoma accent or diminishing it, doing whatever it took to make fans love him. In the nineteen-nineties, Brooks changed the genre, roaming stages with a wireless microphone, singing about ending racism and domestic violence; he also feuded with executives, retired for much of the aughts, and briefly tried to reinvent himself as a brooding rocker named Chris Gaines. Strait, by contrast, instinctively avoided controversy; in fact, he avoided anything that was likely to interrupt the smooth functioning of his hit-making machine. He is friendly with both Bush Presidents, but he has never made a public political statement, and he has gone out of his way not to criticize his fellow-singers, or the industry more generally.
For a long time, the ups and downs of Brooks and other country innovators only underscored Strait’s position as the genre’s most dependable act. A wide range of singers, from Martina McBride to Taylor Swift, first faced big crowds by serving as Strait’s opening act. When he moved up from arenas to stadiums, in the late nineties, he booked enough opening acts to create daylong mini-festivals, boosting the careers of Faith Hill, Tim McGraw, Brooks & Dunn. For the shows earlier this year, in Las Vegas, his opening act was Kacey Musgraves, who is twenty-eight; when she was growing up, in East Texas, Strait was already a well-established star. After her own set, she reappeared with Strait to perform a duet on a song called “Run,” dancing a bit and adding some new harmonies while he stood still, singing it just like the record. “He’s the steady train,” she said, after the show. “And I can flit all around him.” Musgraves is a mischievous singer and songwriter, known for tweaking old country traditions. (“It’s high time to slow my roll, let the grass just grow,” she sings, with a knowing smile.) Even so, she was enjoying the challenge of trying to win over a George Strait crowd, not to mention the challenge of trying to get to know Strait himself. “I’ve gotten to hang out with him a little,” she said. “We mainly just talk about horses.”
Strait flew to Nashville recently—not to sing but to promote one of his newest projects, Código 1530, a “sippin’ tequila,” as he calls it, that he grew to love during golf trips to Mexico, and which he is helping to launch in America. (One of his partners is Ron Snyder, the executive behind Crocs.) There was a tasting in RCA Studio A, the same building in which Strait recorded his first album, and, despite having spent decades avoiding publicity events like this one, he seemed cheerful. “I’ve never been one to like to talk about myself a lot,” he said, nursing an añejo-tequila cocktail. By comparison, talking about his favorite drink wasn’t so bad.
Ever since 1981, Strait has been recording for the same label, MCA Nashville, outlasting virtually all the executives, to say nothing of his fellow-artists. The label is now part of Universal Music Group Nashville, whose chairman is Mike Dungan, a wry and garrulous music veteran from Cincinnati. Dungan became chairman in 2012, and one of his first trips was to San Antonio, to meet with Strait and his wife, along with Woolsey. “Let’s deal with reality,” Dungan told Strait. “There are some key radio guys that are ready to be done with you. It has nothing to do with you as an artist—it has to do with the fact that they played you in the eighties, they played you in the nineties, the two-thousands, and here we are in 2012, and nothing else in culture has held on that long.” Dungan remembers that Strait seemed both alarmed and fascinated. “I don’t think anyone had ever said those words to him before,” he said.
What Dungan proposed was not acquiescence but insurgence. He and his executives put together a campaign called Sixty for Sixty, in which they recruited fans and fellow-performers to urge radio programmers to play Strait’s latest single, a warm love song called “Give It All We Got Tonight.” The idea was to get Strait his sixtieth No. 1 hit before his sixtieth birthday, and, if Strait was too proud to beg, many of his fans were not. Some of the genre’s biggest names recorded testimonials: Brad Paisley, Darius Rucker, Eric Church, Little Big Town. The campaign came around the same time as Strait’s announcement that he was retiring from full-time touring, which gave the effort a valedictory aura. No one said that this would be Strait’s last No. 1 single, but his music had been growing more wistful over the years. (In 2008, he went to No. 7 with “Troubadour,” a late-career statement of purpose: “I was a young troubadour when I rode in on a song / And I’ll be an old troubadour when I’m gone.”) With Sixty for Sixty, the implication was hard to miss: a man who once topped the charts effortlessly now required one last collective push to get to No. 1.
Whether he made it is a matter of some debate. In the old days, when Strait emerged, the Billboard country chart operated according to an unwritten code: record labels pestered and fêted program directors, and program directors helped arrange an orderly succession of No. 1 hits, with a new song claiming the spot just about every week. In the past decade, though, the country chart has decelerated, as hits make slow progress through a big but diffuse musical marketplace. In 1981, when Strait made his début, there were forty-eight different No. 1 hits on Billboard’s country chart. Last year, there were nine. Billboard’s main country chart includes data from online streaming services, which means that crossover hits do especially well. (Country charts traditionally reflected the tastes of the country audience in particular; online, everyone who listens to a country song counts equally.) According to the Billboard chart, “Give It All We Got Tonight” was only a No. 7 hit, despite all the special pleading. But, according to the promotional materials, the Sixty for Sixty effort was a success: the song topped a different, more radio-oriented chart just after Strait’s sixtieth birthday. For his current Las Vegas concerts, Strait is playing these sixty songs over two nights, which required some extra rehearsals: many of these hits had long ago fallen out of his set lists, even though they were once among the most popular country songs in America. “Some of those songs, I forget about,” Strait says. “They just kind of go away after so long.”
Some people think that Strait’s trouble on the radio is simply a function of age. Perhaps his legacy bought him an extra decade or so: Toby Keith and Garth Brooks, who are fifty-five, as well as Alan Jackson, who is fifty-eight, have also largely disappeared from country-radio playlists, with the exception of so-called country-icons stations, which make a point of playing the old stuff. (Earlier this year, when a radio station in Corpus Christi adopted the icons format, it announced itself by broadcasting nothing but George Strait for an entire weekend.) Strait’s decision to stop touring was probably a factor, too: radio stations love playing songs by singers who are coming to town.
Among radio executives, conventional wisdom holds that old listeners have more patience for young singers than young listeners have for old singers. Tony Brown, the producer, thinks that Strait has hit a generational wall. “He could cut ‘Amarillo by Morning’ today, for the first time, and they wouldn’t play it,” Brown says. “It’s not because of his voice or the song. It’s because they want to play a younger demographic.” But it’s true, too, that the genre has evolved in a way that makes Strait seem like an outlier. Hat acts have given way to what Brown calls “cap acts”: younger, more frolicsome singers like Sam Hunt, whose latest single, “Body Like a Back Road,” has been Billboard’s country No. 1 for most of 2017. Many of these songs hint at hip-hop, through thumping beats or added syncopation in the vocal line—the next phase, perhaps, of the country-rhythm revolution begun by Bob Wills, in 1944. | ||||
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] | null | [] | 2021-02-10T00:00:00 | On Jan. 30, 1925, around 10 a.m., cave explorer William Floyd Collins, better known as Floyd Collins, became trapped by a falling rock while exploring Sand Cave near Cave City, Ky. He was looking for | en | /Portals/59/KYNG LOGO 100x100.ico?ver=Smj__rtXclHaxwj7Gl7lOA%3d%3d | Kentucky Guard | https://ky.ng.mil/https%3A%2F%2Fky.ng.mil%2FNews%2FArticle%2F2648067%2Fthe-kentucky-national-guard-and-the-william-floyd-collins-tragedy-at-sand-cave%2F | During the period between the First and the Second World Wars (1919-1939), three top U.S. news stories caught the eyes of the rest of the world.
In 1927, Col. Charles A. Lindbergh won the Orteig Prize for making the first transatlantic, nonstop solo flight from New York City to Paris, France. Another story came in March 1932, as Lindbergh's infant son, Charles Jr., was kidnapped and murdered. But before that, a tragic event occurring in Kentucky on Jan. 30, 1925, would focus national and worldwide attention on the Kentucky National Guard for the next two weeks.
On Jan. 30, 1925, around 10 a.m., cave explorer William Floyd Collins, better known as Floyd Collins, became trapped by a falling rock while exploring Sand Cave near Cave City, Ky. He was looking for undiscovered caverns and a new entrance to Mammoth Cave.
This story has a Lindbergh connection, as well.
In 1921, while attending training at Camp Knox, Ky., Lindbergh and two friends spent their free time roaming the Kentucky cave country and made the acquaintance of Collins, who showed them around the area. During Collins's rescue attempt in 1925, Lindbergh was on scene to fly photos from Horse Cave to newspapers in Chicago. Lindbergh was also mentioned by a newspaperman when he claimed the photos were for his newspaper. Later, Lindbergh learned he delivered them to the wrong paper. These events were two years before Lindbergh's historic transatlantic flight.
Collins, born July 20, 1887, at Auburn, Logan County, Ky., had devoted most of his life to exploring the caverns in the vicinity of Cave City. With the advent of the automobile, Collins' work was inspired by nearby Mammoth Cave, which became a popular, accessible tourist attraction. The hunt for more caverns to rival Mammoth Cave's success instigated Kentucky's "Cave Wars" of the 1920s.
Seventeen rival commercial caverns used misleading advertising and other unscrupulous techniques to attract unwary tourists headed for the nationally renowned wonders of Mammoth Cave. The tourist trade proved lucrative, and poor farm families like the Collinses' searched their land for caves that might also attract visitors. Having entered his first cave at the age of six, Floyd was well-known in the area as a devoted, life-long--although reckless--cave explorer. His reputation was considerably enhanced when he discovered Crystal Cave on his family's farm in 1917.
After initial attempts to rescue Collins failed, his plight began to draw local and then national media attention. When subsequent attempts continued to fail, every newspaper and radio station in the country focused on Collins' tragic situation. In fact, a remote radio station set-up at the site of the disaster. It took an agonizing seventeen days for rescue crews to reach Collins, who had finally died by then. In those harrowing weeks, Floyd Collins's name was in every household throughout the United States, and his story quickly became a legend.
While Collins's rescue attempt was unfolding, the Kentucky National Guard became involved in other significant events around the commonwealth, making February 1925 a stressful time.
Here are some reports from that timeline:
Friday, Jan. 30, 1925
While cave exploring, Floyd Collins discovers a subterranean coliseum eighty feet high, about 300 feet from the entrance of Sand Cave. In his haste climbing back to the surface, he dislodged a rock pinning his left foot.
Saturday, Jan. 31, 1925
On Saturday morning, Jewell Doyle, the son of Bee Doyle, owner of the property where the cave is located, found Collins. Word of Floyd's predicament quickly spread through the Cave City community, and a crowd began to gather at the cave's entrance. Efforts were immediately initiated to free Collins, without success.
Sunday, Feb. 1, 1925
Once word got out of Collins' situation, the media and public descended on the site. As the day progressed, more and more people arrived; some offered their help, and others were curiosity seekers. They gained some success in widening and shoring up the cave, but this did nothing to improve Floyd's situation. The crowd outside became drunk and rowdy. A difference of opinion developed between the "outlanders" and the locals on the best methods to rescue Floyd. Arguments and fistfights frequently erupted between the rival factions, and their differences only deepened as time passed.
Monday, Feb. 2, 1925
Eight members of the Kentucky National Guard left Smiths Grove for Sand Cave. Under the command of two lieutenants, they would assist with the excavation there. The eight volunteer Guardsmen were the smallest men in the company. Throughout the rescue, additional Guardsmen were ordered to aid efforts at Sand Cave. The primary operations of these Guardsmen were to perform security in and around the cave entrance by forming lines to keep onlookers from hampering the work of the rescuers.
An air compressor and drill arrived from Louisville, but they decided not to use the tool due to the cave's sandy nature.
An attempt to pull Collins out while connected to a harness failed.
Newspapers, radio, and motion picture crews from all over the country would eventually arrive. Before long, the plight of one man, Floyd Collins, fighting for his life against nature, reached deep into American hearts.
Louisville Courier-Journal reporter, William "Skeets" Miller, arrived at Sand Cave. Miller was a small, tough and wiry lad, and crawled down into the wet, dark passage to interview Collins. Before he could see Floyd's face, he had to remove a small piece of oilcloth covering it. Collins related their initial meeting in his newspaper article:
"Put it back," said Floyd, "put it back—the water." Then I noticed a small drip-drip-drip from above. Each drop struck Collins' face. The first hours he didn't mind, but the constant dripping almost drove him insane. His brother had taken the cloth to him earlier in the day. This reminded me of the old water torture used in ages past. I shuddered."
Miller would make numerous trips down to Floyd, taking him food and water and assisting in the trapped man's rescue attempt. For his reporting and involvement in the rescue attempt, Miller received the Pulitzer Prize in Journalism.
Special Orders No. 15.
Headquarters Company, 3rd Battalion, 149th Infantry, Smiths Grove,
Kentucky.
First Lieutenant Edgar E. Cross with one officer and eleven enlisted men.
To maintain law and order in connection with the efforts being made to
rescue one Floyd Collins buried in a cave.
(sign) James A. Kehoe, The Adjutant General.
Tuesday, Feb. 3, 1925
A line of electric lights was taken into the cave, one of which was hung around Collins' neck, to give him some light as well as give him some heat. The first Kentucky Guardsmen arrived at Sand Cave, under the command of 1st Lt. Cross: Lieutenant Will S. Dorsey, Staff Sgt. J. Mack Kirby, Sgt. Byron Winslow, Sgt. George White, Pvt. James Fuqua, Pvt. Lee Thompson, Pvt. Milton Kirby, Pvt. Carter Davis and Pvt. Roy Brown.
Wednesday, Feb. 4, 1925
Part of the cave ceiling between Floyd and the surface collapsed as a result of the almost incessant rain, effectively cutting him off from all but voice communication with the outside world. But he continued to survive, even though his hope was rapidly dimming.
Due to the growing chaos and confusion at Sand Cave and the rescue operations' ineffectuality, the governor of Kentucky responded by calling on additional Kentucky Guardsmen and dispatching professional engineers to the site. While the soldiers established a protective perimeter around the cave entrance, the engineers worked on options to get Collins out.
Special Orders No. 16.
Service Company, 149th Infantry, Bowling Green, Kentucky.
Captain Julius L. Topmiller with three officers and seven enlisted men.
Purpose of maintaining law and preserving order.
(sign) James A. Kehoe, The Adjutant General.
During the night, in his capacity as Brigadier General, Lt. Gov. Henry H. Denhardt and other officers arrived and took command of the site at Sand Cave. As daylight broke, and with only a few wearied workers, it was more orderly than any time since Collins' plight was discovered.
The Guardsmen immediately set about policing the rough hillside, and Denhardt made his plans for organizing the rescue work. Rivalry among groups of workers had interfered with best efforts to release Collins over the previous four days. The commander hoped to overcome this by declaring a quasi-military rule, if necessary.
Rumors quickly circulated that Denhardt would declare Militia Law in the area.
A guard was assigned to Homer Collins, one of Floyd's brothers, to prevent his entering the cavern and hampering rescue efforts. Denhardt, the commander in charge, felt the increased risk of loss of life due to crawling in the cave was too great when there was no chance to render aid by such means.
Thursday, Feb. 5, 1925
Brig. Gen. Denhardt began directing the work around Sand Cave by establishing Military Police about the cave and its vicinity.
The floor of the cavern raised, and walls closed in a few feet ahead of Collins. This would be the last time his voice would be heard.
Guardsmen belonging to the 149th Infantry, Headquarters, Kentucky National Guard were listed as on duty at Sand Cave. Bowling Green Officers, included: Brig. Gen. Henry Herbert Denhardt, Maj. Hubert Cherry, Capt. Alex M. Chaney, Capt. J. L. Topmiller, Lt. Daughtry, Lt. Martin, Lt. Potter, and Lt. Will Runner. Bowling Green Privates included: Bryson, Durbin, Jenkins, Moseley, Oakes, Omans, and Pedigo. Smiths Grove Lieutenant Edgar E. Cross was listed with Privates Brown, Davis, Fugua, Kinslow, Kirby (1), Kirby (2), Marr, Philpot, Skaggs, Thompson, Wells, and Whittle, also from Smiths Grove.
Friday, Feb. 6, 1925
Tunneling began on a shaft about fifty feet from the cave's entrance aimed to strike the original cavern just about the location of Collins. The radio test conducted indicates Floyd was still alive.
Denhardt sent a telegram to Adjutant General James A. Kehoe at Frankfort stating, "Work progressing wonderfully well. Everything moves smoothly. Confident Collins is alive and that we will save him."
Homer Collins evaded Guardsmen and entered the main passageway into Sand Cave to see if his brother was still alive. He was gone some time, and a party was organized to go in after him. When he reappeared, no action was taken against Homer, who was in a highly nervous state.
Eleven more National Guardsmen arrived on the scene at Sand Cave.
Saturday, Feb. 7, 1925
Adjutant General Kehoe and Captain E. B. Blackwell arrive at Sand Cave after driving in from Frankfort. Denhardt continued to direct the rescue attempt, and fifty Guardsmen maintained order. Newspapers reported the measured tread of Kentucky Troops beat a staccato to the frenzied picking by miners digging a new shaft.
Denhardt ordered Homer Collins and John Geralds, Floyd's life-long friend, away from the cave. Geralds, involved in the rescue effort, criticized the methods used publicly. Both men were called to National Guard headquarters and informed that their presence was undesirable because it slowed the work. Officers warned them if they returned, they would be ejected forcibly. Both agreed not to offer further interference.
Additionally, newspapers reported that a truckload of ammunition and other supplies was en route to Cave City from Frankfort by way of Louisville, despite denials by National Guard officers that any such ammunition had been ordered. Eight hundred rifle rounds were reportedly found in a baggage car at Frankfort. A newspaperman there had climbed into the coach and said he counted 2400 rounds in boxes consigned to Capt. J. L. Topmiller at Cave City.
Fourteen other Guardsmen were called in from Bowling Green. The extra Guardsmen were said to aid control of the large crowds hampering the mine workers.
Special Orders No. 18.
54th Machine Gun Squadron, Cavalry, Frankfort, Kentucky.
Major Carl D. Norman, report to Brigadier General Henry H. Denhardt;
remain on duty until relieved by General Denhardt.
(sign) Major William A. Clarke, Jr., Assistant Adjutant General.
Sunday, Feb. 8, 1925
While rescue efforts continued at Sand Cave, at Bevier, Muhlenberg County, Ky., tensions between union and non-union miners at the Rogers' Brothers coal mine quickly escalate into a shooting battle. In the process, several hundred shots were fired into the homes of two miners by so-called "Raiders."
The firing created a state of terror in the community, and fears of vengeance led Gov. Fields to order troops sent there at once; some even withdrew from guard duty at Sand Cave. The troops were under the command of Maj. Clark, Kentucky Guard's Assistant Adjutant General.
Back at Sand Cave, nearly 15,000 spectators were reported seen at the location. Some estimates range from ten thousand to as high as fifty thousand present at various times. The site turned into a carnival-like atmosphere with vendors selling souvenirs, hot dogs, sandwiches, popcorn, and balloons to the curiosity seekers that had flocked to see the tragedy. Moonshine was also readily available and sold on the sly.
Rumors began to circulate that the whole thing was a "publicity hoax" cooked up by the newspapers or by Floyd himself—and that there was no one trapped in the cave after all. These rumors led Gov. Fields to order Denhardt to hold a court of inquiry to determine the validity of the claims.
Monday, Feb. 9, 1925
Kentucky Guardsmen from Cave City and Livermore (Company K, 149th Infantry) took control of the situation at Bevier. Captain Orin Coin was in command of twenty-six Guardsmen there.
Governor Fields directed Denhardt to convene a military court of inquiry at Sand Cave and "Take sworn testimony of each person who saw Collins in the cave."
The governor's statement, made public, read as follows:
"I keenly regret the unfortunate A. P. [Associated Press] dispatch from Cave City, under date of February 8, to the effect that many people of Cave City and vicinity believe that Floyd Collins is not entombed in Sand Cave. There may be idle rumors by irresponsible or uninformed persons that Collins is not entombed; but to give credit to such rumors at this time is most unfortunate. I am reliably informed that at least five persons reached Collins in Sand Cave and saw him in his unfortunate condition.
"The people, not only of Kentucky, but of the entire country, have generously contributed to the efforts to rescue Collins, and this unwarranted dispatch, whether through the ignorance or evil design of its author, can but have an ill effect upon the morale of those engaged, either by labor or cash contribution, in the worthy effort that is being made to reach the entombed man.
"That the country may know the truth, I have directed the military forces in charge at Sand Cave to forthwith convene a military court of inquiry and take the sworn testimony of each person who saw Collins in the cave."
General Order No. 6. (Feb. 9, 1925)
Court of Inquiry
Cave City, Kentucky
10:00 a.m., Feb. 10, 1925.
Brigadier General Henry H. Denhardt, President
Lieutenant Colonel Henry J. Stites, Member
Major W. H. Cherry, Member
Captain John A. Polin, Member
Captain Julius L. Topmiller, Member
Captain Alex L. Chaney, Recorder
Said Court shall have the power and authority to summon and compel the attendance of witnesses; to swear them in all respects to conduct the Court in accordance with the established rules and procedure as laid down in the Manual for Courts Martial of the United States Army.
(sign) James A. Kehoe, The Adjutant General.
Tuesday, Feb. 10, 1925
On Tuesday morning, the military court of inquiry convened. While events continued to unfold at Sand Cave and Bevier, Gov. Fields sent four Kentucky Guard officers to Hazard, ky., to attend and observe sessions during a separate court of inquiry. The governor ordered this inquiry to probe into the conduct of some Perry County officials. First Lieutenant Arch Cope of the 38th Military Police Company was to act as a special bailiff of the court, if necessary. The other three Guardsmen were listed as: 2nd Lt. Arch Smith, 38th Military Police Company; 1st Lt. Edmund H. Taylor, Jr., Headquarters, 54th Machine Gun Squadron; and 1st Lt. John W. Watson, Headquarters Detachment, 54th Machine Gun Squadron. Governor Fields did not expect any trouble at Hazard; however, he believed the Guardsmen's presence would have a good effect on the situation.
Wednesday, Feb. 11, 1925
Two phony telegrams were received at Cave City, claiming that Floyd was not in the cave and that he was outside and safe. One of the telegrams was supposedly from Floyd.
General Denhardt reported that cots and blankets were not sufficient for the laborers at Sand Cave. Governor Fields immediately ordered Gen. Kehoe to send three tents, 30 cots, 100 blankets, and some trousers along with other equipment to Cave City. Highway Department trucks picked up the State Arsenal items in Frankfort and transported them to Sand Cave.
A detachment of the Troops sent to Bevier, was then sent to Cleaton, a half-mile away, following the firing on the Louisville & Nashville's southbound passenger train that happened the evening before.
Thursday, Feb. 12, 1925
The walls of the shaft being worked on by the rescuers began to collapse due to the condition of the soil and rain.
Late afternoon in Bevier, two Guardsmen were fired upon while traveling on a train from Elk Valley to Bevier. The shooting occurred as the train came into Bevier.
Friday, Feb. 13, 1925
On the morning of Friday the 13th, the men working the shaft said they could hear Floyd coughing. Denhardt reported his office had received more than 2,000 letters—most offered advice on how to free Collins.
Saturday, Feb. 14, 1925
The military court of inquiry delivered its finding, Floyd was definitely trapped in Sand Cave.
Sunday, Feb. 15, 1925
By this time, most people had given up all hope that Floyd Collins was still alive.
Monday, Feb. 16, 1925
At 10:30 a.m., Homer Collins broke through the military guard on duty at the cave and almost succeeded in reaching and going down the shaft when a rumor stated Floyd was being brought up the shaft.
At 3:42 p.m., rescuers reported they finally connected the parallel shaft with Sand Cave and discovered Floyd Collins' lifeless body: "No sounds came from Collins at all, no respiration, no movement, and the eyes were sunken, indicating, according to physicians, extreme exhaustion going with starvation."
It appeared Collins had likely died the previous day after he was entombed for seventeen days. Both, Capt. C. E. Francis, Medical Officer of the Kentucky National Guard, and Dr. William Hazlett of Chicago, expressed the opinion that Collins had been dead 24 hours. Later, Dr. Hazlett stated Collins had been dead between three and five days. Floyd's exact time and date of death are unknown.
At nearly the same time rescuers reached Floyd, Collins Aviation Field was being dedicated in his honor. It was described as a small flying field that was not level, with the sides and ends sloping toward the center. Five airplanes were at the airfield, where State Senator William Henry Jones made a brief speech. Jones would go on to serve as Kentucky's 32nd Adjutant General, 1927-1931.
Adjutant General Kehoe collapsed in the Sand Cave rescue camp while talking with a group of men that evening. Kehoe, prostrate on the ground, was given first aid and removed to a tent adjoining the Red Cross hospital unit. A few minutes later, they announced that Kehoe, weakened from long hours working night and day, had fainted from exhaustion and that his condition was not serious. However, he sustained a fractured finger in his fall.
At the Rogers' Brothers Coal Mine in Bevier, Guardsmen were, again, fired on by snipers. The first shots came when Lt. Cameron Brown and Sgt. Claude Barnes checked sentry posts. They were shot at twice again later, on Feb. 20 and Mar. 5. The Guardsmen eventually traded shots with the unknown individuals that were firing down on them from a hill near the mine. No one was injured either time. The Guardsmen remained on duty at Bevier until Mar. 13, 1925.
Tuesday, Feb. 17, 1925
The Collins family decided to leave Floyd's body in its natural tomb. A funeral service was conducted in the afternoon at the mouth of the shaft dug to rescue him.
Later that day, a coroner's jury ruled that Floyd Collins had come to his death "from exposure caused by being accidentally entrapped in what is commonly known as Sand Cave."
Wednesday, Feb. 18, 1925
At 7:00 a.m., the last three members of the 54th Machine Gun Squadron, under Warrant Officer Dan W. Cline's command, left Sand Cave. A total of seventeen officers and thirty-five men had been on duty during the rescue effort.
Special Orders No. 24.
Medical Department, 149th Infantry, Bowling Green, Kentucky.
Major Morton M. Moss and Captain Charles E. Francis.
Proceed to Sand Cave, Kentucky, remaining on duty for such days as necessary.
(sign) James A. Kehoe, The Adjutant General.
Epilogue
As a very tragic occurrence, it is interesting to note that the rock which held him in place was only 75 pounds. Also, the events at Sand Cave gave rise to scores of poems and popular songs and almost as many feature articles and book-length studies that described and critiqued rescue efforts. Robert Penn Warren's novel, The Cave, is based almost entirely on the Floyd Collins story, as is Billy Wilder's motion picture, Ace in the Hole.
One of the most bizarre events to occur surrounding the Floyd Collins's story was Collins' body's subsequent travels from the time of its removal from Sand Cave, which did not occur until Apr. 23, 1925.
Collins' body was embalmed on Sunday, Apr. 26, 1925, and buried on the property of Crystal Cave, where his family was living at the time. In 1927, the family sold the property. The new owner, Dr. Harry Thomas, had an idea to get tourists to the cave. He had Collins' body dug up and placed in a glass-topped coffin. He then set it in the center of the cave so visitors could get a peek at Floyd's corpse. This macabre tourist attraction worked, and tourists came in droves.
On the evening of Sept. 23, 1927, there was an unsuccessful attempt to steal Collins' body from Crystal Cave. A second attempt proved successful on Mar. 18, 1929. Bloodhounds were brought in at its disappearance and tracked the body to the banks of Green River. Authorities immediately brought it back to Crystal Cave. Unfortunately, Collins was returned with one leg missing.
On July 1, 1941, Mammoth Cave became part of the National Park Service. In 1961, the National Park Service purchased Crystal Cave and restricted access to Floyd's coffin. Finally, in 1989, Floyd's descendants requested he be given a "final" burial. His coffin was removed from Crystal Cave and buried at Mammoth Cave Baptist Church, now a part of Mammoth Cave National Park. Floyd's body was buried and put on display a total of four times.
In 1971, the Kentucky Historical Society and Kentucky Department of Highways established a historical marker at Old Entrance Road to the cave area, KY 255, in Edmonson County. Marker number 1385 near Sand Cave reads with the following inscription:
"Floyd Collins was first to explore Sand Cave. Fallen rock trapped him in narrow passage 150 ft. from entrance, Jan. 30, 1925. Rescuers reached him with food and heat for short time. Aid cut off by shifting earth closing passage. Engineers sank 55-foot shaft but were unable to reach Collins' body until February 16. Rescue attempt publicized worldwide. Aroused sympathy of nation."
By Feb. 19, 1925, the tragedy at Sand Cave, which made banner headlines across the country for more than two weeks, was off the front pages. During the second attempt to bring Floyd out of the cave in April, only a small group of locals were present to see his remains reach the surface. None of his family were reported present for that moment. Although, at his funeral held at Crystal Cave, an estimated five hundred witnesses attended that ceremony.
Although Floyd failed to use standard cave-exploring techniques of the day, his failure and resulting death have instilled the necessity to use proper safety measures while venturing into the underworld. Even though we consider him reckless in his cave exploration, his legend grew as he became known as the world's greatest cave explorer.
Kentucky Guardsmen at Sand Cave
Brig. Gen. James A. Kehoe, Kentucky's Adjutant General, his aide, Capt. E. B. Blackwell.
Brig. Gen. Henry H. Denhardt, Seventy-Five Infantry Brigade, overall commander. Additionally, Lt. Col. Henry J. Stites, Maj. W. H. Cherry, Capt. John A. Polin and Capt. Alex L. Chaney served as members of the court of inquiry.
Capt. Julius L. Topmiller, Service Company, 149th Infantry, Bowling Green, had direct control of the men on duty at the cave. Service Company also patrolled posts at the sand hole:
1st Lt. Henry J. Potter
1st Lt. Eldred Daugherty
2nd Lt. William H. Martin
Warrant Officer Dan W. Cline
Eleven NCOs and enlisted men
Seventy-Five Infantry Brigade, Headquarters Company, Bowling Green:
1st Lt. H. T. Runner
2nd Lt. Allen
Ten NCOs and enlisted men
Battalion Headquarters Company, 149th Infantry, Smiths Grove:
1st Lt. Edgar E. Cross
2nd Lt. Will S. Dorsey
Eleven NCOs and enlisted men
Fifty-fourth Machine Gun Squadron, Cavalry, Frankfort:
Maj. Carl D. Norman
Four NCOs and enlisted men
Medical Department, 149th Infantry, Bowling Green:
Maj. Morton M. Moss
Capt. Charles E. Francis
Annual Report of the Chief, National Guard Bureau, 1925.
Appendix K, pp. 69-70.
5th Army Corps Area: Kentucky
Sand Cave, Kentucky. 02 February to 18 March 1925.
Headquarters Company, 3rd Battalion, 149th Infantry – 02-17 February 1925, Sand Cave. 2 officers and 15 enlisted. Preserve order.
Headquarters, 54th Machine Gun Squadron – 02 February-18 March 1925, Sand Cave. 1 officer.
Service Company, 149th Infantry – 03-19 February 1925, Sand Cave. 4 officers, 1 warrant officer and 11 enlisted. Preserve order.
Medical Detachment, 149th Infantry – 03-19 February 1925, Sand Cave. 5 enlisted. Preserve order.
Troop A, 54th Machine Gun Squadron – 09-18 February 1925, Sand Cave. 2 officers.
Headquarters Company, 75th Brigade – 13-24 February 1925, Sand Cave. 2 officers and 9 enlisted. Preserve order.
Medical Detachment, 149th Infantry – 16-18 February 1925, Sand Cave. 2 officers.
Officers: 13.
Warrant Officer: 01.
Enlisted: 40.
Total personnel: 54.
Hazard, Kentucky. 10 February to 11 February 1925.
Headquarters, Fifty-fourth Machine Gun Squadron, 2 officers.
Thirty-eight Military Police Company. 2 officers.
Total personnel: 4 officers. | ||||
8911 | dbpedia | 2 | 18 | https://www.newyorker.com/magazine/2017/07/24/george-straits-long-ride | en | George Strait’s Long Ride | [
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] | 2017-07-24T00:00:00 | For decades, he’s been country’s most consistent hitmaker. Can he keep holding on? | en | https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico | The New Yorker | https://www.newyorker.com/magazine/2017/07/24/george-straits-long-ride | George Strait has discovered that when he isn’t wearing a cowboy hat people often don’t realize that he is George Strait. In San Antonio, where he lives, he can usually visit restaurants unmolested, so long as he doesn’t smile too widely—he is famous for his smile, which is bright and crooked. One time, in Key West, where he records, he was sitting outside the studio, naked from the neck up, when a woman accosted him. She said, “My husband says that George Strait is in there, cutting a record, and I told him that can’t be true. Why would he cut a record in this little place?”
Strait’s response was not, strictly speaking, a lie. “Honey,” he said, “I was just in there, and I didn’t see him.”
He is, by some measures, the most popular country-music singer of all time and, by any measure, the most consistent. Since 1981, when he made his début, he has placed eighty-six singles on Billboard’s Top 10 country chart, and more than half of them have gone to No. 1. Everywhere that there is a country radio station, there are generations of listeners who regard Strait’s music as part of the landscape; they are intimately connected to these songs, even if they can’t quite say that they are intimately connected to the man who sings them. When Strait first emerged, he was acclaimed as “the honky-tonk Frank Sinatra,” a designation that fits him even better now than it did then. Like Sinatra, Strait is chiefly an interpreter, not a songwriter, and he is committed to the old-fashioned idea that an entertainer’s job is to entertain, and not necessarily to bare his soul. He isn’t so much a great character as a great narrator, telling a variety of stories instead of returning endlessly to his own. “I don’t think there’s anything autobiographical about my material, unless it’s subconsciously,” Strait once said. “I just look for a song I like, and when I hear it I know it right away.”
On a Friday night earlier this year, at T-Mobile Arena, a few paces from the Las Vegas Strip, nearly twenty thousand fans came together to hear Strait make his way through more than thirty of his biggest hits—a fraction of the total. “We have a lot of songs to play for you tonight, a whole lot,” he said, and then he didn’t say much more. Strait prefers to give his audience as few distractions as possible: he likes to play on a stage in the center of the arena floor, with four microphones arranged like compass points; every two songs, he moves, counterclockwise, to the next microphone, so that people in each quadrant of the crowd can feel as if he were singing just to them. Because he was playing in the round, there was no backdrop, and nothing in the way of pyrotechnics, with the important exception of that smile. His onstage outfit, which has barely changed in forty years, includes, along with the cowboy hat and cowboy boots, a button-down shirt and bluejeans, ironed stiff enough to form an exoskeleton. A promotional contract obliges him to wear Wrangler jeans, and decades of ranching and roping inclines him to wear them stacked—that is, long and bunched up, so that he could, if necessary, mount a horse without fear of exposing any extra boot.
Strait doesn’t believe in disappointing paying customers, so he endeavors to play every song that anyone wants to hear. Casual listeners may know him best for “All My Ex’s Live in Texas,” a slightly drunken-sounding novelty song that long ago transcended its novelty status, elevated by countless bleary-eyed sing-alongs: “Texas is the place I’d dearly love to be / But all my ex’s live in Texas / And that’s why I hang my hat in Tennessee.” In this arena, though, people were just as excited for “Check Yes or No,” a good-natured radio perennial about a love affair that begins in the third grade and lasts well past the third chorus. One key to Strait’s success is that he is stubborn but not too stubborn. He adores the rough-hewn music and iconography of his native Texas, but he has never been too cool to sing sweeter, softer songs about suburban love gone right. He is a traditionalist, but not a revivalist: instead of evoking a bygone past, he prefers to evoke a familiar, unchanging present. The quintessential George Strait song involves a man who feels something strongly but can express it only winkingly. “If you leave me, I won’t miss you,” he declares, at the start of “Ocean Front Property,” followed by a chorus made up of declarations that are, likewise, lies. “I’ve got some oceanfront property in Arizona / From my front porch, you can see the sea,” he sings. “If you buy that, I’ll throw the Golden Gate in, free.”
A George Strait concert is a master class in the art of restraint. “He just stands there,” an executive once marvelled, “and people go fucking crazy.” Strait leans away from the high notes, sways gently with the up-tempo songs, and says just enough to remind fans that they are not, in fact, listening to his records; all night, he strums an acoustic guitar that no one can hear, maybe not even him.
In Las Vegas, he waited until near the end of his set for “Amarillo by Morning.” His crowds are generationally diverse, and some of the older fans had begun to sink into their seats by then. But just about everyone stood up at the sound of the fiddle overture that introduces the opening stanza, one of the most memorable in country music:
Amarillo by morning
Up from San Antone
Everything that I got
Is just what I’ve got on
The song—the stoic lament of a travelling rodeo pro—was originally recorded, in 1973, by Terry Stafford, a former rock-and-roll singer. Chris LeDoux, a real-life rodeo champion who also built a do-it-yourself career as a country act, cut a version a few years later, which found its way to Strait, who made the song his own. Stafford sang it with a crooner’s quaver, and LeDoux intoned the lyrics wistfully, accompanied by a harmonica. By comparison, Strait’s version, the only one that most people will ever hear, is masterfully plain. He occasionally approaches a syllable from above, using a mournful grace note, but he has an easy, conversational way of putting a melody across, as if he were singing to keep from talking.
Strait released “Amarillo by Morning” in 1983, and it helped establish him as one of the decade’s first new country stars. The song was so popular that he sometimes had to play it twice in a set, back when he was playing as many as four sets a night in Texas roadhouses. “It was probably our most requested song,” he says, “but it wasn’t a No. 1 record.” Like virtually all successful country singers, Strait pays attention to the charts, and he can discuss his placements with the unembarrassed candor of an athlete recalling his career statistics. “Amarillo by Morning” peaked at No. 4. Strait’s longtime manager, Erv Woolsey, noticed that some otherwise reliable radio stations declined to put Strait’s version into heavy rotation; he suspects that, especially in the Southwest, the modest success of the earlier recordings had made the song too familiar. “It was kind of wore out in certain places,” Woolsey says. But it resonated, and it has endured. Last year, a twenty-year-old contestant on “Mongolia’s Got Talent” became a viral video star because of his uncannily Strait-like rendition of “Amarillo by Morning.” And in Las Vegas “Amarillo by Morning” worked as well as it ever did. When it was over, Strait looked out at the crowd and gestured toward the roof with both hands—jokingly asking for more applause, as if he needed it.
Strait recently turned sixty-five, and he is officially semiretired. In 2012, he announced that he was quitting the touring life, and, after a two-year sendoff tour, he played a final show at AT&T Stadium, the home of the Dallas Cowboys, in front of more than a hundred thousand people. He didn’t quit recording, though, and in 2015 he announced a series of weekend concerts in Las Vegas. Louis Messina, Strait’s promoter, likes to point out that this is not a traditional Vegas residency: a washed-up star imprisoned in a casino theatre, entertaining a few hundred fans and gamblers, night after night. Strait is an arena headliner, not a lounge act, and every night the preshow playlist pays subtle tribute to his staying power. Concertgoers hear a selection of recent country hits: “Take a Back Road,” by Rodney Atkins; “Girl in a Country Song,” by Maddie & Tae; “Rewind,” by Rascal Flatts; “Might Get Lucky,” by Darius Rucker. What they have in common is that all of them mention Strait. Rucker sings, “Dance around the kitchen to a George Strait song”— hoping, like the others, to borrow some of Strait’s unimpeachable country credibility.
When Strait goes to Las Vegas, he flies from Texas in the plane he owns, and stays at the Mansion, a semiprivate hotel hidden next to the MGM Grand. But his bus comes, too, and remains parked behind the arena, allowing him to enjoy, in small doses, the life of a touring musician. It was Saturday afternoon in Las Vegas, and Strait was incognito on his bus, wearing a light-blue baseball cap and lightweight Nike running shoes. In the early decades of his career, he spent his downtime on horseback, turning himself into a decent competitor in the sport of team roping. He is still fit and trim, but these days he prefers fishing and golfing, and he enhances his year-round tan with frequent trips to the Bahamas and Mexico. In person, he is warm but watchful, and surprisingly shy; he seems like a man who does not crave attention, even though he has spent most of his life courting it.
“We had some rough edges last night, and I’ve already talked to my guys,” Strait said. Some members of his band have been playing with him since the nineteen-seventies, and they know him as an easygoing but exacting leader who wants his songs to sound just the way fans remember them. “A lot of times, maybe I’m the only one that notices,” Strait said. “But sometimes not.”
He has always been a singles artist, and even people who have worked closely with him sometimes struggle to name a favorite album—they like all his songs, especially the hits. Without quite planning it, he built his career for maximum longevity, amassing one hit after another, never allowing himself a year off or a radical musical departure. In the late nineteen-eighties and early nineties, he helped inspire a wave of cowboy-hat-wearing country singers who were known as “hat acts,” including Alan Jackson and Garth Brooks. Strait became a beloved elder statesman without giving up the role he values more: hitmaker. And then, around the beginning of this decade, something happened that was both inevitable and shocking: Strait’s songs stopped making their way up the country chart. “Radio’s not playing me anymore,” he said. “Which is a hard pill to swallow, after all these years.” His last album, “Cold Beer Conversation,” was released in 2015, and it was the first major release of his career that did not spawn a Top 10 hit. “I hung on for dear life, for a lot of years,” Strait said, chuckling softly.
There is, of course, life beyond the Billboard charts. Willie Nelson and Dolly Parton, for instance, remain two of the most revered and beloved stars in the country-music galaxy, even though they stopped making hits in the nineteen-eighties. But Strait has always resisted becoming a legacy act—indeed, his legacy is inseparable from his miraculous ability to stay current, reigning as the defining voice of country music throughout the eighties, the nineties, and the aughts. He is, by all accounts, intensely (if quietly) competitive: he wants to win, and radio spins and chart positions are an objective way of keeping score. On that Saturday night in Las Vegas, with those undetectable rough edges smoothed away, Strait and his band cruised through an even longer set, and he permitted himself to take some satisfaction in the fact that, once more, tens of thousands of fans had driven or flown into the desert just to watch him stand there and sing. “This is our eighth show in this building,” he said. “Sold out every one of ’em.”
George Strait grew up in Pearsall, Texas, near the interstate that runs south through Laredo to the Mexican border. His parents split when he was young, and Strait was brought up by his father, a math teacher who also became the proprietor of the family’s cattle ranch, down the road in Big Wells. Strait developed a lifelong obsession with ranching, although he also had other interests: after high school, he married his girlfriend, Norma, spent a few semesters in college, and then joined the Army, which assigned him to the 25th Infantry Division, stationed at Schofield Barracks, in Hawaii. The soldiers had to be ready to ship out to Vietnam at a few hours’ notice, but the call never came, and in his downtime—for no good reason that he has ever been able to articulate—Strait bought a battered guitar and some old songbooks and taught himself to play and sing. When the division put together a country band, Strait was chosen to lead it, and by the time he returned to Texas, in 1975, he had resolved to pursue a career in music.
It wasn’t an absurd idea: Texas was full of small bars where unpretentious country bands could bash out a living. Just to be safe, though, Strait enrolled at Southwest Texas State University, in San Marcos, where he studied agricultural education, and where, one day, he came upon a bulletin-board notice from a group in search of a singer. He auditioned with “Fraulein,” a country classic from the fifties, and was hired as the lead singer of the group, which was called the Ace in the Hole Band. One of the members was a pedal-steel player named Mike Daily, who has performed with Strait ever since. Daily’s grandfather was Pappy Daily, a legendary country impresario who discovered George Jones, and his father ran an independent label, which issued three Ace in the Hole Band singles in the late nineteen-seventies—Strait’s first recordings. Daily remembers that Strait wasn’t planning on staying local forever. “I’m here to try to make it,” Strait told the musicians, and Daily knew that making it would probably entail going to Nashville, where talent scouts typically signed singers, not bands.
In the late seventies, some of the most successful country singers were gentle balladeers like Kenny Rogers and Barbara Mandrell, and the executives who initially heard Strait’s demos thought he would likely remain a local favorite. His prospects may have improved with the release, in 1980, of “Urban Cowboy,” in which John Travolta and Debra Winger do battle with a mechanical bull in a honky-tonk called Gilley’s. (The film was not, despite its plot, a comedy.) “Urban Cowboy” glamorized rowdy Texas bars and all the creatures that called them home, and it created a new demand for singing cowboys like Strait. He got a record deal the next year, and had success with his début single, “Unwound,” a brisk drinking song built on a long-winded complaint: “That woman that I had wrapped around my finger just come unwound.” He recorded it with session musicians but continued to use the Ace in the Hole Band when he was on tour, as he almost always was. Strait was happy to go around the country promoting “Unwound,” but Woolsey, his manager, remembers rebuffing the record executives who wanted Strait to dress up, taking off his cowboy hat and trading his stacked jeans for slacks. “You don’t understand,” Woolsey told them. “Where he’s from, that is dressing up.”
From the beginning, Strait was marketed—and celebrated—as an avatar of “real” country, at a time of anxiety about country’s identity. The genre was getting popular and, not coincidentally, going pop, growing a bit more glamorous and a lot harder to define. In 1981, the year Strait emerged, Mandrell topped the chart with “I Was Country When Country Wasn’t Cool,” a charming ode to country authenticity (flannel shirts, the Grand Ole Opry, “puttin’ peanuts in my Coke”) that seemed both defiant and defensive—its piano-driven arrangement was practically soft rock. Strait, whose music was sometimes described as “hard country,” espoused a more uncompromising aesthetic. News accounts invariably mentioned that he was “a real, live cowboy,” and headline writers rarely resisted the urge to connect his name to his style (“SOME REAL STRAIT-FORWARD COUNTRY”; “PLAYING IT STRAIT”; “COUNTRY MUSIC SERVED STRAIT UP”). After a string of hits, Strait parted with his original producer, Blake Mevis, telling one reporter that Mevis “was looking for more mass appeal, middle-of-the-road stuff,” while he wanted to record “basic country music.”
Many of Strait’s early records were produced by Jimmy Bowen, who was smart enough not to interfere too much. “I once told George Strait he might try to liven up his stage act just a touch,” Bowen has recalled. (Strait says that he does not remember the conversation.) “He did: he waved his cowboy hat a few times during the show. But George could get away with just standing there looking and sounding terrific.” Strait’s popularity was driven by his status as a sex symbol. Women deluged the stage with flowers, so many that disposal became a serious problem. At first, the bus would stop by a dumpster on the way out of town; later, the crew devised a system for donating them to local hospitals. Reba McEntire, who was also conquering country music at the time, once recalled a show that she played with Strait in Oklahoma. “The girls was gettin’ after him so bad,” she said, “that the club had to stack bales of hay in front of the stage.” (She added her own honest appraisal: “He’s a sexy little rascal.”) When Strait toured in the mid-eighties, he brought along, as his opening act, Kathy Mattea, who was then a rising star. Onstage, she made a habit of calling Strait “the Mark Harmon of country music,” by way of acknowledging his appeal. “He was handsome, and he was low-key, and he was charming,” Mattea says now. For her, the Mark Harmon line was an act of professional self-defense, a way of winning over his female fans by endorsing their fandom. “I had to relate to those women,” she says. “I had to show them that I could feel what they felt.”
Strait didn’t brag about his heartthrob status. (“I don’t know what it is, but I hope it doesn’t stop,” he told one reporter.) He did, however, find canny ways to capitalize on it. One of his most popular songs is “The Fireman,” the sly chronicle of a ladies’ man who serves as a kind of first responder in local bars, “making my rounds all over town, puttin’ out old flames.” And, in 1992, he starred in a feature film, “Pure Country,” playing a moodier, more reckless version of himself: a country singer named Dusty, who grows disillusioned with the music business and its compromises. Strait was reluctant to make a movie, but he was persuaded by the producer Jerry Weintraub, and by Colonel Tom Parker, the former manager of Elvis Presley, who was a friend of Weintraub’s. After a concert in Las Vegas, Parker told Strait how important Hollywood had been to Presley. “Elvis hated making those movies,” he said—but they transformed him from a pop star to an icon. Strait read a script and agreed to make the film, with some caveats. In the part where Dusty, having absconded from his own tour, takes refuge at a ranch, Strait wanted to do his own roping. And although the script had him falling in love with a humble woman from his home town, he thought that a proposed kissing scene was unnecessary (and potentially embarrassing), so he and his co-star, Isabel Glasser, made do with meaningful looks.
“Pure Country” was released in 1992, and attracted middling reviews—“Fans of the star will enjoy it more than dispassionate observers,” Roger Ebert said—and worse than middling returns, earning only fifteen million dollars at the box office. But the movie, which borrowed its plot from an old Presley vehicle, had an easygoing charm that encouraged repeat viewing. (Strait wears a white hat, and on two separate occasions he vanquishes a bad guy wearing a black hat.) “Pure Country” became one of the biggest home-video hits of the nineteen-nineties, and it has been a cable-television staple ever since. Near the end of the film, Dusty rejects sinful pyrotechnics, and recommits himself to the path of musical righteousness. “I’m going to play the guitar and sing,” he tells his manager. “No more smoke, no volcano blasts, and no more light shows.” In other words, Dusty finally sees the wisdom of conducting himself like George Strait. The film’s soundtrack inverted this process. “Heartland,” the movie’s energetic, rock-influenced opening song, marked a modest departure for Strait. “It’s about as rocked up and popped up as you can get and still pass it along to the country market,” he said at the time. At first, he hesitated to record it, until he realized that he could sing it in character, as Dusty. The song went to No. 1, and the soundtrack sold more than six million copies—it is the best-selling album of Strait’s career.
George Strait might be “pure country,” but country music has always been a mixed-up genre. As it happens, Hawaii, where Strait learned to sing, is one of the genre’s many wellsprings: it was there, in the late nineteenth century, that a guitarist named Joseph Kekuku figured out that he could bend pitches by laying the guitar on his lap and sliding a steel bar along the strings. In the early twentieth century, mainland musicians adopted the steel guitar, including Leon McAuliffe, a Texas virtuoso who played with one of the region’s most popular acts: Bob Wills and His Texas Playboys. Wills was a fiddler, and in the nineteen-thirties and forties his group pioneered a style known as Western swing. This was dance music, fusing the lively rhythms of jazz to the lonesome sound of Western ballads, and Wills liked to call his group “the most versatile band in America.” (Among his big hits was “San Antonio Rose,” which was later recorded by Bing Crosby and Patsy Cline.) Wills had begun his career as a blackface minstrel, and most of his musical heroes were black jazz musicians, although his band was all white. His biographer, Charles R. Townsend, reported that Wills once, on a bender in Tulsa, asked a black trumpeter to join the group. “When Bob sobered up,” Townsend wrote, “he decided Oklahoma was not ready for an integrated band.”
By the time Wills died, in 1975, he was esteemed as a founding father of country music, even though he never thought of himself as “country,” in style or in sensibility. The term, as it is now used, is an abbreviation of “country and Western,” a category generally associated with rural white communities and meant to corral a wide range of styles that flourished from Appalachia to the Southwest. These styles were jammed together by a transformative technology: radio, and the “barn dance” variety shows that flourished on the airwaves. The most influential of these was the Grand Ole Opry, a Nashville show that began to be broadcast nationwide in 1939; it was so popular that it altered America’s musical economy, pulling in enough musicians and entrepreneurs to make Nashville the unquestioned home of country music. (Nowadays, hardly anyone stops to wonder why a city not known for ranching is synonymous with cowboy hats.) But a certain amount of tension between Nashville country and Texas country is built into the relationship, dating back at least as far as 1944, when Wills came to town to play the Opry and was nearly thrown out. The organizers were accustomed to string bands, and Wills insisted on performing with a drummer.
In an odd way, the rise of rock and roll strengthened country music’s sense of identity—after Presley, young people who chose to be country fans were also choosing to resist the hegemony of rock and pop. Strait was born in 1952, and by the time he got to high school he and his friends were listening to the Beatles and other rock-and-roll bands. Although the old country songs were part of the local environment, Strait didn’t start paying close attention until after college, when he encountered some albums by a brilliant and mercurial singer-songwriter from California: Merle Haggard, a country “outlaw” who was also obsessed with the genre’s history. In 1970, the same year as his anti-antiwar hit “The Fightin’ Side of Me,” Haggard released “A Tribute to the Best Damn Fiddle Player in the World (or, My Salute to Bob Wills),” which helped Strait discover the Texas classics that became the foundation of his first live sets. Strait, like many of his peers and most of his successors, is in some sense a convert to the genre: he is country by birth, but also by choice.
The early Ace in the Hole Band recordings featured some songs written by Strait, including a wonderfully mopey lament, “I Just Can’t Go on Dying Like This.” But after Strait got his record deal he decided that he had neither the time nor the inclination to compose. “I was finding what I thought were better songs than what I was writing,” he says now. “Maybe I was intimidated, a little bit.” As Strait grew more successful, he became especially popular among Nashville songwriters, who like nothing better than a reliable hitmaker who always needs material. When Strait came to town to record, songwriters would lie in wait outside the studio, carrying demo tapes with the most stereotypically George Strait songs they had: songs about cowboys, songs about Texas, songs about the Alamo. What Strait really wanted, though, was memorable and interesting melodies. His string of hits is in large part a result of his ability to identify a great tune. He would review hundreds of demos himself, often deciding within thirty seconds whether a song sounded like something he might want to cut. Occasionally, he asked to alter a word or two; in “All My Ex’s,” a reference to the Brazos River became a reference to the Frio River, which flows closer to his home town. Often, though, Strait learned each song quickly and sang it much the same way it sounded on the demo.
The songwriter whom Strait relied on most was Dean Dillon, who co-wrote his début single, “Unwound,” and whose songs have appeared on nearly every one of his albums since then. The two met a few years after Strait cut “Unwound.” (The song was originally pitched to Johnny Paycheck, who excelled at both singing and raising hell. “He was in jail, so they gave it to me,” Strait recalls.) Dillon had grown up in Tennessee, in love with country music but also with singer-songwriters like James Taylor and Carole King, who inspired him to experiment with unusual chords and structures. Dillon was once a recording artist, too, but he eventually decided that, since Strait was having so much success with his songs, he might as well become a full-time songwriter. Where Strait is polite and self-effacing, Dillon is a big, ornery personality: when Strait asked Dillon to put out his cigarette during their first meeting, he responded by exhaling a mouthful of smoke. “I didn’t give a shit, and I didn’t care who knew it,” he says. Their partnership has provided Strait’s music with a welcome dose of subversion, helping to keep him from becoming predictable. Dillon co-wrote “Marina Del Rey,” an early hit that upended listeners’ expectations of Strait: it was distinctly unrustic, a piano ballad about a man on an airplane, daydreaming about the woman he left behind on a Los Angeles beach. And “The Chair,” also co-written by Dillon, became one of Strait’s signature hits and a staple of his live sets, despite having nothing that could be considered a chorus. (It is a wry, lilting account of a man chatting up a woman in a bar.) Strait realized that, because his identity was so firmly fixed in fans’ minds, he could permit himself some latitude. “People looked at me as a traditional country singer,” he says. “So those songs were thought of as ‘Well, those are traditional, because George did it.’ ”
In 1986, Strait’s daughter, Jenifer, was killed in a car accident. She was thirteen, and although Strait resolved to keep working, he couldn’t bear to grieve in public. “I just kind of shut down,” he says. “I just didn’t feel like talking about it, so I quit doing interviews.” In 1988, he released an aching lament called “Baby Blue”: “Like a breath of spring, she came and left, and I still don’t know why / So here’s to you, and whoever holds my baby blue tonight.” Strait never explained why he chose to record “Baby Blue”—in the liner notes to his 1995 boxed set, he said only that it was a “pretty song,” and that Aaron Barker, who wrote it, cut such a good demo that Strait was hard-pressed to improve on it. Over the years, Strait’s temporary solution evolved into a permanent way of working, and of living: he stayed productive, and he stayed mum. Friends describe him as kind but quiet, and not easy to get to know. Messina, Strait’s promoter, has been working closely with him since the nineties; their relationship is close, but not overly familiar. “I tried never to cross the line,” Messina says. “We don’t talk about personal things.” Tony Brown produced nineteen of Strait’s albums, beginning with “Pure Country,” and he deserves as much credit as anyone for Strait’s longevity. But in 2014, when Strait decided that he was ready to work with someone else, Brown received the news not from Strait but from Erv Woolsey, his manager.
Successful country singers typically move to Nashville, but Strait never did. He lives outside San Antonio, and although he used to visit Nashville to record, he found that the climate exacerbated his allergies, which is why he now records in Key West, at a studio that belongs to his friend Jimmy Buffett. In Texas, Strait keeps a low profile; he has adopted the life style of a contented, golf-obsessed businessman without ceasing to represent, for many fans, a connection to an older, more rugged way of living. He emerges once a year for the George Strait Team Roping Classic, which he created in 1982 and has presided over ever since. Team roping is one of the seven events included in a rodeo competition, and, like many sports, it is based on a useful skill honed well past the point of usefulness. A steer—a castrated male—is released from a pen and pursued by two riders on horseback: one, called the header, throws a loop of rope around the steer’s horns, and the other, the heeler, ropes the steer’s hind legs, immobilizing the animal. Strait was a pretty good roper, and he used to compete in his own tournament, although he never won. He sometimes worked in partnership with his son, George, Jr., known as Bubba, who roped full time for several years, until a wayward loop nearly severed his index finger, prompting him to consider anew the sport’s punishing ratio of reward to risk.
This year’s roping event, the thirty-fifth, was held at the San Antonio Rose Palace, a dirt-floor arena on the northern edge of the city, largely untouched by time or technology. (It is down the road from Tapatio Springs, a golf resort that Strait and a partner recently bought and renovated.) A couple of announcers called the action, their voices both amplified and distorted by an antiquated public-address system. In the venders’ area, next to the arena, stands sold T-shirts, cowboy boots, jewelry, cattle feed; near the entrance, some kids were learning to heel by tossing loops at a dummy on wheels. More than five hundred teams competed over two days, creating an agreeably repetitive spectacle. A top roping team can finish its work in less than five seconds, after which the steer is released to trot back to the pen, and the next team gets ready. No less than Nashville, perhaps, the sport rewards perfectionism and patience: everyone is trying to solve the same problem, over and over again.
On Saturday morning, championship day, Strait made his grand arrival on horseback, taking a ceremonial lap around the arena as fans hung over the railings, angling for selfies. A cowboy preacher asked for protection: “We pray that no harm, in any form or fashion, comes near the horses, the steer, or the cowboys.” (In fact, many of the steer were destined to become steak, just not quite yet.) Strait watched with his family, from a box next to the announcer’s booth, descending when the action was finished to present the prizes—more than a hundred thousand dollars apiece for the two winners, along with new trucks and trailers. All weekend long, the loudspeakers played nothing but George Strait songs, and it is a testament to his legacy that some attendees might not have noticed. His music is so synonymous with the genre that a selection of his hits might simply sound, to the casual listener, like a classic-country playlist.
When Strait first emerged, he was sometimes grouped with other old-fashioned country singers, such as John Anderson and Ricky Skaggs, but he soon became the singular example for a generation to follow: the “hat acts,” they were called, and not always fondly. The most consequential of the hat acts was the one whom the term fit least well: Garth Brooks, who idolized Strait, also managed to succeed by refusing to follow Strait’s example. Where Strait was stoic, Brooks was eager and emotive, straining for high notes, quavering or snarling, amplifying his Oklahoma accent or diminishing it, doing whatever it took to make fans love him. In the nineteen-nineties, Brooks changed the genre, roaming stages with a wireless microphone, singing about ending racism and domestic violence; he also feuded with executives, retired for much of the aughts, and briefly tried to reinvent himself as a brooding rocker named Chris Gaines. Strait, by contrast, instinctively avoided controversy; in fact, he avoided anything that was likely to interrupt the smooth functioning of his hit-making machine. He is friendly with both Bush Presidents, but he has never made a public political statement, and he has gone out of his way not to criticize his fellow-singers, or the industry more generally.
For a long time, the ups and downs of Brooks and other country innovators only underscored Strait’s position as the genre’s most dependable act. A wide range of singers, from Martina McBride to Taylor Swift, first faced big crowds by serving as Strait’s opening act. When he moved up from arenas to stadiums, in the late nineties, he booked enough opening acts to create daylong mini-festivals, boosting the careers of Faith Hill, Tim McGraw, Brooks & Dunn. For the shows earlier this year, in Las Vegas, his opening act was Kacey Musgraves, who is twenty-eight; when she was growing up, in East Texas, Strait was already a well-established star. After her own set, she reappeared with Strait to perform a duet on a song called “Run,” dancing a bit and adding some new harmonies while he stood still, singing it just like the record. “He’s the steady train,” she said, after the show. “And I can flit all around him.” Musgraves is a mischievous singer and songwriter, known for tweaking old country traditions. (“It’s high time to slow my roll, let the grass just grow,” she sings, with a knowing smile.) Even so, she was enjoying the challenge of trying to win over a George Strait crowd, not to mention the challenge of trying to get to know Strait himself. “I’ve gotten to hang out with him a little,” she said. “We mainly just talk about horses.”
Strait flew to Nashville recently—not to sing but to promote one of his newest projects, Código 1530, a “sippin’ tequila,” as he calls it, that he grew to love during golf trips to Mexico, and which he is helping to launch in America. (One of his partners is Ron Snyder, the executive behind Crocs.) There was a tasting in RCA Studio A, the same building in which Strait recorded his first album, and, despite having spent decades avoiding publicity events like this one, he seemed cheerful. “I’ve never been one to like to talk about myself a lot,” he said, nursing an añejo-tequila cocktail. By comparison, talking about his favorite drink wasn’t so bad.
Ever since 1981, Strait has been recording for the same label, MCA Nashville, outlasting virtually all the executives, to say nothing of his fellow-artists. The label is now part of Universal Music Group Nashville, whose chairman is Mike Dungan, a wry and garrulous music veteran from Cincinnati. Dungan became chairman in 2012, and one of his first trips was to San Antonio, to meet with Strait and his wife, along with Woolsey. “Let’s deal with reality,” Dungan told Strait. “There are some key radio guys that are ready to be done with you. It has nothing to do with you as an artist—it has to do with the fact that they played you in the eighties, they played you in the nineties, the two-thousands, and here we are in 2012, and nothing else in culture has held on that long.” Dungan remembers that Strait seemed both alarmed and fascinated. “I don’t think anyone had ever said those words to him before,” he said.
What Dungan proposed was not acquiescence but insurgence. He and his executives put together a campaign called Sixty for Sixty, in which they recruited fans and fellow-performers to urge radio programmers to play Strait’s latest single, a warm love song called “Give It All We Got Tonight.” The idea was to get Strait his sixtieth No. 1 hit before his sixtieth birthday, and, if Strait was too proud to beg, many of his fans were not. Some of the genre’s biggest names recorded testimonials: Brad Paisley, Darius Rucker, Eric Church, Little Big Town. The campaign came around the same time as Strait’s announcement that he was retiring from full-time touring, which gave the effort a valedictory aura. No one said that this would be Strait’s last No. 1 single, but his music had been growing more wistful over the years. (In 2008, he went to No. 7 with “Troubadour,” a late-career statement of purpose: “I was a young troubadour when I rode in on a song / And I’ll be an old troubadour when I’m gone.”) With Sixty for Sixty, the implication was hard to miss: a man who once topped the charts effortlessly now required one last collective push to get to No. 1.
Whether he made it is a matter of some debate. In the old days, when Strait emerged, the Billboard country chart operated according to an unwritten code: record labels pestered and fêted program directors, and program directors helped arrange an orderly succession of No. 1 hits, with a new song claiming the spot just about every week. In the past decade, though, the country chart has decelerated, as hits make slow progress through a big but diffuse musical marketplace. In 1981, when Strait made his début, there were forty-eight different No. 1 hits on Billboard’s country chart. Last year, there were nine. Billboard’s main country chart includes data from online streaming services, which means that crossover hits do especially well. (Country charts traditionally reflected the tastes of the country audience in particular; online, everyone who listens to a country song counts equally.) According to the Billboard chart, “Give It All We Got Tonight” was only a No. 7 hit, despite all the special pleading. But, according to the promotional materials, the Sixty for Sixty effort was a success: the song topped a different, more radio-oriented chart just after Strait’s sixtieth birthday. For his current Las Vegas concerts, Strait is playing these sixty songs over two nights, which required some extra rehearsals: many of these hits had long ago fallen out of his set lists, even though they were once among the most popular country songs in America. “Some of those songs, I forget about,” Strait says. “They just kind of go away after so long.”
Some people think that Strait’s trouble on the radio is simply a function of age. Perhaps his legacy bought him an extra decade or so: Toby Keith and Garth Brooks, who are fifty-five, as well as Alan Jackson, who is fifty-eight, have also largely disappeared from country-radio playlists, with the exception of so-called country-icons stations, which make a point of playing the old stuff. (Earlier this year, when a radio station in Corpus Christi adopted the icons format, it announced itself by broadcasting nothing but George Strait for an entire weekend.) Strait’s decision to stop touring was probably a factor, too: radio stations love playing songs by singers who are coming to town.
Among radio executives, conventional wisdom holds that old listeners have more patience for young singers than young listeners have for old singers. Tony Brown, the producer, thinks that Strait has hit a generational wall. “He could cut ‘Amarillo by Morning’ today, for the first time, and they wouldn’t play it,” Brown says. “It’s not because of his voice or the song. It’s because they want to play a younger demographic.” But it’s true, too, that the genre has evolved in a way that makes Strait seem like an outlier. Hat acts have given way to what Brown calls “cap acts”: younger, more frolicsome singers like Sam Hunt, whose latest single, “Body Like a Back Road,” has been Billboard’s country No. 1 for most of 2017. Many of these songs hint at hip-hop, through thumping beats or added syncopation in the vocal line—the next phase, perhaps, of the country-rhythm revolution begun by Bob Wills, in 1944. | ||||
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Excerpt taken from Billboard supplement dated 1991: ÃÂ ÃÂ ÃÂ ÃÂ
ROAD WIZARDS: The Ace In The Hole BandÃÂ
Once upon a time, in 1975 in San Marcos, Texas, there was a band looking for a singer and a singer looking for a band. ÃÂ One of them, or maybe both of them, put up a notice on the bulletin board at Southwest Texas State University. ÃÂ
Steel guitar player Mike Daily,bass player Terry Hale, and then drummer Tommy Foote were players in a local band. ÃÂ George Strait, fresh out of the Army and an agricultural student at the University was beginning a quest for a singing career. ÃÂ They all met and the rest, as they say, is history. They began playing together and became a popular band around Houston, San Marcos and south Texas. Before Strait became a recording artist, the Ace In The Hole Band featuring George Strait relied on traditional country music, heavy on Texas swing, Bob Wills and Merle Haggard. ÃÂ "Even then, George had a lot of musical integrity," says Foote. ÃÂ "We lost a few jobs because we wouldn't play top 40 covers. ÃÂ But we were a great Texas dance band." Foote says that the band knew that George had a better chance than most to "make it." "He had the voice, he had the looks and he was always focused. I saw the band as a way to keep from getting a job, and a way to meet girls. ÃÂ George saw it as the future. ÃÂ We knew that if the train were going to pull out of the station, he would be the engineer."
Though at one point Foote thought George was quitting and he'd be out of work, Norma Strait talked her husband into giving it one last shot. ÃÂ He was signed to MCA in early 1981 and that summer the band came to Nashville to play nights at the Radisson Plaza while George recorded his first album. George and the band also performed three songs on the Fan Fair show. ÃÂ "We played "Unwound" because that was the only record George had, and two others. ÃÂ It went pretty well. ÃÂ It was the first time we had ever played outside of Texas."ÃÂ
In 1982, Foote gave up the sticks to become full-time road manager. ÃÂ Piano player and now bandleader Ronnie Huckaby joined in 1983 and the rest followed. Rick McRae on lead guitar, David Anthony on Guitar and vocals, ÃÂ utility man Benny McArthur on fiddle, guitar, and vocals, Gene Elders on fiddle and most recently, Mike Kennedy on drums. ÃÂ Daily and Hale are the original Aces. ÃÂ All hail from Texas but Anthony, the token Okie, and Gene Elders, the Illinois Yankee.ÃÂ
The Ace In The Hole Band has long been considered one of the finest bands on the road today. Their musical prowess is routinely exalted in concert reviews. ÃÂ Huckaby laughs modestly at the praise. "It's a compliment to us. ÃÂ Gene was classically trained on the violin, but none of the rest of us has ever had lessons or training. " Huckaby says Strait likes the band to perform songs as close to the record as possible, but the piano player adds that they embellish a few songs. ÃÂ The Ace In The Hole Band uses twin guitars on "The Fireman," for instance. ÃÂ For the past couple of albums, the band has been invited to play on one or more album cuts. ÃÂ Huckaby says that they are flattered. "It's an extra thing we hadn't planned on."ÃÂ
There is no shortage of hits for George and the band to perform, but Huckaby says they all enjoy swing music and traditional country standards like "Folsom Prison Blues," "Milk Cow Blues," "Lovesick Blues," and "Big Balls In Cow Town." "It's a good time. We all get to get going. Everybody gets to play."ÃÂ
Kay WestÃÂ
Publicist for George StraitÃÂ
NashvilleÃÂ
Ronnie Huckaby; "magic fingers"on Keyboards, Band Director, and the best dresser in the Music business!
Ronnie always takes time to say hello, and greets you with a smile. ÃÂ He seems to have a great deal of patience, and genuinely enjoys his job and the fans.
And here's Benny and Rick; ÃÂ Benny plays fiddle, Guitar, and is a great vocalist. ÃÂ He's tops in the smile department. ÃÂ You always know he's having a great time. ÃÂ I love to watch him play, and when he really gets going on that guitar he's pretty animated. ÃÂ He had a video out several years ago, which I enjoyed. ÃÂ He has a great voice and I miss the days when the band used to do a few songs before George came out. ÃÂ I would rather experience the talent of the "Ace In The Hole" Band then most of the artists out there today. ÃÂ
A man of many talents, Benny wrote "When It's Christmas Time In Texas" for George's "Merry Christmas Strait to You" album.
Lonesome Ol' Rick plays Fiddle, and is the hottest lead guitar man on the road. ÃÂ I get a big kick out of watching him turn loose on stage. ÃÂ Don't let that quiet gentleman in the cowboy hat fool you, this man's fingers really do the talking! ÃÂ ÃÂ
Terry and Benny cutting up in Springfield, Missouri October of 1995. ÃÂ I like to watch the guys during set-up, tuning up and joking with each other. ÃÂ When the lights go up they are all-pro and one of the tightest bands in the business. ÃÂ George Strait is very lucky indeed to have such a great group of individuals with him all these years.ÃÂ ÃÂ
David Anthony; ÃÂ awesome on the acoustic guitar and vocals.
David is a very talented individual, he used to tour with Reba before he met George. ÃÂ He wrote one of my favorite songs "Something Special" for George's album by the same name. ÃÂ He also wrote "Santa's On His Way" for George's "Merry Christmas Wherever You Are" album. ÃÂ He quietly adds his rock solid talents to the group.ÃÂ ÃÂ
This is one of my favorite moments during "Take Me Back To Tulsa" when all three fiddles are doing Western Swing and smokin.'
Gene Elders;ÃÂ
Fiddler Extraordinaire! ÃÂ Gene is classically trained but has a Country soul. ÃÂ I can't say enough about Gene, a very classy man with alot of heartfelt talent. ÃÂ I'm fascinated when watching him during a concert. ÃÂ I love the soulful sound of his fiddle and George's "buttah baritone" ÃÂ intwining together. ÃÂ
For more on Gene follow this link to Betty Elder's website.ÃÂ ÃÂ
Mike Kennedy; ÃÂ
used to be the new guy but in 2002 has been with the band for years now. ÃÂ He is a steady and awesome Drummer, always in time. ÃÂ It's alot of fun to watch him when he plays. ÃÂ He feels the rhythym and is the heartbeat of the band. ÃÂ One of my biggest photographic challenges has been trying to get a decent picture of Mike. ÃÂ (Check out the 2002 page, I finally did it!)
Mike Daily ;ÃÂ
an original Ace, and tops in Pedal steel guitar. ÃÂ He can really make that baby cry. ÃÂ Mike is the strong silent type, the quiet one, and lets his talent do the talking. ÃÂ Go to the "D Label" link on the Ace page or on my Straitfever Page to read about 'Pappy Daily's D Label" which will tell you more about Pappy Daily's part in the career of George Strait and the Ace In The Hole Band. ÃÂ There are a few wavs there to an old recording that I know you will enjoy.
Hot Biscuits & Gravy at the RedBird Cafe
Terry Hale;
another original Ace, Terry has been there since the beginning. ÃÂ He and Mike are the ones that named the band. ÃÂ He is a cool cat , steady and solid, with a big Bass talent! ÃÂ I love watching this guy play, especially when I'm sitting where I can really hear that awesome bass.
Wichita Kansas, October of 1995.
This cute individual is Tommy Foote, Road Manager. ÃÂ He started out being the drummer but before long took on some major responsibility. ÃÂ He is in charge of concert security, and does his job well. ÃÂ Tom plays an important role making sure things run smoothly, and that George is safe from overly enthusiastic fans. ÃÂ (By the way Tom loves chocolate chip cookies, and the more he has the easier it is to get those photos of George you want. <grin> ÃÂ He shares them with the band so make sure you take them some cookies when you go to a concert. ÃÂ He'll come out while The Ace is setting up; a good time to say hello.ÃÂ
Paul Rogers;
Production Manager, a smooth, cool, and steady man. ÃÂ Paul is an audio professor in Austin when he isn't on the road taking care of the George Strait tour. ÃÂ I love this guy, and I couldn't make a page for the band without including Paul. ÃÂ He keeps everything going smooth. ÃÂ Watching him walk across the stage gives you an easy feeling that everything is okay and is about ready for George and the Band to take the stage.
Wichita Kansas, 1995
In 1992 it was a delight to see the members of the "Ace In The Hole Band" up on the big silver screen in George's movie "Pure Country." ÃÂ If you haven't seen it go buy it. ÃÂ You will watch it often and enjoy it every time. ÃÂ Watch this band and know that you are seeing the real thing.
The "Ace In The Hole Band" was named the 1995 Western Swing Group of the Year and presented with a "BOB" (as in Wills) Award the Band also has an album that was released in 1994 on Texas World Records. ÃÂ Information on that album follows.
This was the article as printed in 'Strait Talk:'ÃÂ ÃÂ ÃÂ
Texas World Records announces the release of "Ace In The Hole," the debut solo effort of George Strait's touring band, The Ace In The Hole Band. ÃÂ The CD/cassette showcases the talents of one of the most acclaimed, versatile bands in country music -- winners of the 1991 SRO Touring Band of the year. ÃÂ The ten song collection encompasses the musical spectrum from lively swing to tender ballads.ÃÂ
Showcased is the diverse instrumental, vocal, and composing talents of ÃÂ The Ace In The Hole Band. ÃÂ From the traditional to the contemporary, Ace In The Hole captures the breadth of today's Country Music.ÃÂ
Members of the Band, which formed in 1975 in San Marcos, Texas are; Rondal Huckaby on keyboards, Benny McArthur on lead guitar and fiddle, Rick McRae on lead guitar, Mike Daily on steel, Gene Elders on fiddle, Terry Hale on bass, David Anthony on acoustic guitar and Mike Kennedy on drums. ÃÂ Joining the band on this project are musical legends Mel Tillis and Darrel McCall, who lend their distinctive vocal styles to two featured songs: "What Comes Natural To A Fool," and "My Shoes Keep Walking Back To You." ÃÂ Additional vocals feature band members Benny McArthur and David Anthony. ÃÂ Anthony, who wrote "You're Something Special To Me," a #1 hit for Strait in 1985, performs his tune in a unique style that pays tribute to Strait's version. ÃÂ The Radio Western Swing favorite "Back in the Swing of Things" showcases this Band at their best. ÃÂ The album was produced by former Warner Bros. producer Billy Stull and recorded in The Fire Station Studio in San Marcos, Texas.ÃÂ
At last word the "Ace In The Hole" CD was available by calling toll free: 1-800-5-4-AN-ACE (542-6223)ÃÂ
or by contacting Texas World Records at 512-396-3336.ÃÂ
This is the cover to the Band's album.
I'm always looking for good photos of the guys, or for old or new articles - if you have some articles please contact me. ÃÂ I can type them up or scan them and return the original. ÃÂ If you have some photos you'd like to have displayed here please contact me, I can scan them and return them to you.ÃÂ
Return to Straitfever
I recently found the Ace's album available on cassette for $16.98 at "Amazon.com" ÃÂ ÃÂ Then under "Artist Direct.com" I found that the album is available by cassette or CD. I am providing the link. ÃÂ I have also listed my main "Ace In The Hole" page on that website. ÃÂ
ÃÂ ACE IN THE HOLE BAND
ÃÂ Albums: ACE IN THE HOLEÃÂ
CD $14.99 ÃÂ ACE IN THE HOLEÃÂ
Cassette $8.99 ÃÂ ACE IN THE HOLEÃÂ
ÃÂ
(Previews: 5 Songs)
ÃÂ ÃÂ
1 ÃÂ Returning the Corn (2:45) ÃÂ ÃÂ ÃÂ ÃÂ
2 ÃÂ You're Something Special to Me (3:54) ÃÂ ÃÂ ÃÂ ÃÂ
3 ÃÂ Mirrors Don't Lie (3:14) ÃÂ ÃÂ ÃÂ ÃÂ
4 ÃÂ What Comes Natural to a Fool (2:45) ÃÂ ÃÂ ÃÂ ÃÂ
5 ÃÂ I'll Be Waiting Here Til Then (2:29) ÃÂ ÃÂ ÃÂ ÃÂ
6 ÃÂ Texas Bounce (3:25) ÃÂ ÃÂ ÃÂ ÃÂ
7 ÃÂ Back in the Swing of Things (2:55) ÃÂ ÃÂ ÃÂ ÃÂ
8 ÃÂ Difference Between Me and Him Is You (3:24) ÃÂ ÃÂ ÃÂ ÃÂ
9 ÃÂ My Shoes Keep Walking Back to You (2:50) ÃÂ ÃÂ ÃÂ ÃÂ
10 ÃÂ I'm Ragged But I'm Right (2:32) ÃÂ ÃÂ ÃÂ ÃÂ
ÃÂ
ÃÂ
ÃÂ Album Credits ÃÂ ÃÂ ÃÂ
ÃÂ
ÃÂ Benny McArthur ÃÂ Guitar (Electric), Vocals, Vocals (Background), Fiddle ÃÂ
ÃÂ Mike Kennedy ÃÂ Drums ÃÂ
ÃÂ Tom Foote ÃÂ Project Coordinator ÃÂ
ÃÂ Billy Stull ÃÂ Producer ÃÂ
ÃÂ Lucky Tomblin ÃÂ Executive Producer ÃÂ
ÃÂ Don Anders ÃÂ Photography ÃÂ
ÃÂ Ace in the Hole Band ÃÂ Main Performer ÃÂ
ÃÂ David Anthony ÃÂ Vocals, Guitar (Acoustic) ÃÂ
ÃÂ Bobby Arnold ÃÂ Engineer ÃÂ
ÃÂ Mike Daily ÃÂ Guitar (Steel) ÃÂ
ÃÂ Terry Hale ÃÂ Bass ÃÂ
ÃÂ Ronnie Huckaby ÃÂ Keyboards ÃÂ
This page was last updated on: 3/20/2024 | ||||||||
8911 | dbpedia | 1 | 61 | https://www.statesman.com/things-to-do/events/%3F_evDiscoveryPath%3D/event/105007415n-the-stateline-band-strait-from-the-stateline-george-strait-tribute | en | Statesman: Local News, Politics & Sports in Austin, TX | [
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8911 | dbpedia | 3 | 78 | https://www.cancer.org/cancer/understanding-cancer/glossary.html | en | Cancer Glossary | Definitions & Phonetic Pronunciations | [
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""
] | null | [] | null | Get definitions for commonly used cancer-related terms from the American Cancer Society. | en | /content/dam/cancer-org/images/logos/acs/favicon.ico | https://www.cancer.org/cancer/understanding-cancer/glossary.html | abdomen [AB-duh-men]
The part of the body between the chest and the pelvis. It includes the stomach (with the lower part of the esophagus), small and large intestines, liver, gallbladder, spleen, pancreas, and other organs.
ablate [ab-late]
To remove or destroy the function of an organ or body tissue. See also ablation.
ablation [a-BLAY-shun]
Treatment to remove or destroy all or part of a body part or tissue. Can also be used to remove or stop the function of an organ. For example, removing the ovaries or testicles or taking medicines that stop them from making hormones would be called ablation. Besides surgery and drug treatment, other ways of ablating body tissues and tumors include extreme heat, freezing, and chemicals. Also called ablative ( ab-LAY-tive) therapy.
abscess [ab-SES]
A collection of pus in tissues, organs, or other parts of the body.
absolute risk [ab-so-loot risk]
The likelihood a person will develop a disease (such as a type of cancer) over a certain period of time. Absolute risk is shown as a fraction or percentage. For example, in the US, the average absolute risk of a man developing colorectal cancer in his lifetime is about 4%. In other words, in a group of 100 men, about 4 will develop colorectal cancer in their lifetime.
acquired mutation [uh-KWY-erd myoo-TAY-shun]
A mutation (change) in DNA that starts in one cell of the body after a person is born. This mutation is then passed on to any new cells that arise from that cell. In some cases, acquired mutations can lead to cancer. This is different from inherited mutations, which are present at birth and in almost all the cells of the body. Acquired mutations are not passed on to children.
actinic keratosis [ak-TIH-nik KAYR-uh-TOH-sis]
A rough raised area of skin that can develop after a lot of sun exposure. They are benign (not cancer), but over time a few can develop into squamous cell cancer. It is often found on areas of the skin that are frequently exposed to the sun like face, scalp, neck, forearms, and the back of the hands. Also called solar keratosis.
active surveillance [AK-tiv ser-VAY-lents]
Watching a patient’s condition closely without giving them any treatment. During active surveillance, certain exams and tests are done regularly. If there are changes to these test results, treatment may be recommended. Active surveillance may be part of a treatment plan for certain types of cancers like prostate cancer.
adenocarcinoma [A-deh-noh-KAR-sih-NOH-muh]
Cancer that starts in glandular tissue. Glandular tissue makes and secretes a substance, such as in the breast (milk) or in the gland cells of the prostate (seminal fluid).
adenoma [A-deh-NOH-muh]
A benign growth (not cancer) that starts in glandular tissue. Glandular tissue makes and produces a substance. For example, glandular tissue in the ducts or lobules of the breast produce milk, and the gland cells of the prostate produce seminal fluid.
adenomatous polyp [ad-no-muh-tus or ad-uh-NO-muh-tus pa-lip]
A benign (not cancer) growth of abnormal glandular cells. These can become cancer, so they are usually removed when found. For example, 3 types of adenomas that can grow in the colon are tubular, villous, and tuberovillous. In each type, the cells are arranged differently, but there is some overlap so that an adenoma can have both tubular and villous features. See also glandular cells, hyperplastic polyp, inflammatory polyp, polyp, tubular adenoma,villous adenoma.
adhesions [ad-HEE-zhunz]
Scar tissue that can form after surgery or injury. If the scar tissue tightens, it may bind organs together that are normally separate. This can sometimes cause problems, for instance, if there is partial or total blockage of the intestine.
adjuvant therapy [ad-juh-vunt]
Treatment used in addition to the main treatment. It usually refers to hormone therapy, chemotherapy, radiation therapy, or immunotherapy added after surgery to increase the chances of curing the disease or keeping it in check.
advanced cancer
Cancer that has spread from where it started (the primary site) to other parts of the body. When the cancer has grown outside the body part where it started but has not yet spread to other parts of the body, it is called locally advanced cancer. If it has spread to other parts of the body, it is called metastatic cancer.
advance directive
A legal document that tells a person’s health care provider and loved ones his or her wishes about their health care if the person later becomes unable to make decisions for him or herself. This may include whether to start or when to stop life-sustaining treatments. Another type of advance directive lets you choose a person to make decisions for you if you become unable to do it for yourself.
aggressive cancer
Cancer that develops, grows, or spreads quickly.
AJCC Staging System
American Joint Committee on Cancer staging system helps determine how much and where the cancer is in the body using the TNM system. T describes the tumor’s size, location, and if it has grown into nearby areas. N describes the spread of cancer to nearby lymph nodes, and M describes metastasis (the spread of cancer to distant parts of the body).
allogeneic stem cell transplant [A-loh-jeh-NAY-ik]
Uses bone marrow or stem cells from a donor whose tissue type closely matches the patient’s to replace blood-forming cells that have been destroyed by disease or cancer treatment. This can be from a related donor or an unrelated donor. See also stem cells.
alopecia [al-o-PEE-shuh]
Hair loss, which can include loss of scalp hair, body hair, eyebrows, and eyelashes as well as pubic hair. This often happens with chemotherapy treatment or radiation therapy. In most cases, the hair grows back after treatment ends.
alpha blocker [al-fuh]
A drug that relaxes smooth muscle tissue. Alpha blockers are sometimes used to help men who have trouble passing urine because of benign prostatic hyperplasia (BPH) by improving the flow of urine and blood. See also benign prostatic hyperplasia.
alternative medicine
An unproven or disproven therapy that is used instead of standard (proven) medical treatment. Some examples of alternative medicines are special diets, certain supplements or herbs, or high doses of vitamins. The American Cancer Society recommends that patients thinking about using any alternative therapy discuss it first with a member of their cancer care team. Some alternative therapies are known to cause harmful or even life-threatening side effects. With others, the main danger is that the patient may lose the chance to benefit from standard treatment. See also complementary therapy.
ambulatory [AM-byou-luh-tor-ee]
Being able to walk or walking. Ambulatory care centers treat outpatients, that is, people who are not staying overnight in a hospital. Short procedures or treatments are often done in such centers.
Amsterdam criteria [am-STIR-dam cry-TEER-ee-uh]
Criteria doctors use to identify families who might have hereditary non-polyposis colon cancer (HNPCC). Not all people who have HNPCC meet these criteria, but people who meet the criteria may want to consider genetic testing.
analog [an-uh-log]
A substance that is similar, but not identical to another substance. For example, a man-made version of a naturally occurring substance. See also LHRH analogs.
anastomosis [uh-NAS-toh-MOH-sis]
A procedure in which a diseased part of a tubular body structure is removed, and the ends of healthy sections are reconnected.
androgen [AN-druh-jen]
Hormones found in males and females but with much higher levels in males; commonly called male sex hormones. The major androgen is testosterone.
anecdotal report [an-neck-DOE-tul]
Individual or personal report, an incomplete description from one or more patients. It’s not the same as the results of a scientific study.
anemia [uh-NEE-mee-uh]
A condition caused by a low red blood cell count.
anesthesia [an-es-THEE-zhuh]
The loss of feeling or sensation as a result of medicines or substances to keep patients from feeling pain during surgery or other procedures.
General anesthesia causes loss of consciousness (puts you into a deep sleep so you don’t feel pain).
.
Local or regional anesthesia numbs only a certain area, so you won’t feel pain there.
anesthesiologist [an-es-thee-zee-AHL-uh-jist]
A doctor who specializes in giving drugs or other agents (like gasses) that can cause a total loss of feeling, put a patient into a deep sleep, or relieve pain, most often during surgery.
aneuploid [AN-you-ploid]
See ploidy.
angiogenesis [an-jee-o-JEN-uh-sis]
The formation of new blood vessels. Some cancer treatments work by blocking angiogenesis, which helps keep blood from reaching (“feeding”) the tumor.
angiography [an-jee-AH-gruh-fee]
A test in which a contrast dye is injected directly into a blood vessel that goes to the area that is being studied. A series of x-rays are then taken to show doctors the blood vessels around a tumor.
angiosarcoma [an-jee-o-sar-KO-muh]
Cancer that starts from cells that line blood vessels or lymph vessels.
anorexia [an-uh-REK-see-uh]
Loss of appetite, which could be caused by either the cancer itself or treatments such as chemotherapy.
anterior [an-teer-ee-yer]
At or near the front.
anti-androgens [an-tee-AN-druh-jens or an-tie-AN-druh-jens]
Drugs that block the body’s ability to use androgens (male hormones). They are pills, taken up to 3 times a day. Anti-androgens are usually used along with orchiectomy (surgery) or LHRH analogs (medicines) to help treat prostate cancer.
anti-angiogenesis agent [an-tee-an-jee-o-JEN-uh-sis or an-tie-an-jee-o-JEN-uh-sis]
A drug that stops a tumor from forming blood vessels, cutting off its blood supply.
antibiotic [an-tee-by-AH-tick or an-tie-by-AH-tick]
Drug used for treating infections caused by bacteria and other germs.
antibody [AN-tih-bah-dee]
A protein made by immune system cells and released into the blood. Antibodies defend the body against foreign agents, such as bacteria and are produced in response to antigens (substances that cause the body’s immune system to respond in a specific way).. Each antibody can only work to destroy one certain antigen.
anti-emetic [an-tee-ih-MEH-tik or an-tie-ih-MEH-tik]
A drug that prevents or relieves nausea and vomiting.
anti-estrogen [an-tee-ES-tro-jen or an-tie-ES-tro-jen]
Something (for example, the drug tamoxifen) that blocks cells from making estrogen. Anti-estrogens are used to treat breast cancers that depend on estrogen for growth and are being studied for use in treating other types of cancers. An anti-estrogen is a type of hormone antagonist. Also called estrogen blocker.
antigen [an-tuh-jen]
A foreign substance that causes the body’s immune system to respond by making antibodies. For example, the immune system responds to antigens that are part of bacteria and viruses to help people resist infections. Certain cancer cells have antigens that can be found by lab tests. The antigens can help in diagnosing those cancers and in watching response to treatment. Other cancer cell antigens play a role in immune reactions that may help the body resist cancer.
antimetabolites [an-tee-muh-TAB-o-lites or an-tie-muh-TAB-o-lites]
Substances that interfere with the body’s chemical processes, such as those that create proteins, such as deoxyribonucleic acid (DNA) and other chemicals needed for cell growth and reproduction. In treating cancer, antimetabolite drugs disrupt DNA production, which in turn prevents cell division and tumor growth.
antioxidants [an-tee-OX-uh-dunts or an-tie-OX-uh-dunts]
Substances that protect cells from damage caused by the process of oxidation during metabolism. Some vitamins, such as vitamins C and E and beta-carotene are antioxidants. Antioxidants that are found in foods are thought to reduce the risk of some cancers. But taking certain antioxidants as supplements has been linked to higher cancer risk in some people.
APC gene
A gene that helps keep cell growth balanced. Inherited changes in this gene can cause familial adenomatous polyposis (FAP) and Gardner syndrome. People who have a mutation (change) in this gene can develop hundreds of polyps in the colon.
apheresis [a-fur-REE-sis]
A procedure that takes blood out of the body, part of the blood is removed, and the rest of the blood is infused back into the body. Called plasmapheresis if plasma is removed, leukapheresis if white blood cells are removed, or platelet pheresis when platelets are removed. Might also be called pheresis (fur-ree-sis).
apoptosis [a-pop-TOE-sis]
Programmed cell death. Apoptosis is controlled by genes that cause cells to die at certain times, for example, when DNA is damaged. The process of apoptosis may be blocked in cancer cells. Some drugs used to treat cancer cause apoptosis.
aromatase inhibitors
Drugs that keep the adrenal glands from making estrogens. They are used to treat hormone-sensitive breast cancer in women after menopause. Examples include anastrozole (Arimidex®), letrozole (Femara®), and exemestane (Aromasin®). Aromatase inhibitors are being tested to find out if they can also be used to reduce breast cancer risk in women after menopause.
aspiration [asp-er-A-shun]
To suction out a liquid, gas, or tissue fragments. It could also mean to accidentally inhale food or liquids into the lungs (aspirate).
asymptomatic [a-simp-tuh-MAT-ik]
Not having any signs or symptoms of a disease.
ataxia-telangiectasia mutation (ATM) [a-tax-ee-yuh tel-an-jee-eck-TAY-zhuh]
An inherited mutation in a certain gene responsible for repairing damaged DNA. Ataxia-telangiectasia is a rare, inherited, progressive, degenerative disease of childhood that causes loss of muscle control, a weakened immune system, and an increased risk of cancer. If this mutation is present, the carrier may have a higher risk of several types of cancer.
attributable risk [at-trib-ut-a-ble risk]
How much a known factor increases the risk of a disease (such as cancer). Usually given as a percentage, it compares the percentage of people who were exposed to the risk factor and developed the disease to the percentage of people who were not exposed but developed the same disease. For example, if the attributable risk of a factor for a certain type of cancer is 80%, it means that 80% of people who developed this cancer were exposed to that factor, and 20% of people who developed the cancer were not exposed.
atypia [a-tip-ee-yuh]
Not normal; atypical. Often refers to the appearance of cancerous or pre-cancerous cells.
atypical [a-tip-uh-kul]
Not usual; abnormal.
autologous [aw-tahl-uh-gus]
Use of a person’s own blood or tissue in a medical procedure. For example, using a woman’s own tissue to rebuild her breast is called autologous tissue construction.
axillary dissection [ax-ill-air-ee di-sek-shun]
Removal of the lymph nodes in the armpit (the axillary nodes). They are looked at with a microscope to see if they contain cancer.
barium sulfate [bear-ee-um sul-fate]
a substance made into a chalky liquid that is used to outline the digestive tract for x-rays. It can be taken by mouth, as part of upper gastrointestinal (GI) series, or put into the rectum as a barium enema (as part of a lower GI series). See also barium enema, gastrointestinal tract.
basal cell carcinoma [bay-sul or bay-zul sell car-sin-O-ma]
the most common type of skin cancer. It begins in the lowest layer of the epidermis (the outer layer of the skin), called the basal cell layer. It usually develops on sun-exposed areas, especially the head and neck. Basal cell cancer grows slowly and is not likely to spread to distant parts of the body.
basic science
Also called pure science, provides the knowledge and background required for later research into human health problems. In cancer research, this is often lab study in fields like biochemistry, cell biology, or genetics that are not aimed at treating a specific cancer, but may be used later as part of the basis for a treatment.
behavioral research
Research into what motivates people to act the way they do. The results of such research can be used to help encourage people to adopt healthy lifestyles and follow life-saving screening and treatment guidelines.
benign [be-nine]
Not cancer; not malignant.
beta carotene [bay-tuh KAIR-uh-teen]
A substance found mainly in yellow and orange vegetables and fruits. It functions as an antioxidant and converts into vitamin A in the body.
Bethesda criteria [beth-ez-duh cry-teer-ree-yuh]
Criteria that include characteristics common in people with hereditary non-polyposis colon cancer (HNPCC). Most people who meet these criteria actually do not have HNPCC, but might want to consider genetic testing for it.
bilateral [by-lat-er-ul]
On both sides of the body; for example, bilateral breast cancer is cancer in both breasts. Compare to unilateral.
biologic response modifiers [by-o-LA-jick re-spons MOD-uh-fie-urs]
Substances (like the drug interferon) that boost the body’s immune system to fight against cancer. This type of treatment is sometimes called biologic therapy.
biomarkers [BY-o-mar-kers]
Genes, proteins, hormones, or other substances that can be tested for to learn important details about a cancer. They may help find cancer, check how you are responding to treatment, or watch to see if a cancer that has come back (recurred). Also called tumor markers.
biomarker testing [BY-o-mar-ker ]
Testing for genes, proteins, or other substances to find out if:
A cancer is more likely to grow and spread
A certain treatment is likely or unlikely to be helpful
Treatment is working
A person might be at higher risk for some cancers
Someone might have a certain type of cancer (although a biopsy is typically needed to know for sure
Cancer might be returning
Also called tumor testing, tumor genetic testing, tumor subtyping, and genomic testing, or genomic profiling.
biopsy [by-op-see]
Removal of a sample of tissue or cell to see if cancer cells are present. There are several types of biopsies.
biopsy gun [by-op-see]
An instrument used to take core biopsy samples, often used for prostate biopsies.
bisphosphonates [bis-FAHS-fun-ates]
Drugs that slow down the action of osteoclasts which break down bone. When cancer spreads to the bones, it can make osteoclasts overactive. Bisphosphonates can be used to help relieve pain and high calcium levels caused by cancer that has spread to bones, help slow the growth of cancer that has spread to the bones, help delay or prevent fractures, and in some cases, help strengthen bones.
blood count
A count of the number of cells in a given sample of blood.
body image
The way a person thinks about their body and how they think it looks to others.
bone marrow
The soft, spongy tissue in the hollow middle of certain bones of the body. This is where new blood cells are made.
bone marrow aspiration and biopsy [asp-er-A-shun and by-op-see]
A procedure in which a needle is put into the center of a bone, usually the hip or breast bone, to take out a small amount of bone marrow to look at with a microscope.
bone marrow transplant
A treatment to replace stem cells that have been destroyed by high doses of chemotherapy and/or radiation therapy with healthy stem cells. The bone marrow may come from the patient (autologous) or a donor (allogeneic). Also known as a stem cell transplant.
bone scan
An imaging test that gives important information about bones, including the location of cancer that may have spread to the bones. A small amount of radioactive contrast material (radioisotope) which is given by vein. This material settles in areas of the bone to which the cancer may be. The radioactive substance can be seen in pictures as it collects in the problem areas (“hot spots”).
bone survey
An x-ray of all the bones of the body; it may be done when looking for cancer that has spread to the bones. Also called a skeletal survey
brachytherapy [brake-ee-THER-uh-pee]
Internal radiation treatment that uses a radiation source that’s usually sealed in a small holder called an implant. The implant is placed in the body, very close to or inside the tumor.
brain scan
An imaging method used to find anything that isn’t normal in the brain, including brain cancer and cancer that has spread to the brain from other places in the body. This scan can be done in an outpatient clinic. It is painless, except for the needle stick when a radioactive substance (radioisotope) is put into a vein. The radioactive substance can be seen in pictures as it collects in abnormal areas.
BRCA1
A gene which, when damaged (mutated), puts a person at higher risk of developing breast, ovarian, pancreatic, prostate, and other types of cancer, compared to people who do not have the mutation..
BRCA2
A gene which, when damaged (mutated), puts a person at higher risk of developing breast, ovarian, pancreatic, prostate, and other types of cancer when compared to people who do not have the mutation
BRCAPRO
A tool used to help health professionals estimate a woman’s breast cancer risk. It estimates breast cancer risk based on certain risk factors.
breast specialist
A health care professional who has a dedicated interest in breast health. While he or she may have specialized knowledge in this area, medical licensing boards do not certify a specialty in breast care.
bronchoscopy [brong-kah-skuh-pee]
A look at the bronchi in the lungs using a thin, flexible, lighted tube that goes down the throat. This instrument is called a bronchoscope.
CA 19-9
A tumor marker sometimes produced by colorectal, stomach, bile duct, and pancreatic cancers. It may also be produced in non-cancer conditions.
cachexia [ka-kek-see-uh]
A significant loss of weight and muscle mass caused by loss of appetite and poor nutrition.
calcifications [kals-if-ik-A-shuns]
Tiny calcium deposits within the breast, seen alone or in clusters. They are often found on a mammogram. Very small deposits may be called microcalcifications. They are a sign of changes within the breast that may need to be followed by more mammograms, or by a biopsy.
cancer
A group of diseases in which cells in the body change and grow out of control. Most types of cancer cells form a lump, or mass called a tumor. Not all tumors are cancer. A tumor that is not cancer is called benign. A cancerous tumor is called malignant. A cancerous tumor can invade and destroy healthy tissue.
cancer care team
The group of health care professionals who work together to find, treat, and care for people with cancer. Whether the team is linked formally or informally, there is usually one person who coordinates the team.
cancer cell
A cell that divides and reproduces abnormally and can spread throughout the body, crowding out normal cells and tissue. Cancer cells develop because of multiple changes to certain genes.
cancer-related fatigue
an unusual and ongoing tiredness that can occur with cancer or cancer treatments. It can be overwhelming, last a long time, and interfere with everyday life. Rest does not always relieve it.
cancer screening tests
See screening.
cancer surveillance
The ongoing, timely, and systematic collection and analysis of information on new cancer cases, extent of disease, screening tests, treatment, survival, and cancer deaths for public health reasons.
cancer susceptibility genes
Genes that could increase a persons risk for some cancers if they have certain mutations Susceptibility genes are usually inherited from parent(s).
cancer vaccine
A vaccine used to help a person’s immune system attack cancer cells. The goal is to help treat cancer or to help keep it from coming back after other treatments. But there are also some vaccines (the HPV vaccine, for example) that may actually help prevent certain cancers.
cannula
A narrow tube. Different kinds may be used to hold tissues open during laparoscopy, or to give IV medicines and fluids.
capsular contracture
Hardness and deformity in an area caused by scar tissue forming around an implant in the body.
capsule formation
Scar tissue that may form around an implant as the body reacts to the foreign object.
carcinoembryonic antigen (CEA) [car-sin-o-em-bre-ON-ic an-tuh-jin]
A substance normally found in certain fetal tissues. If found in an adult, it may suggest that a cancer, especially one starting in the digestive system, may be present. Tests for this substance may help doctors find out if a colorectal cancer has come back after treatment.
carcinogen [car-sin-o-jin]
Any substance that causes cancer, or helps cancer grow.
carcinoid syndrome [car-sin-oyd sin-drom]
A group of symptoms produced by carcinoid tumors that release large amounts of hormones, which cause facial flushing, wheezing, diarrhea, a fast heartbeat, and other symptoms.
carcinoid tumor [car-sin-oyd]
Tumors that develop from neuroendocrine (nerve and endocrine) cells. They can release certain hormones which can cause symptoms such as facial flushing, wheezing, diarrhea, and a fast heartbeat.
carcinoma [car-sin-O-ma]
A cancer that begins in the skin or the lining layer (epithelial cells) of organs.
carcinoma in situ [car-sin-O-ma in sy-too]
An early stage of cancer when the tumor is confined to the organ where it first developed. The disease has not invaded other parts of the organ or spread to distant parts of the body. Most in situ carcinomas are highly curable.
case manager
The member of the cancer care team who coordinates the patient’s care throughout diagnosis, treatment, and recovery, often working with the insurance company, and connecting the patient and family to resources.
castration [cass-tray-shun]
Use of surgery, radiation, or medicine to stop the ovaries or testicles from making hormones.
catheter [cath-it-ur]
A thin, flexible tube through which fluids enter or leave the body. For example, a tube to drain urine is called a Foley catheter and a tube used to give intravenous fluids or medicines may be called an IV catheter.
causal association or causal link [kaw-zul]
A relationship in which one factor is thought to be responsible for or cause an outcome; for instance, smoking has a causal link to lung cancer.
CDH1
A mutation in this gene can cause hereditary diffuse gastric cancer (a rare type of stomach cancer) to develop at an early age. Women who inherit changes in this gene also have a higher risk of lobular breast cancer.
cell
The basic building unit of all living things. Cells replace themselves by splitting and forming new cells (this process is called mitosis). The processes that control the formation of new cells and the death of old cells are disrupted in cancer.
cell cycle
The series of steps that a cell must go through to divide; some chemotherapy drugs work by interfering with the cell cycle.
centimeter [SIN-tuh-me-ter]
also written as cm. Metric measure of length, 1/100 of a meter. It takes about 2½ cm to equal 1 inch. See also meter, millimeter.
cerebrospinal fluid [suh-REE-bro-spy-nuhl]
A special clear liquid that surrounds and cushions the brain and spinal cord. Also called CSF.
cGy
See Gray under radiation dose.
chaplain
A member of the clergy who helps manage the spiritual needs of the patient and family and can usually address many denominations, faiths, and beliefs.
CHEK2
A gene that if damaged or mutated, can increase the risk of breast and other types of cancer. A damaged CHEK2 gene can be inherited.
chemo brain [key-mo brain]
A mental change that can be defined as a decrease in mental “sharpness”, inability to remember certain things, and having trouble finishing tasks, concentrating on something, or learning new skills. It can happen at any time during the cancer journey, before or after cancer treatment.
chemoprevention [key-mo-pre-VEN-shun]
Using drugs, chemicals, or other substances to try and lower the risk of developing cancer or of cancer coming back.
chemotherapy [key-mo-THER-uh-pee]
The use of medicines to treat cancer. Chemotherapy may be given alone or with other treatments like surgery, radiation therapy, hormone therapy, targeted therapy, or immunotherapy. It can be given as an infusion, injection, or taken by mouth. Often called chemo.
chromosome [KROM-uh-som]
Long strands of DNA that carry genes, the basic units of heredity. Most human cells have 23 pairs of chromosomes, one of each pair from the mother, the other from the father. Each chromosome can contain hundreds or thousands of individual genes.
chronic inflammatory bowel disease
See inflammatory bowel disease.
chronic obstructive pulmonary disease (COPD) [kron-ick ob-struck-tiv PULL-muh-nerr-ee]
Lung disease such as emphysema or chronic bronchitis, that harms the lungs and makes it harder to breathe. More common in people who smoke.
chyme [kime]
the thick, nearly liquid mixture of partly digested food and digestive juices found in the stomach and small intestine.
cirrhosis [seh-ROH-sis]
A disease in which liver cells become damaged and are replaced by scar tissue. People with cirrhosis have an increased risk of liver cancer.
Claus model
A tool used to help health professionals estimate a woman’s breast cancer risk. It gives an estimate of breast cancer risk based on certain risk factors.
clinical breast examination (CBE)
Often shortened to CBE. Examination of the breasts done by a health professional such as a doctor or nurse to check for lumps or other changes.
clinical nurse specialist (CNS)
An advanced practice registered nurse (APN or APRN) with a master’s or doctoral degree and special certification who works closely with the entire care team, and has advanced training and clinical experience in a certain area of medical and nursing practice. Oncology CNSs have many different roles, such as direct patient or family care, supervising staff, nursing research related to cancer patients, or teaching about cancer, treatment, and side effects.
clinical stage
See stage.
clinical trials
Research studies that use human volunteers to test new drugs or other treatments to compare current, standard treatments with others that may be better. They may also test new ways to diagnose or prevent a disease.
colectomy [kuh-lek-tuh-me]
surgery that removes all (total colectomy) or part (partial colectomy or hemicolectomy) of the colon. See also colon, bowel, colostomy, segmental resection, anastomosis.
colitis [kuh-lie-tis]
a general term for inflammation of the large intestine (colon). Colitis can be intermittent (it comes and goes) or chronic (long-lasting, as in ulcerative colitis). See also colon, inflammatory bowel disease.
colonoscopy [ko-lun-AH-skuh-pee]
A procedure that lets a doctor see inside the large intestine, including the colon, to find polyps or cancer.
colony-stimulating factors (CSF)
Substances that stimulate the production of blood cells in the bone marrow. CSFs are naturally produced in the body. They may be given to reduce or prevent certain side effects of chemotherapy that might be caused by not having enough blood cells. They may also be given before taking stem cells from a donor for peripheral blood stem cell transplant.
color Doppler ultrasound
A type of ultrasound that uses a computer to convert sounds into colors to represent blood flow within an organ. It helps make it easier for doctors to find out if cancer has spread into blood vessels.
combination hormone therapy
See combined androgen blockade.
combined androgen blockade (CAB)
Treatments to lower or stop the production of androgens. For example, complete blockage of androgen (male hormone) production that may include removal of the testicles plus the use of anti-androgens can be used to treat prostate cancer.
combined modality therapy [mo-dal-ih-tee]
Treatments used alternately or together to get the best results. For example, surgery for cancer is often followed by chemotherapy to kill any cancer cells that may have spread from the original site.
comedocarcinoma [kom-id-o-car-sin-NO-muh]
ductal carcinoma in situ that has dead or dying cancer cells in its center. See also ductal carcinoma in situ.
complementary therapy
A non-standard treatment used along with standard medical treatment. Complementary methods are not cancer treatments themselves but may be used to help relieve symptoms of cancer and side effects of treatment. The use of complementary treatments may improve wellbeing and quality of life. Some examples of complementary therapies are meditation, physical activity, acupuncture, yoga, guided imagery, reflexology, and massage. Compare with alternative therapy.
complexed PSA
the amount of PSA (prostate-specific antigen) in the blood that is bound to other proteins (the portion of PSA that is not “free”). This test is done instead of checking the total and free PSA, and it could give the same amount of information as the other two done separately. Studies are now under way to see if this test provides the same level of accuracy. See also percent-free PSA, prostate-specific antigen.
concurrent treatment
Treatment or therapy that is given at the same time as another treatment.
conditioning treatment
Treatment used to destroy the bone marrow or reduce its function to prepare for a stem cell transplant. It helps kill any cancer cells in the body, helps make room for new stem cells to grow, and helps reduce the chance that the patient’s body will reject the transplanted cells.
conformal proton beam therapy
See proton beam therapy.
conformal radiation therapy
Radiation treatment that uses a special computer which helps shape the beams of radiation to the shape of the tumor. It also delivers the beams from several different directions rather than all going in from one angle. This cuts down the amount of exposure that any one section of healthy tissue gets by spreading out the entry points.
control group
In research or clinical trials, the group that does not get the treatment being tested. In cancer research, this group most often gets standard treatment (which has already been tested and is in general use). If no standard treatment exists, the control group may get a placebo or sham treatment. Most cancer clinical trials do not use placebos unless they are given along with an active drug. It’s unethical to give someone a placebo instead of a treatment that’s known to work. Also sometimes called the comparison group.
conventional therapy or treatment
See standard therapy.
cord blood transplant
The use of stem cells in blood that has been taken from the placenta and umbilical cords of newborns to replace the blood-forming stem cells in patients whose own stem cells have been destroyed by radiation or chemotherapy.
core needle biopsy
A procedure used to get tissue samples. The needles are wide and remove a small cylinder of tissue. A pathologist looks at these samples with a microscope to see if cancer cells are present.
corticosteroid [kor-tih-ko-STEER-oyd]
Any of a number of steroid substances that come from the cortex (outer layer) of the adrenal glands. They are sometimes used as cancer treatments or to reduce nausea. They are also used to relieve pain in patients with cancer in the bone.
cranium [cray-nee-um]
The bones that form the head. The part of the skull bones that enclose and protect the brain, and support the structures of the face.
Crohn’s disease or Crohn’s colitis [kronz]
A type of chronic inflammatory bowel disease. In this condition, the small bowel or, less often, the colon is inflamed over a long period of time. This increases a person’s risk of developing colon cancer.
cryoablation [cry-o-ah-BLAY-shun]
The use of extreme cold to freeze and kill cancer cells. Also called cryosurgery or cryotherapy.
cryosurgery [cry-o-SUR-juh-ree]
See cryoablation.
cryotherapy [KRY-oh-THAYR-uh-pee]
See cryoablation.
CT colonography
See virtual colonoscopy.
CT-guided needle biopsy
A biopsy procedure that uses a CT scan to help the doctor advance a biopsy needle toward a suspicious area or mass. The images are repeated until the doctor is sure the needle is in the tumor or mass. Tissue is then taken from it and looked at with a microscope.
CT scan, CAT scan, or computed tomography scan [toe-mahg-ruh-fee]
An imaging test that takes many x-rays from different angles. These images are combined by a computer to make 3-dimensional (3-D) pictures of internal organs and tissues. CT scans can help doctors find cancers, show things like a tumor’s shape and size, or find out how well treatment is working.
curative treatment [kur-uh-tiv]
Treatment aimed at completely getting rid of the cancer so that no more treatment is needed, and the cancer is not expected to come back.
cyst [sist]
Pockets of tissue that can form anywhere in the body and may be filled with fluid, air, or pus. Cysts are usually not cancer.
cystoscopy [sis-tah-skuh-pee]
A procedure that looks at the inside of the urethra and bladder with a thin, flexible, lighted tube called a cystoscope
cytogenetics [sy-toe-juh-NET-icks]
Tests that look for abnormal changes (mutations) in chromosomes by testing samples of tissue, bone marrow, or blood in a laboratory Changes in certain chromosomes can be a sign of some types of cancer or genetic diseases.
cytokine [sy-toe-kine]
A substance that is made by cells of the body’s immune system that can affect the immune response. Cytokines can also be made in the lab and given to people to help the body’s immune responses against cancer. See also immune system.
cytology [sy-tahl-uh-jee]
The study of cells using a microscope. Also refers to tests to diagnose cancer and other diseases by looking at cells under a microscope.
debulk [de-bulk]
To surgically reduce the volume or amount of cancer, usually by removing all that can be safely taken out. Debulking might increase the chance that other treatments like chemotherapy or radiation therapy will kill all the tumor cells. It may also be done to relieve symptoms.
depot injection [dee-poe or dep-oh]
A method of injection of a drug that allows it to enter the bloodstream slowly over time. These drugs often can be given every month or even once every few months.
dermatologist or dermatological oncologist [der-muh-TAHL-uh-jist]
A doctor who specializes in skin diseases. A dermatological oncologist has specialized training in diagnosing and treating skin cancers.
detection
See early detection.
diabetes [dai-uh-bee-teez]
A condition that affects how the body turns food into energy. When a person has diabetes, the body does not make enough insulin or use it the way it should. This causes too much sugar to stay in the blood.
diagnosis [die-ug-NO-sis]
Identifying a disease or condition by its signs or symptoms, and by using imaging tests, lab tests, or biopsy.
diaphragm [DIE-uh-fram]
A dome-shaped muscle that separates the chest from the abdomen (belly). The diaphragm moves down to pull air into the lungs, and up to push it out.
dietary supplement
A product, such as a vitamin, mineral, or herb, that is added to the diet with the intention to improve health, and not to diagnose, treat, cure, or prevent disease. Because dietary supplements are not legally considered drugs, their manufacturers can sell them without having to prove they are safe or effective.
diethylstilbestrol or DES [die-ETH-ul-still-bes-trahl]
A man-made form of estrogen prescribed to some pregnant women between 1938 and 1971 to help prevent miscarriages or premature deliveries. It can increase risk of certain cancers for anyone who was exposed to it during gestation (as an embryo or fetus if the mother took it during pregnancy). Women who took this drug while pregnant may be at a slightly higher risk of breast cancer. It is no longer available in the United States. Also known as DES.
dietitian or registered dietitian [die-uh-TISH-un]
An expert in the area of nutrition, food, and diet who has passed a national board exam. Many RDs specialize in areas like weight management, exercise science, cancer care, or cardiac rehabilitation. See also nutritionist.
differentiation [dif-uhr-en-she-A-shun]
The process through which cells mature so they can do the jobs they were meant to do. It describes how much or how little cancer cells look like the normal tissue they came from. Cancer cells that are well-differentiated look more like normal cells and tend to grow and spread more slowly than poorly differentiated or undifferentiated cancer cells.
digital mammography
A way of storing an x-ray picture of the breast as a computer image rather than on the usual x-ray film. Also called 3D mammogram.
digital rectal exam (DRE)
An exam in which the doctor puts a lubricated, gloved finger into the rectum to feel for anything that isn’t normal. This simple test, which is generally not painful, can find some prostate and rectal cancers. Also called DRE.
dilation and curettage or D & C [die-lay-shun and cure-uh-TAZH]
A procedure in which the cervix is opened slightly (dilation) so that tissue from the lining of the uterus (womb) can be removed (curettage). This is often used to get tissue for biopsy. In some cases, all of the contents of the uterus are removed. Also called a D & C.
dimpling
A pucker or indentation of the skin. Dimpling on the breast might be a sign of cancer.
discharge
Fluid that comes out of a part of the body.
discharge coordinator or planner
Often a nurse or social worker who helps make sure patients leaving the hospital have what they need to continue their recovery at home. They also may help a patient find other places to go after leaving the hospital, such as a nursing home or rehab, where they can continue to get the care they need.
disease-free survival rate
The percentage of people with a certain cancer who are still living and have no evidence of cancer at a certain period of time (usually 5 years) after treatment.
dissection [di-sek-shun]
Surgery to divide, separate, or remove tissues.
distal
A term used to refer to a part of the body (usually a limb) located further away from the torso than another part. Ex: the knee is distal to the hip or the ankle is distal to the knee.
distant cancer
Cancer that has spread far from its original location or primary site to distant organs or lymph nodes. Sometimes called distant metastases.
diverticulitis [die-ver-tick-you-LIE-tis]
Inflammation or infection of small pouches that form at weak points in the colon wall, which can cause slight bleeding, mild pain, or muscle cramps.
diverticulosis [die-ver-tick-you-LOW-sis]
The presence of small sacs or pouches in the walls of the colon. These pouches can get inflamed or infected and cause diverticulitis.
DNA or deoxyribonucleic acid [dee-ok-see-ri-bo-noo-KLEE-ick]
The genetic “blueprint” found in the nucleus (center) of a cell. DNA holds genetic information on cell growth, division, and function and is passed from one generation to the next. Also called DNA.
DNA repair
The process of correcting the genetic mistakes made each time a cell divides. If the repair process does not go right, it can increase the chances of a person having some forms of cancer.
Doctor of osteopathic medicine or DO
A doctor with a licensing and educational background much like that of a medical doctor (MD) who is specially trained to use a “whole person” approach to medicine rather than just treating specific symptoms. See also primary care physician.
dorsal
Relating to the back side of the body or body part.
dose-dense chemotherapy
Giving the usual doses of chemo with less time between treatments than in a standard treatment plan. For people with some types of cancer, this may lower the chance that the cancer will come back. This approach can lead to more side effects and be harder to take, so it’s not an option for everyone.
dosimetrist [doe-sim-uh-trist]
A person with special training and certification who calculates and plans the correct dose of radiation therapy (the amount, rate, and how the dose is spread out) for cancer treatment and/or other diseases.
doubling time
The time it takes for a cell to divide or for a group of cells to double in size. Cancer cells vary in doubling time. A cancer might be present for many years before it can be found.
drug resistance
When cancer cells or other microorganisms are not affected by the drugs used to destroy them.
durable power of attorney for health care
A legal document in which you appoint a person to make all your health care decisions for you if you become unable to do so for yourself in the future. This is a type of advanced directive.
dysphagia [dis-fay-zhe-uh]
Trouble swallowing.
dysplasia [dis-play-zhuh]
Abnormal changes of groups of cells within a tissue or organ. Dysplasia is not cancer, but the abnormal changes may sometimes lead to cancer.
false negative
Test result implying a condition does not exist when in fact it does.
false positive
Test result implying a condition exists when in fact it does not.
familial adenomatous polyposis (FAP) [fa-mil-e-uhl ad-no-muh-tus or ad-uh-NO-muh-tus pa-lih-PO-sis]
An inherited condition in which many polyps form on the inner wall of the colon and rectum. A polyp is an abnormal growth on the inner lining of organs. Having FAP puts a person at an increased risk for getting colorectal cancer at an early age. FAP can also increase the risk of getting cancers of the stomach, small intestine, liver, adrenal gland, thyroid, brain, pancreas, and bile duct.
fascia [fash-uh]
A sheet or thin band of fibrous tissue that covers muscles and some organs of the body.
fatigue [fuh-teeg]
An extreme feeling of tiredness or lack of energy, often described as being exhausted. It can last even when a person seems to be getting enough sleep or rest. The fatigue that often comes with cancer is called cancer-related fatigue.
fat necrosis [nuh-crow-sis]
The death of fat cells, usually following injury. Fat necrosis is not cancer, but it can cause lumps and pulling of the tissues. When this happens in the breast, it can be confused with breast cancer.
fecal immunochemical test [fee-kuhl im-you-no-KIM-uh-kuhl test]
A test to look for hidden blood in the stool, which could be a sign of colorectal cancer. A fecal immunochemical blood test uses an antibody that binds to hemoglobin to find any blood. Also called FIT
fecal occult blood test (FOBT)
A test for hidden blood in the stool, which could be a sign of colorectal cancer.
feces [fee-sees]
Solid waste matter; stool.
fiber, dietary
The part of plant carbohydrates such as fruits, vegetables, whole grains, and legumes that can’t be digested. Beans, vegetables, whole grains, and fruits are examples of good sources of fiber. Links between fiber intake alone and risk of cancer are not proven, but eating these foods is still recommended because they contain other substances that may help prevent cancer. They also have other health benefits.
fibrocystic changes [fie-bro-SIS-tick]
Changes in the breast that are not cancer. Symptoms might include breast lumps, swelling, and/or tenderness or pain. These symptoms tend to be worse just before the menstrual period and might change during different stages of the menstrual cycle.
fibrosis [fie-bro-sis]
Formation of scar-like (fibrous) tissue anywhere in the body.
fine needle aspiration biopsy (FNA or FNAB) [asp-er-A-shun by-op-see]
A procedure in which a thin needle is used to suction up (aspirate) samples to look at with a microscope.
first-degree relative
A genetically related (blood-related) parent, sibling (brother or sister), or child.
fistula [fist-chu-luh]
An abnormal passage, opening, or connection between two internal organs or from an internal organ to the outside of the body. A fistula can be created by surgery, or caused by injury or inflammation.
five-year (5-year) relative survival rate
Five-year relative survival rates compare the number of people who are still alive 5 years after their cancer was found to the survival of others the same age who don’t have cancer. For example, if the 5-year relative survival rate for a specific stage of breast cancer is 90%, it means that women who have that cancer are, on average, about 90% as likely as women who don’t have that cancer to live for at least 5 years after being diagnosed.
five-year (5-year) survival rate
The percentage of people with the same type and stage of cancer who are alive 5 years or longer after diagnosis. A five-year survival rate can’t tell how long a person will live but may help give them a better understanding of how likely it is that treatment will be successful.
flow cytometry [sy-tahm-uh-tree]
Test of a sample of cells from a biopsy, cytology specimen, or blood specimen by using special antibodies and a laser beam. It is commonly used to find out the exact type of leukemia or lymphoma a person has. It can also be used to measure the amount of DNA in cancer cells.
fluorescent in situ hybridization or FISH [floo-res-uhnt in sy-too hi-brid-ih-ZAY-shun]
A test that can help look at chromosomes in cells and tissues. It uses special fluorescent dyes that only attach to certain parts of chromosomes and can find specific deoxyribonucleic acid (DNA) sequences. It can be used to diagnose, to evaluate prognosis (disease outlook), or to look at the remission of a disease. also called FISH.
follicle [fah-lick-uhl]
A sac or pouch-like structure. There are many types and sizes of follicles in the body; for example, in the scalp, one follicle contains one hair. In the ovary, one follicle contains one egg.
follicular [fah-lick-yuh-ler]
Relating to a follicle or follicles. In medicine, might refer to a type of cell in an organ, or to a type of cancer that starts in these follicular cells. .
fracture [frack-chur]
A partial or complete break, usually in bone.
frozen section
A very thin slice of body tissue that has been quick-frozen for the pathologist to look at with a microscope while the patient is still in surgery. This method is sometimes used when information about a tissue sample is needed during surgery to make immediate decisions. The diagnosis is confirmed in a few days by a more detailed study called a permanent section.
full body CT scan
A radiology test that scans the body from the chin to below the hips. This is done to look for early signs of disease in people who have no symptoms. There are currently no proven benefits to this procedure and it may be harmful as people are exposed to relatively high levels of radiation during the test.
lactation [lack-tay-shun]
Production of milk in the breast.
laparoscope [LAP-uh-ruh-scope]
A narrow, lighted tube with a small camera at the end put into the body through a very small cut in the body. Lets the surgeon see organs and lymph nodes inside the body. The lymph nodes or organs can then be removed using special surgical instruments put into the body through small incisions.
laparoscopic surgery [lap-uh-ruh-SKAH-pick]
Surgery using a narrow lighted tube with a camera and special long instruments inserted through several small incisions in the body.
laparoscopy [lap-uh-RAHS-kuh-pee]
Examination of a body cavity with an instrument called a laparoscope.
lateral
Away from the middle of the body.
laxative [lack-suh-tiv]
A medicine that helps make stool (feces) easier to pass (promotes defecation) to prevent or treat constipation. Laxatives work in different ways; for example, by pulling fluid into the intestine or irritating the bowel to stimulate movement. Others add bulk (such as fiber), soften the stool, or lubricate it for easier passage.
leiomyoma [lie-o-my-O-muh]
A benign (not cancer) fibrous tumor of the uterus (womb). About 40% of women have leiomyomas by age 40. Usually there are no symptoms, but the tumors can cause abnormal uterine bleeding and other symptoms depending on their size and location in the uterus. Also called uterine fibroid tumor or fibroma. uterus.
lesion [lee-zhun]
An area of body tissue that has been damaged by injury or disease, such as cancer.
leukocyte [LOO-ko-site]
White blood cell.
leukocytosis [loo-ko-sy-TOE-sis]
Having more than the usual number of white blood cells.
leukopenia [loo-ko-PEE-nee-uh]
A decrease in the white blood cell count, common in people with cancer, and often a side effect of chemotherapy.
leukoplakia [loo-ko-PLAY-key-uh]
White patches on the tongue or inside the cheeks. These are often pre-cancers.
LHRH agonists
See luteinizing hormone-releasing hormone analogs.
libido [lih-be-doe]
Sexual desire.
linear accelerator or linac
A machine used for external-beam radiation therapy to treat cancer. It delivers one or more beams of radiation based on the treatment plan.
lipoma
A tumor made of fatty tissue. It is not cancer.
living will
A legal document that allows a person to decide what should be done if they become unable to make health care decisions on their own; a type of advance directive.
lobe
A part of an organ, such as the lungs, brain, liver, and thyroid.
lobectomy [low-bek-tuh-me]
Surgery to remove a lobe of an organ – usually the lung.
local anesthesia
See anesthesia.
local excision [lo-kul eck-si-zhun]
Surgery to remove small superficial (surface) cancers, such as on the skin or in the colon or rectum.
localized cancer
A cancer that is just in the organ where it started; that is, it has not spread to other parts of the body. Also called local cancer.
local recurrence
See recurrence.
local therapy
Treatment that focuses on the site of the cancer, so that the rest of the body is not affected. Surgery, radiation, topical treatments, and cryotherapy are examples of local therapy.
low-dose CT scan
Screening test used to check for signs of lung cancer in people at higher risk for the disease.
low-dose rate brachytherapy [brake-ee-THER-uh-pee]
Treatment that puts pellets or seeds of radioactive material into the cancerous area. The pellets (seeds) are left in place and give off low doses of radiation for weeks or months. Often used for prostate cancer, putting pellets through the skin of the perineum (behind the scrotum) into the prostate. Compare to high-dose rate brachytherapy. Also called LDR brachytherapy or permanent brachytherapy.
lower GI series
A series of x-rays of the intestines taken after a barium enema is given.
lumbar puncture (LP)
A procedure that places a thin needle between the bones of the spine (vertebrae) and into the spinal canal to withdraw a small amount of spinal fluid or to put medicine into the central nervous system (brain and spinal cord) through the spinal fluid. Also called a spinal tap.
lump
Any mass or swelling in the body.
lupus
A disease in which the body attacks its own tissues and organs, causing inflammation. Lupus affects many parts of the body and causes different symptoms for different people.
luteinizing hormone (LH) [LOO-tee-uh-ny-zing]
Pituitary hormone that stimulates the testicles to make testosterone and the ovaries to make estrogen. Also called LH.
luteinizing hormone-releasing hormone analogs or LHRH analogs [LOO-tee-uh-ny-zing]
Lab-made hormones, chemically similar to luteinizing hormone-releasing hormone (LHRH). They stop the body from making the male hormone testosterone and are sometimes used to treat prostate cancer. Sometimes called gonadotropin-releasing hormone (GnRH) analogs.
luteinizing hormone-releasing hormone antagonist [LOO-tee-uh-ny-zing]
A type of drug thought to be able to lower testosterone levels more quickly without causing the tumor symptoms (called tumor flare) to worsen. These drugs are also called LHRH antagonists or gonadotropin-releasing hormone (GnRH) antagonists
luteinizing hormone-releasing hormone or LHRH [LOO-tee-uh-ny-zing]
A hormone made by the hypothalamus (a tiny gland in the brain) that affects pituitary gland production of luteinizing hormone and follicle-stimulating hormone. It therefore affects testosterone levels in men and estrogen and progesterone levels in women. Also called LHRH or gonadotropin-releasing hormone
lycopenes [lie-kuh-peenz]
Plant compounds thought to have health-protecting qualities. Lycopenes are found in tomatoes, pink grapefruit, and watermelon. The most current research suggests that a balanced diet including these foods as well as other fruits and vegetables is probably of greater benefit than taking specific substances as dietary supplements.
lymph [limf]
Clear fluid that flows through the lymphatic vessels throughout the body.
lymphadenopathy [limf-A-duh-NAHpuh-thee]
Swelling of the lymph nodes.
lymphedema [limf-uh-DEE-muh]
A build-up of lymph fluid in the tissues just under the skin, causing swelling and discomfort. It most often affects the arms or legs, but can also develop in the face, neck, trunk, abdomen (belly), or genitals. This can occur when the lymph system is damaged by cancer treatment, infections, injury, or other problems. Lymphedema can develop even years after treatment and can be a life-long problem.
lymph node [limf node]
Small bean-shaped collection of immune system tissue, such as lymphocytes, found throughout the body along lymphatic vessels. They remove cell waste, germs, and other harmful substances from lymph. They help fight infections and also have a role in fighting cancer, although cancers can spread through them. Sometimes called lymph glands. See also immune system, lymph, lymphatic system.
lymph node biopsy
Removal of all or part of one lymph node to be looked at with a microscope to find out if cancer has spread there.
lymph node dissection
Removal of multiple lymph nodes. After removal, the lymph nodes are looked at with a microscope to see if cancer has spread to them. Also called lymphadenectomy.
lymphocyte [limf-o-site]
A type of white blood cell that helps the body fight infection.
lymphokine [limf-o-kine]
See cytokine.
lymphovascular invasion [limf-o-vasc-u-lar invasion]
Cancer growth into the small blood vessels or lymph vessels inside or around a tumor. This doesn’t mean that the cancer has spread, but is more likely to do so.
Lynch syndrome
An inherited tendency to develop certain cancers, such as colorectal, endometrial, ovarian, stomach, small intestine, pancreas, kidney, brain, ureter and bile duct cancers. Also called hereditary non-polyposis colorectal cancer (HNPCC).
p53
An important tumor suppressor gene that normally causes damaged cells to die. When this gene is not working properly, the risk of developing many types of cancer is increased.
pain specialists
Doctors, nurses, and/or pharmacists who are experts in pain control. In many places there’s a team of health professionals who are available to address pain issues.
palliative care or treatment [pal-ee-uh-tiv]
Health care focused on improving quality of life by managing the symptoms of a serious illness and side effects of treatment. Can be given at any time during an illness when a person has symptoms that need to be controlled. Palliative care helps a patient feel more comfortable but does not cure the disease.
palliative care specialists or team [pal-ee-uh-tiv]
Doctors, nurses, pharmacists, and other health care professionals who work together to manage symptoms, such as pain, nausea, or fatigue. A palliative care team approach can be used for any patient (of any age) who has a serious illness. Palliative care teams can and often work alongside cancer care teams to help manage side effects during and after cancer treatment. These teams are often used to help patients during any stage of cancer, from diagnosis, throughout treatment, and to the end of life.
palpation [pal-pay-shun]
Using the hands to examine. A palpable mass is one that can be felt.
pancolitis [pan-ko-LITE-us]
Ulcerative colitis throughout the entire colon.
papillary tumor [PAP-uh-lair-ee]
Cancer cells that are arranged in tiny, finger-like projections when looked at with a microscope. This is a common feature of some tumors of the ovaries, uterus, thyroid gland, and other organs.
papilloma [PAP-uh-lo-muh]
A benign (not cancer) growth.
Pap test or Pap smear
A test in which cells are collected from the cervix and looked at using a microscope to see if cancer or pre-cancer cells are present. Testing is often done for human papillomavirus (HPV) at the same time.
pathologic stage
See stage.
pathologist [path-all-uh-jist]
A doctor who specializes in diagnosing and classifying diseases by lab tests and by looking at tissues and cells with a microscope. The pathologist determines whether a tumor is cancer, and, if it is cancer, the exact cell type (where it started) and grade (how fast it likely will grow).
patient or nurse navigator
A person who guides patients and their families through complex medical systems and helps them work with the rest of the cancer care team to overcome barriers to care that may come up so they can successfully complete their treatment. Navigators can be lay people with special training and experience or health care professionals, like nurses or social workers.
pediatrician [pee-dee-uh-TRISH-un]
A doctor who specializes in caring for children and teens, including preventing illness, providing primary health care, and treating of diseases.
pediatric oncologist [pee-dee-at-trick on-kahl-uh-jist]
A doctor who specializes in caring for children and teens with cancer (sometimes up to age 21).
pelvic examination [pell-vick ex-am-in-A-shun]
An exam of a woman’s uterus and other pelvic organs. It is used to help find cancers of the reproductive organs. The doctor will look at external structures and palpate (feel) the internal organs such as the ovaries and uterus.
percent-free PSA (fPSA)
The portion of prostate-specific antigen (PSA) in the blood that is not attached to blood proteins. The percentage of free PSA (fPSA) is lower in men who have prostate cancer than in men who do not. A low fPSA may suggest the need for a biopsy.
perforation [per-fuh-RAY-shun]
A hole in the wall of a hollow organ, like the bladder or lung.
perineum [pair-uh-NEE-um]
The area between the anus and the scrotum (in males) or the anus and the vagina (in females). This is called the perineal area.
perineural invasion [pair-uh-NOO-rul]
Growth of cancer cells into areas around nerves.
peripheral neuropathy [peh-RIH-feh-rul noor-AH-puh-thee]
Nerve damage which causes numbness, tingling, burning, pain, weakness, loss of ability to feel hot and cold, and cramps in different parts of the body. It usually starts in the hands or feet. It may be caused by injury, infection, disease (cancer, diabetes, kidney failure, or poor nutrition, for example), or by medicines such as chemotherapy. Also called neuropathy.
peritoneum [pear-i-tuh-NEE-um]
The membrane that lines the abdomen (belly) and covers most of its organs. Peritoneal cavity refers to the area enclosed by the peritoneum.
permanent brachytherapy
See low-dose rate brachytherapy.
permanent section
Biopsy tissue that has been prepared to be looked at under a microscope. The tissue is soaked in formalin, processed in various chemicals, enclosed in wax, sliced very thin, attached to a microscope slide, and stained. This process takes several days. It allows a clear view of the cells in the sample so that the pathologist can see whether or not cancer is present.
PET scan or positron emission tomography [pahs-uh-trahn ee-mish-uhn tom-ahg-ruh-fee]
An imaging test that uses radioactive sugar to look for cancer cells in the body. Since cancer cells are more likely to take up larger amounts of sugar than normal cells, the test may be able to identify cancer versus normal cells. PET scans may be used to find tumors or see how well a tumor is responding to treatment.
pharmacist (RPh or PharmD)
A licensed health professional who has at least a bachelor's degree in pharmacy. Pharmacists help to make sure treatments and medicines prescribed to patients are safe and effective. See also Pain specialists and Palliative care specialists.
pharmacogenetics
Looks at how a single gene can change the way a person’s body responds to medications or treatments.
pharmacogenomics
Looks at a person’s total genetic makeup to see what medicines and doses will work best for treatment.
pheresis [fuh-ree-sis]
See apheresis.
photocoagulation or photoablation [foe-toe-ko-ag-yu-LAY-shun or foe-toe-uh-blay-shun]
Surgery that uses a laser beam to destroy tissues or seal tissues or blood vessels. Most often used to relieve blockages rather than to cure cancers.
photodynamic therapy [foe-toe-die-NAM-ick]
A treatment that uses special drugs, sometimes called photosensitizing agents, along with light to kill cancer cells. Also called PDT.
photon beam radiation therapy [foe-ton]
Standard type of radiation used for external beam radiation treatments.
physical therapist
A licensed health professional, who has at least a bachelor’s degree in physical therapy, who helps examine, test, and treat physical problems, and uses exercises, heat, cold, and other methods to restore or maintain the body’s strength, mobility, and function.
physician assistant (PA)
A certified and licensed medical professional with a master’s or doctoral level degree. Physician assistants practice medicine on teams with doctors and other health care professionals, providing a wide range of services. They may specialize in certain diseases or fields of medicine depending on their training and experience.
physiologic [fiz-ee-o-LA-jick]
pertaining to the processes of the body or its systems. May also be used to describe a particular body function or organ as normal.
phytonutrients [fie-toe-KEM-ih-kul]
Plant compounds like carotenoids, lycopene, resveratrol, and phytosterols that are thought to have health-protecting qualities. Also called phytochemicals.
placebo [pluh-see-bo]
A fake pill or treatment that may be used in studies (clinical trials) to compare the effects of a given treatment with no treatment. Placeboes are not used in studies where a proven treatment is available; instead, the new treatment is tested against the proven one.
plastic or reconstructive surgeon [re-kon-STRUCK-tiv]
A surgeon who specializes in changing the way a body part looks or in rebuilding or replacing removed or injured body parts. In reconstruction (rebuilding body parts), the surgeon may use tissue from the patient or some special material with the right consistency to hold a shape or form over time. Also called a plastic and reconstructive surgeon.
platelet [plate-let]
A type of blood cell that helps stop bleeding by plugging up holes in blood vessels after an injury. Chemotherapy and radiation therapy can cause a drop in the platelet count, a condition called thrombocytopenia that carries a risk of excessive bleeding.
pleurodesis [plu-rah-dis-sis or plur-o-DEE-sis]
A procedure to remove fluid that has built up between the lungs and the pleura and keep it from coming back by putting a substance between the layers to fuse them together.
ploidy [ploy-dee]
Number of sets of chromosomes contained in a cell. Cancers with 23 pairs of chromosomes (the same as normal cells) are called diploid(dip-loyd) and those with either more or less than that amount are aneuploid (an-you-ployd).
polycythemia vera [pah-lee-sy-THEME-e-uh vair-uh]
A chronic blood disorder in which the bone marrow makes too many red blood cells, white blood cells, and platelets. This leads to a higher concentration of hemoglobin with larger amounts of red blood cells, which is the main feature of this disease. But with time, the high platelet count may become more of a problem and patients can suffer from problems with blood clots because of this and their “thickened” blood. Although it is not a true cancer, it often turns into acute myelogenous leukemia (AML) after many years.
polyp [pah-lip]
An abnormal growth on the inner lining (mucous membrane) of organs such as the colon, rectum, the uterus, and the nose. Polyps may be non-cancerous (benign) or cancerous (malignant).
polypectomy [pah-lup-ECK-tuh-me]
Surgery or procedure to remove a polyp.
population [pop-u-la-tion]
A group of people who typically share one or more qualities, such as age, sex, or disease.
portography [por-tahg-ruh-fee]
A procedure that uses computed tomography (CT) and a dye injected into the portal vein of the liver. It takes cross-sectional x-rays of the veins to find cancer that may have spread from the colon or rectum.
positive margin
See surgical margin.
posterior [post-eer-ee-uhr]
The back or near the back of an organ or the body.
poultice [pole-tiss]
Soft paste or thick liquid that is usually heated, applied to a cloth, and placed over an inflamed or painful area. Herbs, leaves, or foods are commonly used for this in folk medicine and home remedies.
pre-cancerous
Changes in cells that may, but do not always, become cancer.
predisposition [pre-dis-puh-ZISH-un]
A higher likelihood of developing a certain disease. For example, people with certain mutations (changes) in their genes or a family history are more likely to get certain types of cancer.
pre-malignant
See pre-cancerous.
prevalence [preh-vul-uns]
The number of living people who have ever been diagnosed with cancer, including people diagnosed with cancer in the past and those who were recently diagnosed.
prevention
The reduction of cancer risk by eliminating or reducing contact with things known to cause cancer, by changing conditions that contribute to cancer (such as obesity or lack of exercise), or by using medicines that interfere with cancer development. Lifestyle changes, such as quitting smoking, for example, reduces the number of people who will get lung and other cancers.
previvor
A person who has a higher risk of getting cancer but hasn’t yet been diagnosed with cancer. Previvors are people who have an inherited gene (genetic) mutation, have a family history of cancer, or have other known risk factors.
primary care physician or provider
The doctor a person would normally see first when a medical symptom or problem comes up. A primary care doctor could be a general practitioner, a family practice doctor, a gynecologist, a pediatrician, or an internal medicine doctor (an internist).
primary HPV test
See HPV test or human papillomavirus test.
primary site
The place where a cancer begins. Cancer is usually named after the organ in which it first starts. For example, cancer that starts in the breast is always breast cancer, even if it spreads (metastasizes) to other organs such as bones or lungs.
primary treatment or primary therapy
The first treatment given for a cancer.
progesterone [pro-jes-ter-own]
A female sex hormone released by the ovaries during every menstrual cycle to prepare the uterus (womb) for pregnancy and the breasts for milk production (lactation).
progesterone receptor assay
A test done on breast cancer cells to see whether the cancer is affected by progesterone and might be sensitive to treatment with hormone therapy.
prognosis [prog-no-sis]
The likely course of a disease, including the chance for recovery or of the cancer coming back.
progression
Spreading or growing disease, with or without treatment.
prolactin
A hormone released from the pituitary gland that prompts the breasts to produce milk.
proliferative [pro-lih-fer-uh-tiv]
Rapid growth or increasing numbers of new cells.
prospective cohort study
A long, on-going research study that captures and compares years of data from a cohort (a group of people with similar traits) to learn how specific characteristics or risk factors affect the rate of developing diseases such as cancer. Prospective means data is collected before anyone has developed cancer.
prosthesis [pros-thee-sis]
A man-made substitute for a missing body part. Also called a prosthetic.
protein [pro-teen]
A large molecule made up of a chain of smaller units called amino acids. Proteins serve many vital functions inside and outside of the body’s cells.
protocol [pro-tuh-call]
A formal outline or plan, such as a description of what treatments a patient will get and exactly when each should be given.
proton beam therapy
Radiation therapy that uses protons (positively charged particles) to kill tumor cells. A benefit of this type of treatment is that it lessens radiation damage to healthy tissue near a tumor. It is used for cancers of the brain, eye, lung, head and neck, spine, and prostate.
proximal
A descriptive term for a body part that is nearer to the center of the body than another part.
PSA or prostate-specific antigen
A protein made by the prostate gland that is found mostly in semen and a small amount in the blood. Blood tests for PSA levels may be used for prostate cancer screening, watching for changes in prostate cancer as part of observation or treatment, and checking to see if prostate cancer has come back after treatment is completed.
PSA velocity (PSAV)
A measurement of how fast the prostate-specific antigen (PSA) level rises over time.
psychiatrist [sy-ky-uh-trist]
A medical doctor specializing in the causes, treatment, and prevention of mental, emotional, and behavioral disorders. Psychiatrists provide counseling and can also prescribe medicines or other treatments.
psychologist [sy-koll-uh-jist]
A health professional who has a graduate degree in psychology and training in clinical psychology. This specialist assesses a person’s mental and emotional status and provides testing and counseling services to those who may have an emotional or mental health problem.
psychosocial [sy-ko-SO-shul]
The psychological and/or social aspects of health, disease, treatment, and/or rehabilitation.
PTEN
A gene that normally helps control cell growth. Inherited changes in this gene cause Cowden syndrome, a rare disorder in which people are at higher risk for both non-cancer and cancer breast tumors. It is also linked to growths in the digestive tract, thyroid, uterus, and ovaries.
public health intervention
Measures or steps designed to improve the health of a population. For example, interventions may use tactics at the individual, community, and system level to improve the number of people who get screened for cancer and get HPV vaccinations.
pulmonologist [pull-muh-NAHL-uh-jist]
A doctor who has specialized experience and knowledge in the diagnosing and treating lung (pulmonary) conditions and diseases.
radiation
Energy given off as electromagnetic waves or particles. It can come from natural sources, such as radon gas (from the ground) or from outer space, or be produced for a function, such as x-rays and microwaves. In medicine, radiation may be used to help identify problems (such as x-rays, CT scans) or to treat a disease, such as radiation therapy for cancer.
radiation dose
The amount of radiation an object (such as human tissue) receives. Several units are used to describe radiation doses:
rad (acronym for radiation absorbed dose) -- a basic unit of the amount of radiation absorbed by body tissue. The rad largely has been replaced by the gray measurement scale.
gray (abbreviated Gy) -- the newer, international unit of measurement of radiation absorbed. One gray equals 100 rads.
rem (acronym for roentgen equivalent man) -- -- a conventional unit of radiation exposure used to express the chance that a person will have health effects based on both the dose and the type of radiation. The term has been replaced by the sievert.
sievert (see-vert) -- abbreviated Sv. The newer, standard international unit of radiation exposure used to express the chance that a person will have health effects based on both the dose and the type of radiation. One sievert equals 100 rem.
radiation oncologist [ray-dee-A-shun on-kahl-uh-jist]
A doctor who specializes in using radiation to treat cancer. See also cancer care team.
radiation proctitis [ray-dee-A-shun prok-tie-tis]
Anal and rectal irritation caused by radiation therapy to the pelvic area. Problems can include pain, frequent bowel movements, bowel urgency, bleeding, chronic burning, or rectal leakage.
radiation therapist [ray-dee-A-shun ther-uh-pist]
A person with special training to use the equipment that delivers radiation therapy. This expert often helps the patient get into the right position for treatment and then actually gives the treatment.
radiation therapy [ray-dee-A-shun ther-uh-pee]
Treatment with high-energy particles or rays to destroy or damage cancer cells. The radiation be given by a machine outside the body (external radiation) or by radioactive materials placed in the tumor (brachytherapy or internal radiation). Radiation therapy can be used to shrink the cancer before surgery, to kill any remaining cancer cells after surgery, or as the main treatment. It can also be used as palliative (non-curative) treatment for advanced cancer.
radiation therapy nurse [ray-dee-A-shun ther-uh-pee nurse]
A registered nurse who is an expert in the radiation therapy care of patients. This nurse may teach the patient about treatment before it starts and help manage any treatment side effects.
radiocontrast dye [ray-dee-o-CON-trast]
Any material used in imaging studies such as x-rays, MRIs, and CT scans to help outline the body parts being examined. These may be injected into a vein or you could drink it. Some people can have reactions to radiocontrast dye so before the procedure, let your doctor and the technologist know if you have any allergies or have had a reaction to radiocontrast dye. Also called dye, contrast dye, or radiocontrast medium.
radiofrequency ablation [ray-dee-oh-free-kwin-see uh-blay-shun]
Treatment that uses high-energy radio waves to heat and destroy abnormal tissues. Also called RFA. A thin, needle-like probe is guided into the tumor by ultrasound or computed tomography (CT) scan. The probe releases a high-frequency current that heats and kills cancer cells. RFA is sometimes used to treat tumors in the liver and is being studied for use in other areas of the body.
radioisotope [ray-dee-oh-EYE-suh-tope]
An unstable compound that releases radiation energy as it breaks down. Radioisotopes are used in imaging tests to find cancer. They may also be used to treat cancer.
radiologic technologist [ray-dee-uh-LAH-jick teck-nah-luh-jist]
A health professional who positions patients for x-rays and other imaging tests, takes the images, and then develops and checks the images for quality. The films taken by the technologist are then sent to a radiologist to be read.
radiologist [ray-dee-AH-luh-jist]
A doctor with special training in diagnosing diseases by interpreting (reading) x-rays and other types of imaging studies that make pictures of the inside of the body.
radionuclide bone scan [ray-dee-oh-NOO-klide]
See bone scan.
radiopharmaceuticals [ray-dee-oh-farm-uh-SUIT-ih-kulz]
Drugs that include radioactive elements or radioisotopes. They are given into a vein (intravenously or IV) to treat certain cancers, such as thyroid, bone, and prostate cancer, as well as bone pain related to cancer that has spread to the bones.
radiotherapy
See radiation therapy.
randomized or randomization
A clinical trial process that uses chance to assign participants to different groups to compare treatments. Randomization means that each person has an equal chance of being in the treatment and control (comparison) groups. This helps reduce bias in the results that might happen, if, for example, the healthiest people all were assigned to a particular treatment group.
recurrence
When a cancer that was not detectable after treatment comes back. It may come back where it first started or in a different part of the body.
red blood cells (RBCs)
Blood cells that contain hemoglobin, the substance that carries oxygen to all of the cells of the body. These cells are made in the bone marrow. Low red blood cell counts, a condition called anemia, are a common side effect of many cancer treatments.
re-excision
A second surgery to remove remaining cancer. This may be done if cancer cells were found at the edge of surgically removed tissue.
refractory [re-frack-tuh-re]
No longer responsive to a certain treatment.
regimen [reh-juh-men]
A treatment plan that outlines the specific doses, schedule and length of treatment which may include different medicines as well as other methods such as radiation treatments.
regional involvement or regional spread
The spread of cancer from its primary (original) site to nearby lymph nodes, organs or tissues, but not to distant sites.
registered nurse (RN)
A professional nurse who has completed a college program and passed a national examination. RNs may assess, educate, and treat patients, families, or even communities. They may work in and can get certified in almost any health specialty. They can also go back to school to become an advanced practice nurse (APN or APRN) such as a clinical nurse specialist, nurse practitioner, or nurse anesthetist.
regression [re-gresh-un]
Decrease in the size of a tumor or the amount of the cancer in the body.
rehabilitation [re-huh-bill-ih-TAY-shun]
Actions taken to help a person adjust, heal, and return to a full, productive life after injury or illness. This may involve physical restoration (such as the use of prostheses, exercises, and physical therapy), counseling, and emotional support.
relapse [re-laps]
Return of cancer or other disease after a period of time when signs and symptoms of the disease improved.
relative risk [REH-luh-tiv risk]
The likelihood that people in one group will develop a certain disease compared to people in another group, based on differences in behaviors or conditions. For example, if a behavior or condition lowers the risk of a certain type of cancer by half (50%), you could say it results in a person’s relative risk being 50% lower. But the change in overall (absolute) risk would depend on what the person’s risk was to begin with. So, for example, if a person's baseline risk of a certain type of cancer is 10% (1 in 10), and a factor lowers this by half, the relative risk would be 50% lower, but the change in absolute risk would be 5% (because their overall risk went from 10% to 5%).
relative survival rate [REH-luh-tiv ser-VY-vul risk]
The percentage of people with a disease (such as a type of cancer) who are expected to be alive after a certain period of time when compared to a similar group of people who do not have the disease. Relative survival rates help account for people who die from other causes. Relative survival rates are usually given as a percentage. For instance, if the 5-year relative survival rate of a certain type of cancer is 50%, it means that people with this cancer are half (50%) as likely to still be alive 5 years after their diagnosis, as compared to people without this cancer.
rem
See radiation dose.
remission [re-MISH-un]
A period of time when the cancer is responding to treatment or is under control. In a complete remission, all the signs and symptoms of cancer go away, and cancer cells can’t be found by any tests. In a partial remission, the cancer shrinks but doesn’t completely go away. A remission might not mean the cancer is cured.
replicate [REP-lih-kate]
Reproduce exact copies.
rescue treatment
In cancer care, procedures or treatments such as bone marrow transplant that “rescue” a patient’s immune system and blood-forming organs by stopping the actions of high-dose chemotherapy.
research continuum
The full scope of research—often referred to as bench to bedside. The research can be performed in a research lab, in clinical trials, with health care providers, in health care systems, and within communities.
resection [re-sek-shun]
Surgery to remove part or all of an organ, body tissue, or other structure.
resectoscope [re-SEK-tuh-scope]
Thin, rigid scope with a wire loop at the end that's used to remove abnormal tissue or tumors in the bladder or prostate. Used for transurethral resection of the prostate (TURP) and transurethral resection of bladder tumor.
respiratory therapist [RES-per-uh-tor-ee ther-uh-pist]
A professional who works with people who have breathing problems. This can include breathing treatments and managing patients on ventilators (breathing machines). A CRTT or certified respiratory therapy technician may also examine the patient, collect information about lung function, and set up and maintain equipment, such as ventilators.
respite care [res-pit]
Giving a regular caregiver a break (respite) by providing temporary care in a nursing home, or a hospital for a sick person who is being cared for at home.
response
Improvement after treatment.
retrograde ejaculation [ret-tro-grade e-jack-you-LAY-shun]
A condition in which orgasm causes semen to enter the bladder, rather than leaving the body through the penis. Most often caused by damage to valves in the bladder or nearby nerves after some operations for prostate, testicular, bladder and colorectal cancers. Also known as a dry orgasm.
risk factor
Anything that increases the chance of getting a disease such as cancer. Different cancers have different risk factors. For example, unprotected exposure to strong sunlight is a risk factor for skin cancer; smoking is a risk factor for lung, mouth, throat, and other cancers. Some risk factors, such as smoking and being inactive, can be controlled. Others, like a person’s age and gene mutations they were born with, can’t be changed.
RNA or ribonucleic acid [ri-bo-noo-KLEE-ick a-sid]
A nucleic acid found in all cells that has genetic information copied from the DNA. RNA's primary role is to convert the information that is stored in DNA into proteins. RNA also acts as a messenger (mRNA) between the DNA and ribosomes (cells responsible for making proteins).
RT-PCR or reverse transcription polymerase chain reaction [re-verse tran-scrip-shun puh-lim-er-ace]
A very sensitive test (also called RT-PCR) for finding cancer-related genetic changes (mutations), such as those that happen in some cancers. It can detect very small numbers of cancer cells in blood or tissue samples that would be missed by other tests. RT-PCR looks closely at ribonucleic acid (RNA) for changes that might help determine best treatment choices and response to treatment.
saline [say-lean]
Salt and water solution.
sarcoma [sar-ko-muh]
A cancer that starts in connective tissue, such as cartilage, fat, muscle, or bone.
scan
A test that makes detailed pictures of parts of internal body organs. Includes computed tomography (CT) scans, magnetic resonance imaging (MRI) scans, and nuclear medicine scans (such as bone scans and liver scans).
scanxiety
Worry or concern (anxiety) that develops before, during, or after having imaging scans is called scanxiety. Scanxiety can cause different levels of distress. Some people feel very uneasy (have trouble breathing, or feel like their heart is racing), others are only a little concerned.
scintillation camera [sin-till-LAY-shun]
A device used in nuclear medicine scans to detect radioactivity and make pictures that help diagnose cancer and other diseases.
screening
Tests, examinations, or procedures used to find cancer in people who have no symptoms. Screening increases the chances of finding certain cancers early, when they are small, have not spread, and might be easier to treat. This is different from diagnostic testing which focuses on trying to find out the cause of a person’s symptoms.
secondary tumor
A tumor that forms when the cancer spreads (metastasizes) from the place where it started (the primary site).
second cancer
A new, unrelated cancer that develops in people who have already had a different cancer. For example, if someone who has had breast cancer develops colorectal cancer. This is different from cancer coming back after treatment (recurrence).
sedation [suh-day-shun]
To make sleepy, calm, or relaxed. Medicines to cause sedation are often used along with medicines to numb an area for a procedure or certain types of surgery.
sedentary
Not doing much physical activity while awake. Spending a lot of time sitting, reclining, or lying down. People described as sedentary tend to spend a lot of time being physically inactive.
segmental resection [seg-men-tuhl re-sek-shun]
Surgery to remove part of an organ or to remove a tumor and normal tissue around it. With colon cancer, for instance, the cancer and a length of normal colon on either side of the cancer, as well as the nearby lymph nodes are removed, and the remaining sections of the colon are then reattached. In lung cancer, a section of lobe of a lung is removed. Also called segmentectomy.
selective estrogen receptor modulator (SERM)
A drug used in hormone therapy that blocks estrogen from telling breast cancer cells to grow and divide. Acts like an anti-estrogen in breast cells but like an estrogen in other tissues, like the uterus and the bones. Can be used to treat women with breast cancer who have or have not gone through menopause. Tamoxifen is the most commonly used SERM.
semen [see-muhn]
Fluid released during male orgasm that contains sperm and seminal fluid.
sentinel lymph node biopsy [sen-tin-uhl]
Procedure used instead of routine lymph node dissection (removal) for some cancer types. Blue dye and/or a radioactive substance is injected into the tumor during surgery and the first (sentinel) node that picks up the dye is removed and biopsied. If the first node does not have cancer cells, fewer nodes are removed.
sex therapist
A mental health professional such as a licensed psychiatrist, social worker, clinical nurse specialist, nurse practitioner, or psychologist with special training in counseling people about sexual changes, problems, and communication (for example, after treatment for cancer). It’s common for a sex therapist to work with both sexual partners, rather than just one person.
side effects
Unwanted effects of treatment such as hair loss low blood counts, and fatigue (extreme tiredness) and rashes.
sievert (Sv)
See radiation dose.
sigmoidoscope [sig-MOYD-uh-scope]
A flexible, lighted tube (about the thickness of a finger) with a small video camera at the end. It is inserted through the anus, into the rectum and into the lower part of the colon. This lets the doctor see the entire rectum, but less than half of the colon to look for cancer or for polyps (small growths that can become cancer).
sign
A physical change that can be seen or measured by someone else, such as fever or bleeding. Compare to symptom.
simulation
A process that uses special x-ray pictures to plan radiation treatment so that the area to be treated is precisely located and marked. The radiation can then be delivered as directly as possible to the tumor while lowering effect on normal, healthy tissues.
smoking rate
Number of people who smoke tobacco products (including cigarettes, cigars, pipes, or any other tobacco or nicotine product) in a defined population. For example, the smoking rate of men age 15 and older in the United States is the percentage of men who smoke out of all men in that age group in the US.
social determinants of health
Conditions into which people are born, grow up, live, work, worship and age that impact their health, functioning, and quality of life. For example, housing and neighborhoods, quality of education, level of income, available transportation, health care access and quality, and social connections.
social worker
A health professional with special training in dealing with social, emotional, and environmental problems that may come with illness or disability. A social worker may help people find community resources and support services, and provide counseling and guidance to help with issues such as insurance coverage, nursing home placement, and emotional distress. An oncology social worker is an expert in coordinating and providing help for the cancer patient and family, such as counseling them and helping to manage financial problems, housing or child care issues (such as when treatments are given at a facility away from home), and coping with different types of emotional distress.
solar keratosis
See actinic keratosis.
somatic mutation [so-mat-ick mew-tay-shun]
A change in DNA that starts in one cell of the body at any time of life after an embryo is formed. All the cells that arise from that cell will typically have the same mutation, which in some cases can lead to cancer. Somatic mutations are not passed on to children.
speech therapist
A health professional who is specially trained to work with people who have speech and swallowing problems. Speech therapists help people learn skills to communicate and also make sure that patients can safely eat and drink. Also called a speech pathologist.
s-phase fraction
The percentage of cells in a sample that are copying their DNA as it gets ready to divide into 2 new cells. If the S-phase fraction is high, it means that the cancer cells are dividing more rapidly.
sphincter [sfink-ter]
A ring-like muscle that can open and close to control the passage of waste out of the body. The urethral sphincter squeezes the urethra shut and provides bladder control. There are 2 of these muscles in the anus to control stool (feces), called the external and internal anal sphincters.
spinal cord compression
Any process that puts pressure on the spinal cord, or the nerves that come off it. t Pressure on the spinal cord can cause pain, numbness or weakness in the legs, or stool or urine incontinence. This can occur when cancer spreads to the spine.
spinal tap
See lumbar puncture.
spindle cell [spin-duhl sell]
When seen with a microscope, a cell that looks like a long oval. Some types of sarcomas, melanomas, and carcinomas have this type of cell. There are also normal cells of the body that are shaped like spindles.
spiral CT
A special scanner that takes cross-sectional pictures of the body in a spiral or helix pattern. Also called helical CT.
sputum cytology [spew-tum sy-tahl-uh-jee]
A study of sputum (mucus you cough up from your lungs) using a microscope to see if there are cancer cells.
squamous cell carcinoma [skway-mus sell car-sin-O-mah]
Cancer that begins in the squamous cells (thin, flat cells), for example, the skin or the lining of the body’s organs.
stage
The size of a cancer and if and where it has spread from the primary site. A clinical stage is based on results of the physical exam, biopsy and imaging tests. A pathologic stage is based on how the cells in the tissue samples from surgery or a biopsy look under a microscope.
staging
The process of finding out how much cancer is in a person’s body and where it’s located. Different staging systems are used for different types of cancers. The TNM staging system is used the most.
standard of care
Treatment or care process that medical experts accept as the appropriate treatment for a disease at a certain time.
standard therapy
Treatment based on studies that show that the treatment is safe and effective in one or more types of cancer or for managing side effects of treatment. Also called conventional or mainstream treatment.
statistical analysis
Series of methods used to explore and organize large amounts of data to discover patterns and trends. For example, American Cancer Society researchers use statistical analysis to identify which risk factors affect the development of cancer.
stem cells
Cells that may mature into different types of cells. In cancer, the term usually refers to the immature blood cells (called hematopoietic stem cells) found in the bone marrow and in the blood. These stem cells can mature into all types of blood cells.
stem cell transplant
See bone marrow transplant.
stenosis [steh-no-sis]
A narrowing (stricture) of a duct or canal.
stent
A very small tube or “straw-like” device put in to support and hold open a tube-shaped organ, such as a blood vessel, bile duct or intestine.
stereotactic body radiation [steer-e-o-TACK-tick ]
Using stereotactic radiosurgery techniques for areas outside the brain, such as to the lung, spine or liver.
stereotactic needle biopsy [steer-e-o-TACK-tick need-ul by-op-see]
A type of needle biopsy that is useful when calcifications or a small mass can be seen on imaging tests but cannot be felt (such as in a breast) or tumors are in a location where surgery to remove them is risky (such as a brain tumor). A computer maps the location of the mass to guide the placement of the needle.
stereotactic radiosurgery [steer-e-o-TACK-tick ray-dee-o-SUR-jer-ee]
External radiation treatment (not surgery) that uses special equipment to focus a large dose of radiation to a small tumor area, usually in one session. The radiation is very precisely aimed to affect nearby tissues as little as possible. This treatment is used for brain tumors and other tumors in the head.
sterility
The inability to have children, which can result from some types of cancer treatment. Also called infertility.
sternum
Breastbone, the flat bone where the ribs meet in the center at the front of the chest.
stoma [sto-muh]
An opening made during surgery to connect a body part to the outside. Stomas may be created in the neck to allow a person to breathe (also called a tracheostomy or trach) or to allow elimination of stool or urine, such as colostomy, ileostomy, or urostomy.
stomatitis [sto-muh-TIE-tus]
Inflammation, sores, or ulcers of the mouth. Stomatitis can be a side effect of some kinds of chemotherapy, radiation treatment, targeted therapy, and immunotherapy. Also known as mucositis.
stool
Solid waste matter from the bowels that is eliminated through the anus. Also called feces or poop.
stool DNA testing
A method to detect abnormal deoxyribonucleic acid (DNA) in cells that are shed by polyps or colorectal cancers in the large intestine and come out in the stool. This test can be helpful in screening for colorectal cancer.
stool softener
A mild type of laxative that helps keep the stool from becoming hard, dry, and difficult to pass. See also laxative.
stress incontinence
Leaking a small amount of urine when coughing, laughing, sneezing, lifting heavy objects, or exercising.
stricture [strick-chure ]
A narrowing or constriction of a tube, duct, or hollow organ like an esophagus, ureter, or urethra.
stroma [stro-muh]
Connective tissue that supports organs and other structures in the body.
strontium-89 [stron-tee-um]
A radioactive substance (radioisotope) used to treat bone pain from cancer that has spread to the bones. It is injected into a vein and is attracted to areas of bone containing cancer. The radiation given off by the strontium-89 kills the cancer cells, and helps relieve pain.
superior
Higher than another part of the body or organ; closer to the head.
surgeon [sur-jun]
A doctor with special training to cut or remove tumors or parts of the body affected by a disease. A surgical oncologist is a doctor who specializes in surgery to treat cancer. A thoracic surgeon is a doctor who operates on organs in the thorax or chest, including the lungs, ribs, the sternum (breast bone), the diaphragm (the muscle that helps breathing).
surgical biopsy
Removal of tissues through an incision (open cut) so that they can be looked at under a microscope to find out if they contain cancer cells.
surgical margin
Edge of the tissue removed during surgery. A negative surgical margin means that no cancer cells were found on the outer edge of the removed tissue and is considered a sign that none of the cancer was left behind. A positive surgical margin means that cancer cells are found at the outer edge of the tissue removed so more surgery may be needed.
surgical oncologist
A doctor who specializes in using surgery to tr | |||||
7959 | dbpedia | 2 | 7 | https://www.thewittliffcollections.txst.edu/research/a-z/austinfilmfestival.html | en | Austin Film Festival / On Story Archive | [
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] | null | [] | null | en | /.resources/1718749500717/wittlifffavicon.png | https://www.thewittliffcollections.txst.edu/research/a-z/austinfilmfestival.html | Detailed Description of the Collection
Presentations, 1994
“All the World's A Screen,” October 14, 1994.
Jim Hart.
Audio, Part 1: https://dc.library.txstate.edu/node/6551
Audio, Part 2: https://dc.library.txstate.edu/node/6422
“Case Study: Men in Black,”October 14, 1994.
Ed Solomon, Barry Josephson.
Audio, Part 1: https://dc.library.txstate.edu/node/6557
Audio, Part 2: https://dc.library.txstate.edu/node/6423
“Collaborators: Joined at the Script,” October 13, 1994.
Bill Broyles, Al Reinert, Steve Harrigan, Larry Wright.
Audio, On-site access only.
“Do I Have to Move to LA?” October 14, 1994.
Richard Linklater, Steve Harrigan, Sarah Bird, Jay Stapleton, Tim McCanlies.
Audio. On-site access only.
“Do You Have to Be Crazy? Off the Record with Kurt Luedtke,” October 14, 1994.
Kurt Luedtke.
Audio. On-site access only.
“A Foot In the Back Door: Alternative Access to the Screen,” October 15, 1994
Hart Preston, Greg Beal, Steve Mims, Jeff Althuler, Marian Luntz.
Audio. On-site access only.
“From Script to Property: Attaching The Goods to Get It Made,” October 14, 1994.
Matt Gross, David Valdes, Barry Josephson.
Audio. On-site access only.
“Funny Business: The Serious Side of Comedic Writing,” October 14, 1994
Mike Colasuonno, Ed Yeager, Brad Gyori, Ed Solomon.
Audio. On-site access only.
“How Not to Get Lost in Translation: Adapting from Other Sources,” October 15, 1994.
Jim Hart, Kurt Luedtke, Frank Pierson.
Audio. On-site access only.
“Independent or What? Reaching Another Kind of Audience,” October 14, 1994.
Henry Jaglom, Richard Linklater, Carty Talkington, Scott Perry.
Audio. On-site access only.
“Keynote Address by Frank Pierson, President of WGAw,” 1994.
Frank Pierson.
Audio: https://dc.library.txstate.edu/node/6544
“Kidflicks: A Bigger Playhouse for Family Producers,” October 15, 1994.
Kit McLeod, Tamera Carlisle, Holly Sloan.
Audio. On-site access only.
“Latino Screenwriters and the Hollywood Marketplace,” 1994
Charles Ramirez-Berg Moderator, David Maciel, Beverly Sanchez Padilla, James Borrego, Fernando Cano and Alma Cervatez.
Audio. On-site access only.
“Making the Transition From Journalism Into Screenwriting,” October 15, 1994.
Kurt Luedtke, Bill Broyles, Larry Wright, Randy Sue Coburn, Steve Harrigan.
Audio. On-site access only.
“Master Class: Jim Hart on Story Structure,” October 15, 1994. Jim Hart.
Audio, Part 1: https://dc.library.txstate.edu/node/6552
Audio, Part 2: https://dc.library.txstate.edu/node/6431
Audio, Part 3: https://dc.library.txstate.edu/node/6432
Audio, Part 4: https://dc.library.txstate.edu/node/6433
Audio, Part 5: https://dc.library.txstate.edu/node/6434
Audio, Part 6: https://dc.library.txstate.edu/node/6435
“Matt Gross,” October 15, 1994. Matt Gross.
Audio, Part 1: https://dc.library.txstate.edu/node/6553
Audio, Part 2: https://dc.library.txstate.edu/node/6436
“The Power of Attorney: Fatal Subtraction,” October 15, 1994.
Pierce O'Donnell, Frank Pierson, Dennis McDouga.
Audio. On-site access only.
“The Team: The Agent-Writer Partnership,” October 14, 1994.
Ronda Gomez, Mark Rubel, Jon Levin, Jim Hart, Jay Stapleton.
Audio. On-site access only.
“Women and Film: Gender, Power, and Opportunity,” October 15, 1994. Lynda Obst, Freyda Rothstein, Linda Woolverton, Ronda Gomez.
Audio. On-site access only.
Presentations, 1995
“Big Stories for the Small Screen,” October 5, 1995.
Patrick Taggart, Sarah Bird, Stephen Harrigan, Tim McCanlies.
Audio. On-site access only.
“The Burning Questions,”October 6, 1995.
Rodney Gibbs, Tory Metzger, Gayla Nethercott.
Audio. On-site access only.
“Closing Remarks,” October 8, 1995.
Bill Wittliff.
Audio, Part 1: https://dc.library.txstate.edu/node/6554
Audio, Part 2: https://dc.library.txstate.edu/node/6424
“Craft Session: On the Edge of Your Seat,” October 6, 199.
Scott Frank.
Audio, Part 1: https://dc.library.txstate.edu/node/6559
Audio, Part 2: https://dc.library.txstate.edu/node/6425
“Craft Session: The Speed of the Art,” October 5, 1995.
Shane Black, Christopher McQuarrie.
Audio, Part 1: https://dc.library.txstate.edu/node/6558
Audio, Part 2: https://dc.library.txstate.edu/node/6426
“Craft Session: What's Wrong With This Picture?” October 7, 1995
Nicholas Kazan, Robin Swicord, David Valdes.
Audio. On-site access only.
“Cutting a Slice of Life,”October 5, 1995.
Jim Magnuson, Winnie Holzman, John Romano.
Audio. On-site access only.
“Do I Have to Move to LA?”October 6, 1995.
Lindy Laub, Mark Bristol, Natalie Lemberg, Gayle Nethercott, Jesse Sublett.
Audio. On-site access only.
“A Foot In the Door,” October 7, 1995.
Adam Beechen, Jack Burditt, Dawn DeKeyser, John Semper.
Audio. On-site access
“From Script to Property-The Development Process,” October 6, 1995.
Greg Beal, Doug Belgrad, Matt Gross, Lois Johnson, Stacy Maes. Audio. On-site access only.
“In Search of Quality,”October 5, 1995.
Winnie Holzman, John Romano.
Audio. On-site access only.
“Is Opportunity Knocking?”October 6, 1995.
Jane Sumner, Lois Johnson, Dawn DeKeyser, Callie Khouri, Stacy Maes, Gayla Nethercott, Lynda Obst.
Audio. On-site access only.
“Making a Production Out of It,” October 7, 1995.
Tom Copeland, Matt Gross, Annette Handley, Barry Josephson, Lynda Obst, David Valdes.
Audio. On-site access only.
“Master Class II: Robin Swicord,” 1995.
Robin Swicord.
Audio, Part 1: https://dc.library.txstate.edu/node/6545
Audio, Part 2: https://dc.library.txstate.edu/node/6428
“Master Class III: Bill Broyles & Al Reinert,” 1995.
Bill Broyles, Al Reinert.
Audio, Part 1: https://dc.library.txstate.edu/node/6555
Audio, Part 2: https://dc.library.txstate.edu/node/6440
“On Your Own Terms-Budgeting and Marketing Your Independent Films,” October 7, 1995.
Tara Veneruso, Cevin Cathell, Scott Perry, Barry Primus, Whit Stillman. Audio. On-site access only.
“A Pinch of This, A Little of That,” October 7, 1995.
Tom Schatz, Scott Frank, Mark Handley, Steph Lady, Frank Pierson, Al Reinert.
Audio. On-site access only.
“The Road Less Traveled- Alternative Access to the Screen and Television,” October 6, 1995.
Chuck Slocum, Ben Edlund, Mark Hander, Whit Stillman.
Audio. On-site access only.
“The Real Deal,” October 7, 1995.
Chuck Slocum, Doug Belgrad, Bill Jacobson, Tony Metzger, Rick Pappas, Bill Wittliff.
Audio. On-site access only.
“The Stories Hollywood Won't Touch,” October 6, 1995.
Tara Veneruso, Linda Kendall, Scott Perry, Barry Primus, Whit Stillman. Audio. On-site access only.
“The Stories of Their Lives,”October 6, 1995.
Joseph Kruppa, Mardik Martin, Tim McCanlies, Frank Pierson.
Audio. On-site access only.
“Syd Field, Please Forgive Me,”October 7, 1995.
Tom Schatz, Steve Harrigan, Nicholas Kazan, Frank Pierson, Whit Stillman, Robin Swicord.
Audio. On-site access only.
“To Pitch or Not to Pitch,”October 6, 1995. Doug Belgrad, Matt Gross, Steph Lady, Gayle Nethercott. Audio. On-site access only
“WGA Panel: The Independent Voice in Hollywood,” October 7, 1995.
Chuck Slocum, Wes Anderson, Frank Pierson, Barry Primus, Owen Wilson.
Audio. On-site access only.
“The Whole Truth,” October 7, 1995.
Bill Scott, Al Reinert, Ric Burns, Jesse Sublett.
Audio. On-site access only.
Presentations, 1996
“Alternate Access: Finding your Own Path to Screenwriting Success,” October 10, 1996.
Michael Minnis, Les Bohem, Mad Adams, Adam Foshko, John Lee Hancock, Cammie Harper.
Audio. On-site access only.
“Beauties, Bitches, and Businesswomen: Where are the Strong Female Characters?” October 12, 1996.
Sarah Bird, Polly Platt, Peggy Hubble, Pen Densham, Richard LaGravanese.
Audio. On-site access only.
“The Double Edged Sword: A Study in Heros and Villains,” October 11, 1996.
Randall Wallace, Chris McQuarrie, Patrick Duncan, Pen Densham, John Lee Hancock, Larry Wright, Jennifer Hill.
Audio. On-site access only.
“For All Audiences: A Look at Writing Family Films,” October 10, 1996.
Jeff Arch, Tim McCanlies, Richard LaGravanese, Tommy Kendrick.
Audio. On-site access only.
“He Said She Said: Principles of Writing Diologue,” October 11, 1996.
Bill Broyles, Kos Kostmayer, Jess Arch, Michael Minnis, Richard LaGravanese, Chris Daniel.
Audio. On-site access only.
“Heart of the Matter with Bill Wittliff,” 1996.
Bill Wittliff.
Audio, Part 1: https://dc.library.txstate.edu/node/6548
Audio, Part 2: https://dc.library.txstate.edu/node/6427
“Hitting the Books: A Research Panel,” October 11, 1996.
Randall Wallace, Al Reinert, Stephen Harrigan, Steve Rivele, Chris Wilkinson, Larry Wright.
Audio. On-site access only.
“Hour Power: One Hour TV Dramas,” October 11, 1996.
Kim Priedman, Michael Piller, David Mills, Jim Magnuson, Adam Beechen, Brad Radnitz.
Audio. On-site access only.
“’I Know What You're Going For:’ A Writer/Producer Panel,” October 12, 1996.
Karen Murphy, Les Bohem, Dan Rosen, Michael Phillips, Whit Stillman. Audio. On-site access only.
“Made for TV: Writing Movies for Television,” October 11, 1996.
Adam Beechen, Greg Beal, Jennifer Hill, Shawn Guthrie.
Audio. On-site access only.
“Master Class with Bill Wittliff,” October 12, 1996.
Bill Wittliff.
Audio, Part 1: https://dc.library.txstate.edu/node/6546
Audio, Part 2: https://dc.library.txstate.edu/node/6429
“Master Class with Polly Platt,” October 12, 1996.
Polly Platt.
Audio, Part 1: https://dc.library.txstate.edu/node/6547
Audio, Part 2: https://dc.library.txstate.edu/node/6430
“The Reader's Digest,”October 11, 1996.
Ron Peer, Bill Jacobson, Karen Murphy, Michael Jones, Gayla Nethercott.
Audio. On-site access only.
“Riding the Rocket: Our Success Stories,” October 10, 1996.
Max Adams, Ron Peer, Shawn Guthrie.
Audio. On-site access only.
“Right in Your Own Backyard: A Look at Austin's Independent Filmmakers,” October 12, 1996.
Cary Roberts, Thomas Pallotta, Jeff Stolhand, George Ratliff, Tom Copeland.
Audio. On-site access only.
“Sense and Sensibility: Should I Spend All My Time Writing the Next Die Hard IV?” October 10, 1996.
Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6556
Audio, Part 2: https://dc.library.txstate.edu/node/6441
Audio, Part 3: https://dc.library.txstate.edu/node/6437
“Sounds of Silence: Writing Without Dialogue,” October 10, 1996.
Eric Roth, Randall Wallace, Patrick Duncan, Bill Wittliff, Pen Densham, Jason White.
Audio. On-site access only.
“Stranger Than Fiction: A Documentary Panel,” October 10, 1996.
Richard Lewis, Jesse Sublett, Hector Galan, Keva Rosenfeld.
Audio. On-site access only.
“Through the Glass Darkly: Writers/Directors Speak on Bringing a Story to Life,” October 12, 1996.
Keva Rosenfeld, Dan Rosen Patrick Duncan, Pen Densham, Bryan Singer, Peter Masterson, Darrell Kreitz.
Audio. On-site access only.
“To Live and Try in LA,”October 11, 1996.
Shawn Guthrie, Dan Rosen, Chris McQuarrie.
Audio. On-site access only.
“You Have the Right to Write: Legal Issues Surrounding Writers' Rights,” October 10, 1996.
Dan Rosen, Gayla Nethercott, Rick Pappas, Mike Tolleson.
Audio. On-site access only.
Presentations, 1997
“An Affair to Remember: Great Character Relationships,” October 4, 1997.
Ted Tally, Joe Tropiano, Christopher McQuarrie.
Audio. Onsite access only.
“The Better Half: Women in Film,” October 4, 1997.
Laurice Elehwany, DeDe Gardner, Robin Swicord, Carrie Richman. Audio. Onsite access only.
“Breaking In: Tales for the Nineties,” October 5, 1997.
Andrew Marlowe, Ron Peer, Greg Beal, Jim Dauterive.
Audio. Onsite access only.
“Budget and Filmmaking: How to Cut Corners Where They Won't Show,” October 4, 1997.
Miguel Arteta, Beau Flynn, Chris A'Arienzo, Polly Platt.
Audio. Onsite access only.
“Case Study: King of the Hill,” October 4, 1997.
Jim Dauterieve, Mike Judge, Johnny Hardwick.
Audio. Onsite access only.
“Channel Surfing: How to Break into Television,” October 3, 1997. Valerie Ahem, Adam Beechen, Jim Dauterive, Christian McLaughlin, Meredith Stiehm.
Audio. Onsite access only.
“Details, Details, Details: How to Bring a Screenplay to Life,” October 3, 1997.
Andrew Marlowe, Eric Roth, Joe Tropiano.
Audio. Onsite access only.
“Documentary Film-Making: The Fly on The Wall,” October 4, 1997. Paul Steckler, S.R. Bindler.
Audio. Onsite access only.
“Don't Use So Much Dialogue: Writing Visually,” October 3, 1997.
Ted Tally, Andrew Kevin Walker.
Audio, Part 1: https://dc.library.txstate.edu/node/6446
Audio, Part 2: https://dc.library.txstate.edu/node/6447
“Dramatis Television: The One-Hour TV Drama,” October 3, 1997. Adam Beechen, Gayla Nethercott, Meredith Stiehm, Rodney Gibbs. Audio. Online access only.
“The Edge of Your Seat: Suspense Writing at Its Finest,” October 2, 1997.
Carl Gottlieb, Al Reinert, Andrew Marlowe.
Audio. Onsite access only.
“Formatting Your Screenplay,” October 4, 1997.
Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6448
Audio, Part 2: https://dc.library.txstate.edu/node/6473
“Free for All Q&A with Oliver Stone and Dennis Hopper,” October 4, 1997.
Dennis Hopper, Oliver Stone.
Audio. Onsite access only.
“Free for All Q&A with Oliver Stone and Dennis Hopper,” October 4, 1997.
Dennis Hopper, Oliver Stone.
Audio. Onsite access only.
“From Stage to Screen: Playwrights Who Have Made the Move,” October 3, 1997.
Rick Pappas, Edward Pomerantz, Tony Spiradakis, Ted Tally.
Audio. Onsite access only.
“From the Bookstore to the Movie Theatre,” October 3, 1997.
Harry Anderson, Pen Densham, Steven Schwartz, Ted Tally.
Audio. Onsite access only.
“Getting It Right the Next Time: Rewriting Your Screenplay,” October 3, 1997.
Doug Belgrad, Ron Peer, Al Reinert, Laurice Elehwany.
Audio. Onsite access only.
“Have you Got a Twenty-Seven-B Stroke-Six?: Permits, Passes, and Legalities,” October 5, 1997.
Tom Copeland, Andrew Deane, Harris Tulchin.
Audio. Onsite access only.
“It Takes Two to Tango: A Producers' Panel,” October 4, 1997.
David Gale, Mike Judge, Matt Gross, Andrew Marlowe.
Audio. Onsite access only.
“The Labors of Hercules: Getting Your Film Made,” October 4, 1997. Carl Gottlieb, Al Reinert, Andrew Marlowe.
Audio. Onsite access only.
“NARAS Panel: Music and Movies,” October 4, 1997.
Mike Judge, Robert Rodriguez, Joe Tropiano, Richard Linklater, Richard Perna.
Audio. Onsite access only.
“Prospecting in TV Land: Writing Spec Scripts,” October 3, 1997. Valerie Ahem, Jim Halpern, Adam Beechen, Christian McLaughlin, Dawn DeKeyser.
Audio. Onsite access only.
“Putting Words in My Mouth: The Actor and Writer Relationship,” October 4, 1997.
Paul Chart, Amanda Plummer, Dennis Hopper, Bud Shrake, Buck Henry. Audio. Onsite access only.
“Staying in Character: A Study in Character Mechanics,” October 4, 1997.
Nick Kazan, Eric Roth, Joe Tropiano.
Audio. Onsite access only.
“The Stuff Nightmares are Made Of: The Psycholoical Thriller,” October 4, 1997.
Tobe Hooper, Ted Tally, Nick Kazan, Andrew Kevin Walker.
Audio. Onsite access only.
“The Thirty Minute Comedy: TV Hilarity Ensues,” October 2,1997. Valerie Ahem, Harry Anderson, Jim Dauterive, Johnny Hardwick.
Audio. Onsite access only.
“Why We Watch Movies: A Look into the Movie Going Phenomenon,” October 3, 1997.
Pen Densham, Bill Wittliff.
Audio, Part 1: https://dc.library.txstate.edu/node/6444
Audio, Part 2: https://dc.library.txstate.edu/node/6445
“You, Too, Know Someone in Hollywood: Getting Into the Business Through the Back Door,” October 2, 1997. Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6442
Audio, Part 2: https://dc.library.txstate.edu/node/6443
Presentations, 1998
“The 3-Act Structure: Is it Really Necessary?,” October 4, 1998.
Bob Poole, Bill Broyles.
Audio. Onsite access only.
“Agents, Lawyers, and Big Huskey Norwegians: Writers' Representation,” October 2, 1998.
Chris Henze, Harris Tulchin, Gayla Nethercott, Ned McLeod.
Audio. Onsite access only.
“Avoiding the Rut: Writing for Television Comedy,” October 3, 1998. Jack Burditt, Johnny Hardwick.
Audio. Onsite access only.
“Beyond Mice and Ducks: Writing for Feature Animation,” October 1, 1998.
Rita Hsiao, Paul Dini, Bob Poole, McCarthy Moderate.
Audio. Onsite access only.
“Breaking into Cable,” October 2, 1998.
Jessika Borsiczky, Adam Beechen.
Audio. Onsite access only.
“Buzz and Internet,” October 2, 1998.
Gary Ross, Trevor Albert, Harry Knowles, Stuart Gordon (moderator). Audio. Onsite access only.
“Can't We All Just Get Along?": The Writer-Director-Actor-Actor Relationship,” October 3,1998.
Andrew Marlowe, Richard Shankman, Jon Cryer, Bob Poole, Johnny Hardwick.
Audio. Onsite access only.
“Crimes and Thrillers: The Art of Film Noir,” October 2,1998.
Brian Helgeland, James McManus, Andrew Kevin Walker. Audio.
Onsite access only.
“Economy of Words: Writing for a Budget, October 4, 1998.
Tim McCanlies, James McManus, Jon Cryer, Richard Shankman.
Audio. Onsite access only.
“’I'm Big in Europe.’ International Film Markets,” October 3, 1998. Sydney Levine, Polly Platt, Lynn Cleghdy, Eugene Vidoff.
Audio. Onsite access only.
“I'm on Top of the Word!: Success Stories,” October 2, 1998. Greg Beal, Rita Hsiao, Ron Peer, Jim Dauterive, Brian Helgeland.
Audio. Onsite access only.
“Indie Pitfalls,” October 3, 1998.
Sydney Levine, Stuart Gordon, Tim McCanlies, John Hamburg, Rodney Montague.
Audio. Onsite access only.
“Killer Endings: Concluding Your Screenplay,” October 4, 1998.
Jeremy Pikser, Tim McCanlies, Lamont Johnson.
Audio. Onsite access only.
“Like Cats and Dogs?: Critics and Pros,” October 3, 1998.
Debra Hill, Dale Launer, Leonard Klady, Kirk Honeycutt, Paul Schrader (moderator), Thomas Schatz.
Audio. Onsite only.
“Like Laurel and Hardy: The Writer-Agent Relationship,” October 3, 1998.
Gayla Nethercott, Stephen Harrigan.
Audio. Onsite access only.
“Loquacity vs. Verbal Brevity,” October 2, 1998. Bill Broyles, Rita Hsiao.
Audio, Part 1: https://dc.library.txstate.edu/node/6474
Audio, Part 2: https://dc.library.txstate.edu/node/6475
“Not Just for Saturday Breakfast Anymore: Writing for TV Cartoons,” October 2, 1998.
Adam Beechen, Paul Dini, Evan Porkin, Sarah Dyer.
Audio. Onsite access only.
“One Foot in Front of the Other: Story Structure,” October 2, 1998. Andrew Marlowe, Bob Poole.
Audio. Onsite access only.
“One More Time: Rewriting Your Script,” October 1, 1998.
Dale Launer, Jeremy Pikser, MOD: Mark Seal. Audio.
Onsite access only.
“Real Life, One Hour at a Time,” October 3, 1998.
Marti Noxon, Rob Thomas.
Audio, Part 1: https://dc.library.txstate.edu/node/6476
Audio, Part 2: https://dc.library.txstate.edu/node/6449
“Reinventing the Wheel: TV Drama Series Development,” October 4, 1998.
Rob Thomas, Marti Noxon.
Audio, Part 1: https://dc.library.txstate.edu/node/6527
Audio, Part 2: https://dc.library.txstate.edu/node/6528
“Shades of Gray: Writing the Anti-Hero,” October 3, 1998. John Lee Hancock, Brian Hegeland, Moderated by Turk Pipkin.
Audio, Part 1: https://dc.library.txstate.edu/node/6450
Audio, Part 2: https://dc.library.txstate.edu/node/6516
“Slice of Life: The Documentary,” October 3, 1998.
Paul Steckler.
Audio, Part 1:
Audio, Part 2:
“Watched Any Good Books Lately?: Adapting Works for the Big Screen,” October 2, 1998.
Stuart Gordon, Robert Roy Pool, John Lee Hancock.
Audio. Onsite access only.
“What is the Pitch?,” October 3, 1998.
Stephen Nemeth, Webster, Jim Dauterive, Trevor Albert, Andrew Marlowe. Audio.
Onsite access only.
Presentations, 1999
“3-D Villains- An Endangered Species,” October 9, 1999.
Shane Black, Scott Frank, Guillermo del Toro.
Audio. Onsite access only.
“A Spoonful of Sugar" Comedy Writing: Not Just for Comedies,” October 7, 1999.
Shane Black, Scott Frank, Callie Khouri.
Audio, Part 1: https://dc.library.txstate.edu/node/6529
Audio, Part 2: https://dc.library.txstate.edu/node/6530
“The Actor's Eyes,” October 9, 1999.
Buck Henry, Rachel Hunter, Matthew McConaughey, Jean Smart.
Audio. Onsite access only.
“An Experienced Writer/Director Tells All,” October 9, 1999.
Richard Linklater & Steven Soderbergh.
Audio. Onsite access only.
“Breaking the Glass Screen,” October 10, 1999.
Jack Burditt, Cindy Chupack, Tom Fontana, Johnny Hardwick.
Audio. Onsite access only.
“Chicks and Ducks and Geese Better Scurry,” October 8, 1999.
Tim McCanlies, Robin Swicord, Harry Knowles.
Audio. Onsite access only.
“Collaboration- Half the Effort? Twice the Fun?,” October 9, 1999.
Bill Broyles & Al Reinert, BJ Burrow & Allen Odom, Alexander Payne & Jim Taylor.
Audio. Onsite access only.
“The Craft Room Continues…Craft Session #2- Choosing a Story to Tell,” October 7, 1999.
Anne Rapp.
Audio, Part 1:
Audio, Part 2:
“The Craft Room Continues….Craft Session #3 – Character,” October 8, 1999.
Nick Kazan.
Audio, Part 1:
Audio, Part 2:
“The Craft Room Again…Craft Session #4 – Plotting,” October 8, 1999. Bill Wittliff.
Audio, Part 1:
Audio, Part 2:
“The Craft Room Continues with…. Craft Session #5- Description Writing,” October 8, 1999.
Ted Tally.
Audio, Part 1:
Audio, Part 2:
“The Craft Room Continues with…Craft Session #6 - Dialogue Writing,” October 8, 1999. Scott Frank.
Audio, Part 1:
Audio, Part 2:
“The Craft Room Ends With…Craft Session #8 – Rewriting,” October 9, 1999. Nick Kazan.
Audio, Part 1:
Audio, Part 2:
“Digital Video Panel- Coming Soon to A Theatre Near You,” October 9, 1999.
Stephen Eickleberry, Steve Mims, Drew Meyer Oaks, Jim Steadman, Tod Rhodes. Audio.
Onsite access only.
“Everybody Knows Somebody,” October 8, 1999. Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6532
Audio, Part 2: https://dc.library.txstate.edu/node/6517
“Exactly What Does Your Agent and Manager Do?,” October 9, 1999. Jenny Frankle, Mickey Freiberg, Brad Fuller, Chris Henze, Gayla Nethercott.
Audio. Onsite access only.
“HBO: Helluvalot Better Programming,” October 9, 1999.
David Cross, Tom Fontana, Cindy Chupack, Bob Odenkirk.
Audio. Onsite access only.
“The Heart of Film Class of '99 Filmmakers From This Year's Competition,” October 10, 1999.
Mark David, Dan Brown, David Van Hatten, Liam O Mochain.
Audio. Onsite access only.
“Kings of Comedy,” October 9, 1999.
James L. Brooks, Buck Henry.
Audio, Part 1:
Audio, Part 2:
Audio, Part 3:
“Last Call!,” October 10, 1999.
Scott Frank, Larry Karaszewski.
Audio. Onsite access only.
“Let's Blow Something Up,” October 8, 1999.
Shane Black, Barry Josephson.
Audio, Part 1: https://dc.library.txstate.edu/node/6518
Audio, Part 2: https://dc.library.txstate.edu/node/6533
“Lone Star All Stars,” October 10, 1999.
Stephen Harrigan, Tim McCanlies, Clark Walker, Larry Wright.
Audio. Onsite access only.
“Next Stop: Barnes & Noble,” October 9, 1999.
Karen Black, Scott Frank, Ted Tally, Guillermo del Toro.
Audio. Onsite access only.
“The Nuclear Family I- The Writer/Director/Producer Relationship,” October 9, 1999.
James L. Brooks, Polly Platt.
Audio, Part 1:
Audio, Part 2:
“Screenplay Format Now,” October 10, 1999.
Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6537
Audio, Part 2: https://dc.library.txstate.edu/node/6538
“The Script Reader- Hollywood's First Line of Defense,” October 8, 1999.
Adam Beechen, Richard Lewis, Alan Trustman.
Audio. Onsite access only.
“Strike Three, You're Out! The Bullpen-A Pitching Exercise,” October 9, 1999.
Matt Gross, Polly Platt, Sam Scribner.
Audio. Onsite access only.
“So, You Think You Have a ‘Spec Script’," October 8, 1999.
Mickey Freiberg, Steve Franks, Nick Kazan, Chris Henze, Gayla Nethercott.
Audio. Onsite access only.
“Suspense Writing-Whatever You Do, Don't Climax Too Soon!,” October 8, 1999.
Guillermo Del Toro, Dan Petrie Jr., Joseph Stefano, Ted Tally.
Audio. Onsite access only.
“Taking the ‘Con’ Out of ‘Contracts’,” October 9, 1999.
Mickey Freiberg, Gayla Nethercott, Rick Pappas.
Audio. Onsite access only.
“’Terms of Enderment’ w/James L Brooks + Don't Mess with Texas Spot w/ Matt McConaughey and Sr. Bindler,” October 8, 1999.
James L. Brooks, Mathew McConaughey, S.R. Bindler.
Audio. Onsite access only.
“Tickling Their Fancy- What are Producers Looking For (Beside Good Writing)?,” October 9, 1999.
Craig Baumgarten, Doug Belgrad, Varina Bleil, Matt Gross.
Audio. Onsite access only.
“Track the Laughs-Writing for Television Comedy,” October 8, 1999. Jack Burditt, David Cross, Cindy Chupack, Johnny Hardwick, Bob Odenkirk.
Audio. Onsite access only.
“When the Truth Hurts (Your Story): Writing Stories About Real People,” October 8, 1999.
Bill Broyles, Larry Karaszewski, George Plimpton, Al Reinert, Larry Wright. Audio.
Onsite access only.
“You Want Me to Put What Where? The Development Process: Rewriting for Others,” October 9, 1999.
Steve Franks, Nick Kazan, Robin Swicord.
Audio. Onsite access only.
“You're Not Eighteen Anymore? Big Deal!,” October 10, 1999.
Callie Khouri, Gayla Nethercott, Polly Platt, Alan Trustman, Bill Wittliff.
Audio. Onsite access only.
“Your Producer: Not Your Mom, Big Brother, or Best Friend,” October 7, 1999.
Matt Gross, John Scott Shepherd.
Audio. Onsite access only.
Presentations, 2000
“2nd Rounder Panel with John August,” October 14, 2000.
John August.
Audio, Part 1: https://dc.library.txstate.edu/node/6484
Audio, Part 2: https://dc.library.txstate.edu/node/6463
“Car Chases, Explosions, and Fist Fights, a.k.a ‘The Fun Stuff’," October 13, 2000.
Shane Black, Barry Josephson and Scott Rosenberg.
Audio, Part 1: https://dc.library.txstate.edu/node/6457
Audio, Part 2: https://dc.library.txstate.edu/node/6458
Craft Session #5: Choosing a Story to Tell 1,” October 13, 2000.
Anne Rapp.
Audio, Part 1: https://dc.library.txstate.edu/node/6486
Audio, Part 2: https://dc.library.txstate.edu/node/6460
“Craft Session #10: Choosing a Story to Tell 2,” October 14, 2000.
Polly Platt.
Audio, Part 1: https://dc.library.txstate.edu/node/6486
Audio, Part 2: https://dc.library.txstate.edu/node/6487
“The Development Process,” October 13, 2000.
Doug Belgrad, Matt Gross.
Audio. Onsite access only.
“Digital Editing 101,” October 13, 2000.
Sandra Adair, Mark Coffey.
Audio. Onsite access Only.
“Entertainment Law Forum: A Basic Roadmap to the Writer's Guild Agreement,” October 14, 2000.
Peter Hedges, Gayla Nethercott, William Nix.
Audio. Onsite access only.
“Entertainment Law Forum: The Ethics of Entertainment Representation,” October 13, 2000.
Shelley W. Austin, Gayla Nethercott.
Audio. Onsite access only.
“Entertainment Law Forum: The Literary Option Purchase Agreement,” October 13, 2000.
Matt Gross, Rick Pappas.
Audio. Onsite access only.
“Greetings from the Third Coast,” October 12, 2000.
James Crowley, Brunson Green, B.J. Burrow, Allen Odom.
Audio. Onsite access only.
“It's a Bird! It's a Plane!,” October 14, 2000.
Harry Knowles, Tim McCanlies, Ed Solomon.
Audio. Onsite access only.
“Local Heroes,” October 13, 2000.
Bill Broyles, Tim McCanlies, Anne Rapp.
Audio, Part 1: https://dc.library.txstate.edu/node/6482
Audio, Part 2: https://dc.library.txstate.edu/node/6483
“The Power of the X Chromosome,” October 14, 2000.
Polly Platt, Anne Rapp and Gayla Nethercott.
Audio, Part 1: https://dc.library.txstate.edu/node/6461
Audio, Part 2: https://dc.library.txstate.edu/node/6462
“Reading Movies: The Art of Adaptation,” October 2000.
John August, Adam Brooks.
Audio. Onsite access only.
“Screen Size Doesn't Matter,” October 14, 2000.
David Chase, Matt Olmstead and Larry Wright.
Audio, Part 1: https://dc.library.txstate.edu/node/6485
Audio, Part 2: https://dc.library.txstate.edu/node/6540
“Talk is Cheap: Advanced Track Topic,” October 12, 2000.
Bill Broyles
Audio, Part 1: https://dc.library.txstate.edu/node/6539
Audio, Part 2: https://dc.library.txstate.edu/node/6454
“Uncontested Comedy Champs,” October 14, 2000.
Ed Solomon and Scott Rosenberg.
Audio, Part 1: https://dc.library.txstate.edu/node/6488
Audio, Part 2: https://dc.library.txstate.edu/node/6489
“Where Do I Start?,” October 13, 2000.
Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6455
Audio, Part 2: https://dc.library.txstate.edu/node/6456
“You May Be a Winner Already!,” October 13, 2000.
Greg Beal and B.J. Burrows.
Audio, Part 1: https://dc.library.txstate.edu/node/6480
Audio, Part 2: https://dc.library.txstate.edu/node/6481
Presentations, 2001
“2nd Rounder Panel: Comedy,” October 13, 2001.
Jessica Bendinger, John Scott Shepherd.
Audio. Onsite access only.
“A Fistful of Insight,” October 13, 2001.
Shane Black, Barry Josephson, Jeb Stuart.
Audio, Part 1: https://dc.library.txstate.edu/node/6503
Audio, Part 2: https://dc.library.txstate.edu/node/6521
“Building the Better Character,” October 14, 2001.
Lawrence Kasdan, Anne Rapp.
Audio, Part 1: https://dc.library.txstate.edu/node/6510
Audio, Part 2: https://dc.library.txstate.edu/node/6511
“Case Study: Going to California,” October 13, 2001.
Brad Henke, Geyer Kasinski, Paul Kurta, Jeff Melvoin, Scott Rosenberg, Sam Trammell.
Audio. Onsite access only.
“Case Study: The Rookie,” October 13, 2001.
John Lee Hancock, Mike Ritch.
Audio, Part 1: https://dc.library.txstate.edu/node/6522
Audio, Part 2: https://dc.library.txstate.edu/node/6506
“Civilian Capital Presents: The Future of Film Financing,” October 14, 2001.
Wrye Martin, Anne Walker Mcbay, Polly Platt.
Audio. Onsite access only.
“Craft Session #1: Script Development,” October 11, 2001.
Anne Rapp.
Audio, Part 1: https://dc.library.txstate.edu/node/6490
Audio, Part 2: https://dc.library.txstate.edu/node/6491
“Craft Session #2: Getting Started,” October 11, 2001.
Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6492
Audio, Part 2: https://dc.library.txstate.edu/node/6493
“Craft Session #7: Script to Screen,” October 13, 2001.
Chris McQuarrie.
Audio, Part 1: https://dc.library.txstate.edu/node/6501
Audio, Part 2: https://dc.library.txstate.edu/node/6502
“Craft #9: Finding the Right Script,” October 13, 2001.
Gayla Nethercott, Polly Platt.
Audio, Part 1: https://dc.library.txstate.edu/node/6504
Audio, Part 2: https://dc.library.txstate.edu/node/6505
“Digital Editing,” October 11, 2001.
Sandra Adair, Mark Coffey.
Audio. Onsite access only.
“Doing It for The First Time,” October 12, 2001.
David Atkins, John Lee Hancock, Christopher McQuarrie.
Audio. Onsite access only.
“Getting It Done: The Agent as Advocate,” October 11, 2001.
Stephen Harrigan, Gayla Nethercott.
Audio. Onsite access only.
“Heroes and Villains,” October 14, 2001.
Shane Black, Jeb Stuart, Randall Wallace.
Audio, Part 1: https://dc.library.txstate.edu/node/6508
Audio, Part 2: https://dc.library.txstate.edu/node/6464
“I've Read This Movie Before: Adaptation,” October 12, 2001.
Tim McCanlies, Anne Rapp, Eric Red.
Audio. Onsite access only.
“Live Action Special Effects Panel,” October 12, 2001.
Steve Wolf, President, Wolf Stuntworks, Inc.
Audio. Onsite access only.
“The New Sunday Inspirational,” October 14, 2001.
John Lee Hancock.
Audio, Part 1: https://dc.library.txstate.edu/node/6465
Audio, Part 2: https://dc.library.txstate.edu/node/6509
“Screenplay Contests: How Not to Ruin Your Script,” October 13, 2001. Greg Beal, B.J. Burrow.
Audio, Part 1: https://dc.library.txstate.edu/node/6520
Audio, Part 2: https://dc.library.txstate.edu/node/6500
“Screenwriting Up and Comers,” October 12, 2001.
Jessica Bendinger, Brent Hanley, Philip Levens.
Audio. Onsite access only.
“Script Development Happens,” October 12, 2001.
Doug Belgrad, Matt Gross, Paul Kurta.
Audio. Onsite access only.
“Semi Finalist Panel I,” October 11, 2001.
Gayla Nethercott.
Audio, Part 1: https://dc.library.txstate.edu/node/6494
Audio, Part 2: https://dc.library.txstate.edu/node/6495
“Semi Finalist Panel II,” October 12, 2001.
John Lee Hancock.
Audio, Part 1: https://dc.library.txstate.edu/node/6496
Audio, Part 2: https://dc.library.txstate.edu/node/6497
“Thrills and Chills,” October 13, 2001.
Guillermo del Toro, Brent Hanley, Eric Red.
Audio. Onsite access only.
“Up Close and Personal: Gary David Goldberg,” October 13, 2001.
Gary David Goldberg.
Audio: https://dc.library.txstate.edu/node/6507
“Writer/Director Tell All,” October 13, 2001.
Lawrence Kasdan, David S. Ward.
Audio. Onsite access only.
“The Writer/ Manager Relationship,” October 12, 2001.
Michael Brandt, Andrew Deane, Derek Haas.
Audio. Onsite access only.
“The Writer/Producer Relationship,” October 12, 2001.
Matt Gross, John Scott Shepherd.
Audio. Onsite access only.
“Yuk, Yuk, Yuk: Television Comedy,” October 12, 2001.
Jim Dauterive, Gary David Goldberg.
Audio, Part 1: https://dc.library.txstate.edu/node/6498
Audio, Part 2: https://dc.library.txstate.edu/node/6499
Presentations, 2002
“2nd Rounter Panel: Screenwriting,” October 11, 2002.
John Lee Hancock, Robert Gordon.
Audio. Onsite access only.
“AFF Success Stories,” October 13, 2002.
Kevin Kerwin, Steven Falk.
Audio. Onsite access only.
“Apples and Oranges: TV vs. Film,” October 12, 2002.
Larry Doyle, Phillip Levens, Darren Star, Jessica Bendinger.
Audio. Onsite access only.
“The Art of Adaptation,” October 11, 2002. Kirsten Smith, Scott Alexander.
Audio, Part 1: https://dc.library.txstate.edu/node/6469
Audio, Part 2: https://dc.library.txstate.edu/node/6470
“Bosom Buddies: Screenwriting Teams,” October 11, 2002.
Chris Weitz, Paul Weitz, Kirsten Smith, Karen Lutz.
Audio. Onsite access only.
“Bringing Hard to Identity with Characters to Cinema,” October 13, 2002.
David McKenna, Lem Dobbs.
Audio. Onsite access only.
“Building Characters That Last,” October 12, 2002.
Robert Festinger, John Lee Hancock, Karen Lutz.
Audio. Onsite access only.
“Bump in the Night: Writing Horror That Works,” October 12, 2002. Brian Helgeland, Eric Red, David E Allen.
Audio. Onsite access only.
“Comic Gems and Geniuses: Comedy for the Big Screen,” October 12, 2002.
Robert Gordon, Ed Solomon, Jessica Bendinger.
Audio. Onsite access only.
“Comic Gems and Geniuses: Comedy for the Small Screen,” October 12, 2002.
Larry Doyle, Turk Pipkin, Harry Anderson.
Audio. Onsite access only.
“Craft Session 1: Getting Started,” October 10, 2002. Gayla Nethercott.
Audio, Part 1: https://dc.library.txstate.edu/node/6512
Audio, Part 2: https://dc.library.txstate.edu/node/6513
“Craft Session # 2: Script Development vs. Spec,” October 11, 2002. Anne Rapp.
Audio, Part 1: https://dc.library.txstate.edu/node/6467
Audio, Part 2: https://dc.library.txstate.edu/node/6468
“Craft Session 6: Pitching,” October 12, 2002.
Sam Scribner.
Audio. Onsite access only.
“Craft Session 8: Doing What It Takes,” October 12, 2002.
Philip Levens.
Audio. Onsite access only.
“Craft Session #9: Finding the Right Script,” October 12, 2002.
Joanne Lammers, Greg Beal.
Audio, Part 1: https://dc.library.txstate.edu/node/6526
Audio, Part 2: https://dc.library.txstate.edu/node/6541
“Craft Session # 10: Pitching 2,” October 13, 2002.
Polly Platt.
Audio, Part 1: https://dc.library.txstate.edu/node/6542
Audio, Part 2: https://dc.library.txstate.edu/node/6543
“Doing LA in Texas,” October 13, 2002.
John Lee Hancock, Anne Rapp, Philip Levens.
Audio. Onsite access only.
“History vs. Reality: The Story Behind the Story,” October 12, 2002. Scott Alexander.
Audio, Part 1: https://dc.library.txstate.edu/node/6471
Audio, Part 2: https://dc.library.txstate.edu/node/6472
“The New Thursday Inspirational,” October 10, 2002.
Chris Weltz, Bill Wittliff.
Audio. Onsite access only.
“The Nuts and Bolts: Film Development,” October 11, 2002. J
oanne Lammers, Matt Gross, Joe McSpadden, Chad Oman.
Audio. Onsite access only.
“Out of This World: Adapting and Originating Sci-Fi Cinema,” October 11, 2002.
Bill Broyles, Lem Dobbs.
Audio. Onsite access only.
“Project Mayhem Writing Action That Works,” October 11, 2002.
Shane Black, Chad Oman, Michael Brandt, Derek Haas, Barry Josephson.
Audio. Onsite access only.
“Roundtable 4: Representation,” October 12, 2002.
Pat Quinn, Adam Beechen. Audio.
Onsite access only.
“Screenplay Contests: How Not to Ruin Your Script,” October 12, 2002. Greg Beal, B.J. Burrow.
Audio, Part 1: https://dc.library.txstate.edu/node/6523
Audio, Part 2: https://dc.library.txstate.edu/node/6524
“Scripting Animations,” October 11, 2002.
Chris Weitz, Larry Doyle, Adam Beechen, Greg Carter.
Audio. Onsite access only.
“Semi Finalist Panel,” October 10, 2002.
Jim Dauterive.
Audio, Part 1: https://dc.library.txstate.edu/node/6525
Audio, Part 2: https://dc.library.txstate.edu/node/6466
“So, Your Aunt Isn’t a Studio Chef,” October 11, 2002.
Greg Beal, Phillip Levens, Sam Scribner.
Audio. Onsite access only.
“Taking the Bull by the Horns: The Role of a Producer,” October 11, 2002.
Matt Gross, Talieh Safedi, Jo Marr, Danielle Suissa, David E Allen. Audio. Onsite access only.
“To the Top of the Totem Pole: Writing to Directing,” October 11, 2002. Brian Helgeland, John Lee Hancock.
Audio, Part 1: https://dc.library.txstate.edu/node/6514
Audio, Part 2: https://dc.library.txstate.edu/node/6515
“What Producers Really Want in a Screenwriter,” October 13, 2002. Matt Gross, Scott Rosenberg, Tim O'Hair.
Audio. Onsite access only.
“What were you thinking? Original Works,” October 13, 2002.
Jessica Bendinger, Brian Helgeland, Dylan Kidd.
Audio. Onsite access only.
“The Writer/Agent/Manager Relationship,” October 12, 2002.
Cathy Tarr, Gayla Nethercott, Polly Platt.
Audio. Onsite access only.
Presentations, 2003
“Action and Stuff,” October 11, 2003.
Michael Brandt, Derek Haas, Barry Josephson, Scott Rosenberg.
Audio, Part 1: https://dc.library.txstate.edu/node/6561
Audio, Part 2: https://dc.library.txstate.edu/node/6418
Video. On-site access only.
“Adapt This!” October 10, 2003.
David Benioff, Bill Broyles, Christopher McQuarrie, Greg Garrett (moderator).
Audio. On-site access only.
“Awards Luncheon (22 minutes only),” October 11, 2003.
Awardees & Presenters: Frank Pierson, Tom Fontana, Brian Helgeland, Competition Winners, AFF Staff, etc.
Video. On-site access only.
“Breaking the Rules: Non-traditional Storytelling,” October 11, 2003. Bill Wittliff, Neil Young.
Audio. On-site access only.
Video. On-site access only.
“Crunchy Outside, Soft inside: Keeping your Integrity as a Writer,” October 12, 2003.
Scott Alexander, Frank Pierson, Polly Platt, Anne Rapp.
Audio. On-site access only.
“Doin' Double Duty: Writers Who Direct,” October 11, 2003.
Shane Black, Peter Hedges, Christopher McQuarrie, Bryan Singer, Tom Shots (moderator).
Audio. On-site access only.
“Dynamic Duos: Two Writing Teams Tell All,” October 11, 2003.
Ted Elliott, Terry Rossio, Chris Weitz, Paul Weitz.
Video. On-site access only.
“Greendale with Neil Young (44 minutes only),” October 10, 2003.
Neil Young, Cast of Greendale, Allen Odom (moderator).
Video. On-site access only.
“Gut Bustin' Nutz: Writing for Laughs,” October 11, 2003.
Jessica Bendinger, Linwood Boomer, Al Jean.
Audio. On-site access only.
“Horror that Hits Home,”October 11, 2003.
David E. Allen, Les Bohem, Brian Hegeland, Jonathan Kadin.
Audio. On-site access only.
“The New Sunday Inspiration/Shot of Inspiration,” October 12, 2003. Shane Black, Derek Haas, Tom Wilson, Marion Castleberry (moderator, Baylor University).
Audio. On-site access only.
“Off the Map Q&A with Sam Elliot,” 2003.
Sam Elliot, Turk Pipkin (moderator).
Video. On-site access only.
“The Prod Squad: Producers and What Gets One Excited,” October 10, 2003.
Shane Black, Kit Golden, Barry Josephson, Jonathan Kadin, Tim O'Hair.Audio.
On-site access only.
“Rattails and Tight Rolls: The Do's and Don'ts of Telling a Story,” October 12, 2003.
Erica Beeney, David Benioff, Paul Feig, Terry Rossio, Rex McGee (moderator).
Audio. On-site access only.
Video. On-site access only
“Up Close and Personal: Frank Pierson,” October 11, 2003.
Frank Pierson, Robert Draper (moderator).
Audio, Part 1: https://dc.library.txstate.edu/node/6562
Audio, Part 2: https://dc.library.txstate.edu/node/6438
Video(41 minutes only): https://dc.library.txstate.edu/node/6439
“Up Close and Personal: Tom Fontana,” October 10, 2003.
Audio, Part 1: https://dc.library.txstate.edu/node/6560
Audio, Part 2: https://dc.library.txstate.edu/node/6420
“Wading Through the Minefields: Making it in the Biz,” October 10, 2003
Scott Alexander, Jessica Bendinger, Brian Helgeland, Karen Lutz, Paul Weitz.
Audio. On-site access only.
Presentations, 2004
“Commercial vs. Art,” October 15, 2004
Kit Golden, Kimberly Jose, Kate Petrosky, Elizabeth Raposo, Greg Garrett-Moderator
Audio, On-site access only.
“Documentary Filmmaking,” October 16, 2004
Jeff Fraley, Harry Lynch, Angela Shelton, Barry Blaustein, Paul Stekler, Truk Pipkin (moderator).
Audio. On-site access only.
“Inspirational Panel,” October 17, 2004.
Barry Blaustein, Bill Wittliff, Bud Shrake (moderator).
Audio:
“Is the Format of the Traditional Sitcom Dead?” October 15, 2004. Adam McKay, Deborah Pearlman, Thomas Schlamme, Turk Pipkin (moderator).
Audio. On-site access only.
Video. On-site access only.
“On Writing: Action/Adventure,” October 16, 2004.
John August, Shane Black, Michael Brandt, Barry Josephson (moderator).
Audio: https://dc.library.txstate.edu/node/6563
Video: https://dc.library.txstate.edu/node/6417
“On Writing: Adapting for the Screen,” October 16, 2004.
Rosalie Swedlin, Robin Swicord, Bill Wittliff, Rex McGee (moderator).
Audio. On-site access only.
“On Writing: Animated Films,” October 16, 2004.
Tim McCanlies, Terry Rossio, Andrew Stanton, Ali Bell (moderator).
Audio. On-site access only.
“On Writing: Comedy,” October 16, 2004.
David Berenbaum, Barry Blaustein, Adam McKay, Anne Rapp, Greg Garrett (moderator).
Audio. On-site access only.
Video. On-site access only.
“On Writing: Noir Detective and Psychological Thrillers,” October 17, 2004.
Shane Black, Brent Hanley, Barry Josephson, Aaron de Orive (moderator).
Audio. On-site access only.
Video. On-site access only.
“Personal Stories for the Screen,” October 15, 2004.
John Lee Hancock, Thomas McCarthy, Mike Rich, Barry Levinson, Robert Draper (moderator).
Video. On-site access only.
“Recounting the Ballots,” October 15, 2004.
Reeva Hunter Mandelbaum, Thomas Schlamme, Kenneth Turan, Barry Levinson, Robert Draper (moderator).
Audio, On-site access only.
“Shorts: From Creation to Distribution,” October 15, 2004.
Andrew McCarthy, News for the Church, Ray McKinnon, Chase Palmer with his film Shock and Awe, Scott Rice (moderator).
Audio. On-site access only. Video. On-site access only.
“The Smaller Screen: Writing for Cable/TV,” October 14, 2004.
Elisa Bell, Les Bohem, Stephen Harrigan.
Audio. On-site access only.
“Tag Team Writing,” October 15, 2004.
Michael Brandt and Derek Haas, Shari Springer Berman and Robert Pulcini, Robin Swicord and Nick Kazan, Stuart Kelban (moderator).
Audio. On-site access only.
Video. On-site access only.
“Will Dates be on the Test?” October 15, 2004.
William Broyles, Jr. David Franzoni, John Lee Hancock, Stephen Harrigan, Turk Pipkin (moderator).
Audio. On-site access only.
Video. On-site access only.
“Writers Block,” October 16, 2004.
John August, Mike Jones, Tim McCanlies, Stuart Kelban (moderator).
Audio. On-site access only.
“Writing Sci-Fi/Horror Scripts,” October 15, 2004
Les Bohem, Brent Hanley, Philip Levens, Aaron de Orive (moderator).
Video. On-site access only.
Presentations, 2005
“Awards Luncheon,” 2005.
AFF Awardees: Harold Ramis, Etc.
Video. On-site access only.
“Adapting Books and Articles for the Screen,” October 21, 2005.
Joe Conway, Naomi Foner Gyllenhaal, Karen McCullah Lutz, Ted Tally, Reeva Hunter Mandelbaum.
Audio. On-site access only.
“Breaking into the Business,”October 21, 2005.
David Boxerbaum, Carey Nelson Burch, Tai Duncan, Garth Pappas.
Audio. On-site access only.
“Comedy Writing for TV,”October 21, 2005.
John Allchuler, Jay Edwards, Dave Krinsky, Ben Tyson, Deborah Pearlman.
Audio. On-site access only.
“Comedy Writing Teams,”October 21, 2005.
John Altschuler, Dave Krinsky, Steve Faber, Bob Fisher, Greg Garrett.
Audio. On-site access only.
“Common Mistakes Writers Make,”October 22, 2005.
Greg Beal, Jody Simone Kay, William C. Martell, Rex McGee (moderator).
Audio, On-site access only.
“Creating Strong and Original Characters,” October 21, 2005.
Shane Black, James Hart, Kirsten Smith, Alison Haskovec (moderator).
Audio. On-site access only.
“Creating Buzz for your Film,”October 22, 2005.
Michael Barlow, Kevin Phinney, Janet Pierson, Bryan Poyser, Scott Rice.Audio.
On-site access only.
“Digital Filmmaking,” October 21, 2005.
Marcus Van Bavel, Alan Berger, Tom Schatz, David Layton.Audio.
On-site access only.
“Film/Screenwriting School: Is it worth it, and what's next?” October 21, 2005.
Frank Reynolds, Crickett Rumley, Susan Steinberg, Fred Strype, Tom Copeland.
Audio. On-site access only.
“Financing Your Film,”October 22, 2005.
Louise Levison, Carolyn Pfeiffer, Paul Stekler, Alison Macor.
Audio. On-site access only.
“How to Get the Most Out of the Festival,” October 20, 2005.
Greg Beal, Rob Blat, Sam Riegel, Dawn Wiercinski.
Audio. On-site access only.
“The Importance of Genre,” October 20, 2005.
William C. Martell, Tom Williams, Monnie Wills, Rex McGee (moderator).
Audio. On-site access only.
“Independent Filmmaking After the 90s,” October 22, 2005.
Carolyn Pfeiffer, Adam Rifkin, Tom Schatz, Bard Wyman, Alison Macor.
Audio. On-site access only.
“Inspirational Panel,” October 20, 2005.
Josh Alexander, Bryan Poyser, Bob Soderstrom, Jane Sumner.
Audio. On-site access only.
“King of the Hill: Behind the Drawings,” October 22, 2005.
John Altschuler, Jim Dauterive, Dave Krinsky, Turk Pipkin.
Audio: https://dc.library.txstate.edu/node/6569
“Low Budget Agreements and The Writers Guild,” October 22, 2005. John Contrubis, James V. Hart, Sindy Gordon.
Audio. On-site access only.
“Low Budget Filmmaking,”October 23, 2005.
Steve Collins, Carol Pirie, Bryan Poyser, Greg Garrett (moderator).
Audio. On-site access only.
“Putting Together a TV Pilot,” October 21, 2005.
John Altschuler, Dave Krinsky, Steve Pearlman, Sharon Lee Watson, Ben Tyson.
Audio. On-site access only.
“Script Coverage,” October 21, 2005.
Greg Beal, Juliana Farrell.
Audio: https://dc.library.txstate.edu/node/6565
“Shooting in HD,” October 22, 2005.
Greg Carter, Mike Curtis, P.J. Raval, David Layton, Steve Mims (moderator).
Audio. On-site access only.
“Shorts: From Creation to Distribution,” October 23, 2005.
Steve Collins, Steve Mims, Scott Rice, Michael Atkinson.
Audio. On-site access only.
“Sunday Inspirational,”October 23, 2005.
Stephen Harrigan, Anne Rapp, Jane Sumner (moderator).
Audio. On-site access only.
“Up Close and Personal: Harold Ramis,” October 22, 2005.
Harold Ramis, Judd Apatow.
Audio: https://dc.library.txstate.edu/node/6570
Video: https://dc.library.txstate.edu/node/6416
“Up Close and Personal: Mike Judge,” October 22, 2005.
Mike Judge, Jim Dauterive.
Audio: https://dc.library.txstate.edu/node/6571
Video: https://dc.library.txstate.edu/node/6415
“Writers Block,” October 23, 2005.
Brent Hanley, Anne Rapp, Bill Wittliff, Bud Shrake.
Audio: https://dc.library.txstate.edu/node/6572
“Writers Who Direct,” October 21, 2005.
Shane Black, Terry George, Andrew Shea (moderator).
Audio: https://dc.library.txstate.edu/node/6566
“Writing Action/Suspense,”October 21, 2005.
Shane Black, Howard Gordon, Ted Tally, Barry Josephson.
Video: https://dc.library.txstate.edu/node/6567
“Writing for Documentaries,”October 22, 2005.
Richard Lewis, Jeff Scheftel, Paul Stekler, Juliana Farrell.
Audio. On-site access only.
“Writing for Short Films,”October 23, 2005.
Pat Kiely, Becky Nelson, Ryan Williams, Andrew Shea.Audio.
On-site access only.
“Writing Sci-Fi/Horror,”October 22, 2005.
Jay Edwards, Michael Messina, Ted Tally, Joe Bob Briggs.
Audio. On-site access only.
“Writing Settings and Descriptions,” October 21, 2005.
Buck Henry, Bill Wittliff, Bud Shrake (moderator).
Video, Part 1: https://dc.library.txstate.edu/node/6568
Video, Part 2: https://dc.library.txstate.edu/node/6421
Video, Part 3: https://dc.library.txstate.edu/node/6419
“Writing for TV Drama,”October 21, 2005.
Howard Gordon, Steve Pearlman, Sharon Lee Watson, Michael Wright, Barry Josephson (moderator).
Audio. On-site access only.
“Young Filmmakers Panel,”October 22, 2005.
Shane Black, Bill Wittliff, Clay Nichols (moderator).
Audio. On-site access only.
Presentations, 2006
“The Art of the Pitch,”October 19, 2006.
John August, Jessica Bendinger, Alex Smith (moderator).
Audio: https://dc.library.txstate.edu/node/6573
“The Art of the Pitch,”October 21, 2006.
Christopher McQuarrie, Bob Soderstrom, Christopher Vogler, Juliana Farrell (moderator).
Audio: https://dc.library.txstate.edu/node/6575
“Battle Scars,” October 22, 2006.
Stephen Harrigan, Christopher McQuarrie, Anne Rapp, Stuart Kelban (moderator).
Audio. On-site access only.
“Creating Classic Characters,”October 21, 2006.
Shane Black, David Milch, Sydney Pollack, Barry Josephson (moderator).
Audio. On-site access only.
“Guerilla Marketing,” October 22, 2006.
Josh Baran, Michael Barlow, Chris Hyams, Kristin Jones, Roger Heany.
Audio. On-site access only.
“How did you get your first movie made?” October 21, 2006.
Michael Ian Black, Amnon Buchbinder, Paul Stekler, Alex Smith (moderator).
Audio. On-site access only.
“Second Rounder Panel: Writers,” October 20, 2006.
Jessica Bendinger, Shane Black, Greg Beal
Audio: https://dc.library.txstate.edu/node/6574
“The State to Stellaand Beyond,” October 21, 2006.
Michael Showalter, Michael Ian Black. Audio: https://dc.library.txstate.edu/node/6549
“Up Close and Personal: David Milch,” October 21, 2006.
David Milch, Bud Shrake (moderator).
Audio: https://dc.library.txstate.edu/node/6576
“Writer/Directors,” October 22, 2006.
Shane Black, Susannah Grant, Amy Talkington, Allen Odom (moderator).
Audio: https://dc.library.txstate.edu/node/6577
“Writing the Biopic,” October 20, 2006.
Karen Bernstein, John Lee Hancock, Stephen Harrigan.
Audio. On-site access only.
“Writing R-Rated Comedies,” October 20, 2006.
Michael Ian Black, Steve Faber, Bob Fisher, Michael Showalter, Jake Kasan, David Wain.
Audio. On-site access only.
Presentations, 2007
“Adopting Material for the Big Screen,” October 12, 2007.
Aline Brosh McKenna, Audrey Wells, Bill Wittliff, Robert Draper (moderator).
Audio. On-site access only.
“Actor/Writers,” 2007
D.B. Sweeney, Ray McKinnon.
Audio. On-site access only.
“The Art of the Pitch,”October 13, 2007
Juliana Farrell, Bob Soderstrom, Bonnie Orr, Shana Stern (moderator).
Audio. On-site access only.
“A Conversation with Glenn Gordon Caron,” October 12, 2007.
Glenn Gordon Caron, Dan Petrie, Jr. (moderator).
Audio: https://dc.library.txstate.edu/node/6579
“A Conversation with John Milius,” October 13, 2007.
John Milius, Jane Sumner (moderator).
Audio: https://dc.library.txstate.edu/node/6582
“A Conversation with Oliver Stone,” October 13, 2007.
Oliver Stone, Jane Sumner (moderator). Audio: https://dc.library.txstate.edu/node/6583
“Born on the Fourth of July Q&A,” October 13, 2007
Oliver Stone
Audio: https://dc.library.txstate.edu/node/6584
“Finding the Voice: Dialogue,” October 12, 2007.
Nicholas Kazan, Aline Brosh McKenna, Terry Rossio, Robert Draper (moderator).
Audio: https://dc.library.txstate.edu/node/6580
“Groundbreaking TV: A New Era,” October 13, 2007.
Thomas Schlamme, Glenn Gordon Caron, Michael McDonald, Channing Dungey (moderator).
Audio. On-site access only.
“High Concept Comedy,” October 13, 2007.
Dan Petrie Jr. Herschel Weingrod, Karl Williams.
Audio. On-site access only.
“In the Trenches: Writing a War Film,” October 13, 2007.
Oliver Stone, John Milius, Barry Josephson.
Audio: https://dc.library.txstate.edu/node/6585
“Juno: From Script to Screen,” October 13, 2007.
Diablo Cody, Jason Reitman (moderator).
Audio. On-site access only.
“Juno Q&A,” October 14, 2007.
Diablo Cody, Jason Reitman.Audio. On-site access only.
“Late Night TV,” October 12, 2007.
Chuck Sklar, Dan French, Warren Etheredge (moderator).
Audio:
“Punch it Up: Joke Writing,” October 12, 2007.
Steve Faber, Chuck Sklar, Ed Solomon, Larry Wilmore.
Audio: https://dc.library.txstate.edu/node/6581
“A Shot of Inspiration,” October 11, 2007.
Daniel Petrie, Jr. Robin Swicord, Dawn W. (moderator).
Audio: https://dc.library.txstate.edu/node/6578
“The Writer-Director,” October 13, 2007.
Harris Goldberg, Jason Reitman, Robin Swicord, Terry George, Andrew Shea (moderator).
Audio. On-site access only.
“Writing Comedy for TV,” October 12, 2007.
Chuck Sklar, Jim Dauterive, Larry Wilmore, Michael McDonald (moderator).
Audio. On-site access only.
“Writing the Drama,” October 12, 2007.
Nicholas Kazan, Scott Alexander, Terry George, Robert Draper (moderator).
Audio. On-site access only.
“Writing Family Films,” October 12, 2007.
Kiel Murray, Terry Rossio, Ed Solomon, Mark Vahradian (moderator). | ||||||
7959 | dbpedia | 3 | 41 | https://madmimi.com/s/fac0e8 | en | This Week at The Kate! Jonathan Edwards, Tommy Fleming, Ann Nyberg Book Launch, and more! | [
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] | null | [] | 2016-10-18T09:44:52-04:00 | This Week at The Kate! Kate Classic Film: LOVE AFFAIR Tuesday, October 18, 2pm & 7pm Kate’s last film role, this 1994 remake of the original 1939 ... | Mad Mimi | https://madmimi.com/s/fac0e8 | Kate Classic Film:
LOVE AFFAIR
Tuesday, October 18, 2pm & 7pm
Kate’s last film role, this 1994 remake of the original 1939 movie of the same name was directed by Glenn Gordon Caron. Although they are each engaged to other people, Mike (Warren Beatty) and Terry (Annette Bening) fall for each other. They agree to meet in NYC three months later, but tragedy strikes on the day of their reunion, resulting in Terry's hospitalization, and unknown to Mike. Can the star-crossed lovers finally find each other?
Shown on the Kate's BIG Screen!
JONATHAN EDWARDS
Friday, October 21, 8pm
Warm as summer sunshine, real as the truth, intimate as a long overdue visit between old friends ... such is a Jonathan Edwards concert. Four decades into a stellar career of uncompromising musical integrity, the man simply delivers, night after night - songs of passion, songs of insight, songs of humor, all rendered in that pure and powerful tenor which, like fine wine, has only grown sweeter with age.
Met in HD:
DON GIOVANNI
Saturday, October 22, 12:55pm
Three charismatic singers, Simon Keenlyside, Ildar Abdrazakov, and Mariusz Kwiecien, share the role of the title hero, who goes to hell in a dazzling coup de théâtre. The ensemble of great Mozartean singers includes Isabel Leonard, Angela Meade, Matthew Polenzani, Marina Rebeka, Erwin Schrott, Ramón Vargas, and RolandoVillazón. Fabio Luisi and Plácido Domingo conduct.
Shown on the Kate's BIG Screen!
Runtime 3h45m
TOMMY FLEMING
Saturday, October 22, 8pm
BUY 1 GET 1 FREE*!
*Use discount code TOMMY at checkout
Tommy Fleming has many times been described as the “Voice of Ireland” and is one of Ireland’s top entertainers with over 5 million Youtube hits and over 3 million album sales worldwide. Tommy is famous for his own arrangement of “Danny Boy”, “Isle of Inisfree” and “Hard Times” all songs that you know and love but you have never heard them until you hear Tommy Fleming’s versions.
Bolshoi Ballet in HD:
THE GOLDEN AGE
Sunday, October 23, 12:55pm
In a seaside town where business and mafia are flourishing, The Golden Age cabaret is the favorite nightly haunt of dancers, bandits and young revelers, where the young fisherman Boris falls in love with Rita, a beautiful dancer, but also the friend of a local gangster…
Shown on the Kate's BIG Screen!
Runtime 2h20m
Ann Nyberg REMEMBERING KATHARINE HEPBURN Book Launch
Sunday, October 23, 4:30pm
The Katharine Hepburn Cultural Arts Center is thrilled to welcome Ann for the launch of her new book, with proceeds to benefit the Kate’s diverse programming and community arts engagement. A ticket to the event will include a signed copy of Remembering Katharine Hepburn, a welcoming reception with light snacks and wine, a reading with Ann and conversations about the book, and will conclude with a book signing with Ann. Come meet Ann and celebrate her new book with us at the Kate!
See all of our upcoming shows and buy tickets on our website: www.thekate.org
You can also call the Kate Box Office at 860.510.0453 and order your tickets over the phone
Our box office is open from 10am - 4pm, Tuesday - Friday AND 1 hour prior to every performance. | ||||||
7959 | dbpedia | 3 | 57 | https://open.spotify.com/show/0pSbhtYoXFgJQzbV4029NY | en | Moonlighting The Podcast | https://i.scdn.co/image/ab6765630000ba8a3ce80373b662a63d06538239 | https://i.scdn.co/image/ab6765630000ba8a3ce80373b662a63d06538239 | [] | [] | [] | [
""
] | null | [
"Grace Chivell & Shawna Saari"
] | null | Listen to Moonlighting The Podcast on Spotify. The show is all about the hit TV Show Moonlighting which aired from 1985 to 1989 starring Bruce Willis and Cybill Shepherd.Grace Chivell and Shawna Saari take a look at each episode in chronological order from the Pilot to the end of the fifth and final season.They discuss the direction, the production, the outfits, the lighting, the car chases, and the tumultuous relationship between Maddie Hayes and David Addison.The episodes include some bonus episodes including an interview with the Creator, Glenn Gordon Caron, Executive Producer Jay Daniel, and the Author of the Moonlighting Book: An Oral History, Scott Ryan.FOR MORE INFORMATION:https://moonlightingthepodcast.comMerchandise: https://redbubble.com/people/moonpod2016Join Our Facebook Community:https://facebook.com/groups/moonlightingthepodcasthttps://facebook.com/moonlightingthepodcastJoin Our Instagram Community:https://instagram.com/moonlightingthepodcastPURCHASE:Moonlighting: An Episode Guide Bookhttps://bit.ly/episodeguidebookTo learn more about Grace:https://gracechivell.com.auMoonlighting The Podcast YouTube Channel: bit.ly/maddieanddavidTo learn more about Shawna:https://www.youtube.com/channel/UCft4ALOjBZnEt4DBUvx3HvQDonate:https://ko-fi.com/moonlightingthepodcastPersonal Instagram:https://instagram.com/grace_chivellhttps://instagram.com/saari_not.saari Hosted on Acast. See acast.com/privacy for more information. | en | Spotify | https://open.spotify.com/show/0pSbhtYoXFgJQzbV4029NY | ||||
7959 | dbpedia | 0 | 38 | https://www.tvguide.com/movies/love-affair/review/2000029870/ | en | Love Affair | [] | [] | [] | [
""
] | null | [] | null | Check out the exclusive TV Guide movie review and see our movie rating for Love Affair | en | /favicon.ico | TVGuide.com | https://www.tvguide.com/movies/love-affair/review/2000029870/ | In LOVE AFFAIR, producer-star Warren Beatty tries hard to recreate the glow of Golden Age Hollywood romances; ironically, however, this remake of Leo McCarey's 1939 LOVE AFFAIR (and McCarey's own 1957 remake, AN AFFAIR TO REMEMBER), succeeds best when it is least faithful to the original story. Beatty plays Mike Gambril, a LA football star-turned-television broadcaster, who meets Terry McKay (Annette Bening), an aspiring singer, on a plane trip to Australia. When their plane makes an emergency landing in the South Pacific, Mike, Terry, and the other passengers are forced to board a Russian cruise ship heading for Tahiti. During the trip, Mike, who is engaged to a fellow TV anchor (Kate Capshaw), tries to seduce Terry, who is engaged to a wealthy financier (Pierce Brosnan). Terry resists Mike's advances, but is charmed by his Aunt Ginny (Katharine Hepburn), whom they visit when they reach Tahiti. During their return to New York, Mike and Terry have a brief, torrid romance. Before parting, they agree to meet on top of the Empire State Building in three months. Back in New York, Mike gives up his high-profile career on TV to become a college football coach and a painter, while Terry takes a job teaching music to school children in Harlem. After splitting up with Ken, Terry goes to meet Mike for their appointed rendezvous, but she's hit by a car on the way and lands in the hospital. Mike, meanwhile, waits in the rain atop the Empire State Building; when Terry doesn't show up, he thinks she changed her mind. Terry, now crippled, refuses to contact Mike during her prolonged recovery. Meanwhile, Ginny dies, and Mike travels back to Tahiti to mourn his beloved aunt. When Mike returns to New York, he spots Terry at a concert, but remains unaware that she can no longer walk. He finds out where she lives and visits her apartment on Christmas Day to give her a gift--his aunt's shawl. Terry tries to conceal the truth about her paralysis, but Mike realizes what has happened, and the two reunite to continue their love affair. After the success of SLEEPLESS IN SEATTLE (1993), which inscribed AN AFFAIR TO REMEMBER into its plot, "Hollywood's Royal Couple" must have assumed the time was right to remake one of Hollywood's most famous tearjerkers. But the result, a rather tepid affair, failed to score with either audiences or critics. Beatty gambles, and loses, by inviting comparisons of himself to Charles Boyer (LOVE AFFAIR) and Cary Grant (AN AFFAIR TO REMEMBER), particularly since he gives a surprisingly tentative performance as an aged Lothario reformed by love. His attempts to recapture the boyish charm of his younger days are undercut both by his movie-star poses and by conspicuous soft-focus photography that fails to disguise his age (57). (Unavoidably, the film refers to Beatty's own notorious sexual past and recent domestication, but--unlike Hal Ashby's trenchantly observed SHAMPOO--has remarkably little to say about the star or his carefully constructed image.) By contrast, Bening succeeds in a more challenging part. Although her "musical" moments are more contrived that many of the plot twists, Bening is tough and funny in the first half of the film, and convincingly masochistic in the second half. Beatty hired some superb talents to remake LOVE AFFAIR, but many of them are dragged down by director Glenn Gordon Caron's velvety kitsch style: Ennio Morricone's score sounds like his themes for WHITE DOG (1982) and ONCE UPON A TIME IN AMERICA (1984) reprocessed as elevator music; the highly regarded cinematographer, Conrad Hall, poorly captures the late Ferdinando Scarfiotti's dark, lavish production design; and the supporting actors have little to do (although Garry Shandling makes a surprisingly welcome appearance as Mike's agent, and Katharine Hepburn, although clumsily used, is always welcome). Otherwise, LOVE AFFAIR works best when it deviates from the original plot and characters. The early scenes on the plane and Russian cruise ship, for example, are appropriately light and playful. The melodramatic second half of the movie, however, so slavishly imitates the first Delmer Daves-Donald Ogden Stewart screenplay that it only reminds viewers of how much better it all used to be. (Sexual situations, profanity.) | ||||
7959 | dbpedia | 1 | 0 | https://www.imdb.com/title/tt0110391/ | en | Perfect Love Affair (1994) | [
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] | null | [] | 1994-10-21T00:00:00 | Perfect Love Affair: Directed by Glenn Gordon Caron. With Warren Beatty, Annette Bening, Katharine Hepburn, Garry Shandling. Two people meet on a flight to Sydney. Although both are engaged to others, they fall in love during their evacuation after a forced landing, and agree to meet in New York City three months later if the attraction lasts. | en | IMDb | https://www.imdb.com/title/tt0110391/ | It was very difficult to decide how to rate this movie. I'd not seen the Cary Grant / Deborah Kerr version (except for the little snippets that appear in "Sleepless in Seattle"), so my opinion was not colored by the inevitable comparisons... It's just that the first half of the movie struck me as being incredibly *bad* : it was poorly written in particular. Once Katherine Hepburn appeared on the scene, the film began to improve quite noticeably, and the last half was considerably better, with superb performances, especially from the two principals. I've never been a big Warren Beatty fan, but Annette Bening is WONDERFUL! (I think I've fallen in love!!!) -- To sum up, the first half of the movie rates a 3 in my book, the second half an 8 -- hence my overall grade of 5. | |||||
7959 | dbpedia | 3 | 77 | https://professionalprograms.tft.ucla.edu/writing-for-television/faculty/ | en | Faculty: Writing for Television | [
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"https://prof... | [] | [] | [
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] | null | [] | 2017-02-02T19:01:35+00:00 | IN THIS SECTION APPLY NOW Faculty JILL GOLDSMITH (Fall/Winter/Spring Live Q&A and Lecture Series) Jill is a television writer and producer with credits on Emmy-winning series including NYPD Blue, The Practice, Ally McBeal, Law & Order, Boston Legal, and Rizzoli & Isles, and was a finalist for the Humanitas Prize for an episode of Boston […] | en | UCLA TFT Professional Programs | https://professionalprograms.tft.ucla.edu/writing-for-television/faculty/ | Don is a filmmaker, screenwriter, comic book creator, producer and novelist. He is the co-creator of History Channel's drama series Knightfall. The series was one of the top cable drama launches of 2017. Season 2 recently finished airing with Mark Hamill (Star Wars) co-starring. Handfield’s first comic series THE RIFT was picked up by Steven Spielberg and Amblin Entertainment for the final episode of the reboot of Amazing Stories anthology that aired on Apple +. His latest graphic novel LOOT (to be published in 2021) is currently in development as a streaming series, and his book UNIKORN was picked up by Armory Films (MUDBOUND, PEANUT BUTTER FALCON) for development into a feature film.
Handfield is currently producing along with Marc Platt (LA LA LAND), the adaptation of SWITCHED ON, the critically-acclaimed book from John Elder Robison at Focus Features with Emma Frost (White Queen) adapting. Handfield is also producing the US-remake of top grossing Vietnamese horror film, HOUSEMAID, with CJ Entertainment (SNOWPIERCER, PARASITE) that was adapted for the US market by Academy-Award winning writer Geoffrey Fletcher (PRECIOUS).
Handfield developed and produced THE FOUNDER starring Michael Keaton and KILL THE MESSENGER starring two-time Academy Award nominated actor Jeremy Renner, with whom Handfield co-founded production company The Combine. Handfield wrote and directed the Saturn Award winning film TOUCHBACK starring Kurt Russell and Christine Lahti. Handfield also wrote the novel, which was a top seller on Amazon and received a starred review from Publisher’s Weekly.
Handfield recently became a partner and Board Member of Scout Comics & Entertainment, one of the top indie publishers of the current age. ABC Studios recently optioned the Scout series HENCHGIRL, and Amazon is currently developing the series LONG LOST. Handfield’s comic book series THE MALL was optioned by Ivan Reitman’s Montecito Pictures. His upcoming YA Graphic Novel LOOT was optioned by Blue Ant Media for adaptation into a TV series. Handfield also behind acclaimed comic series THE SOURCE and THE DARK AGE, the latter of which became the best-selling series ever for publisher Red 5.
His short film My Name Is starring French Stewart won best short at several film festivals including the top prize at the Atlanta Film Festival, qualifying it for entry into the Academy Awards. He was named one of the top new faces of independent film by Filmmaker Magazine in 2005 and has written screenplays for Warner Brothers, DreamWorks, Paramount and Lionsgate, among others. | |||||
7959 | dbpedia | 3 | 2 | https://www.rottentomatoes.com/celebrity/glenn_gordon_caron | en | Glenn Gordon Caron | [
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] | null | [] | null | Explore the filmography of Glenn Gordon Caron on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details! | en | https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico | Rotten Tomatoes | https://www.rottentomatoes.com/celebrity/glenn_gordon_caron | Fascinated by movies as a child, Glenn Gordon Caron moved to Hollywood to pursue screenwriting assignments. Within five years, he had produced the debut season of "Remington Steele" (NBC, 1982-87) and moved on to "Moonlighting" (ABC, 1985-89), one of the freshest and most inventive shows of its era. The Cybill Shepherd/Bruce Willis comedy consistently defied expectation and convention, earning it a devoted audience and well-deserved kudos for Caron, who kept a close eye on its scripts. After his departure from "Moonlighting," he tried his hand at motion pictures, directing such films as "Clean and Sober" (1988), "Love Affair" (1994), and "Picture Perfect" (1997). Upon his return to television, Caron came up with "Medium" (NBC/CBS, 2005-2011). The offbeat fantasy-horror-drama delivered interesting characters and conflict to go with its creator's flourishes, which included elaborate visual work and the first use of high-definition 3-D on primetime television. One of the most innovative and celebrated television producers of his era, Caron was highly instrumental in persuading networks to try new things and move outside established formulas, and the ratings success of "Moonlighting" and "Medium" proved that audiences were very receptive to such creativity. | ||||
7959 | dbpedia | 3 | 98 | https://www.huffpost.com/entry/bruce-willis-moonlighting-creator-health-update_n_6529080ae4b0230cfe817475 | en | Bruce Willis ‘Not Totally Verbal’ Amid Dementia Battle, ‘Moonlighting’ Creator Says | [
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] | 2023-10-13T12:07:48+00:00 | Glenn Gordon Caron said his friend’s “joie de vivre is gone” after the actor was diagnosed with frontotemporal dementia. | en | /favicon.ico | HuffPost | https://www.huffpost.com/entry/bruce-willis-moonlighting-creator-health-update_n_6529080ae4b0230cfe817475 | LOADINGERROR LOADING
“Moonlighting” creator Glenn Gordon Caron has shared an update on Bruce Willis’ health this week, telling the New York Post that the actor is “not totally verbal” amid his battle with frontotemporal dementia.
Caron, a friend of the 68-year-old actor, explained that Willis still knows who he is during his visits but noted some changes to him.
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“My sense is the first one to three minutes he knows who I am,” he said.
“[Willis] used to be a voracious reader — he didn’t want anyone to know that — and he’s not reading now. All those language skills are no longer available to him, and yet he’s still Bruce.”
He continued: “When you’re with him, you know that he’s Bruce, and you’re grateful that he’s there, but the joie de vivre is gone.”
Caron said he’s talked with him and the actor’s wife, Emma Heming Willis, while maintaining a “casual relationship” with his three older children.
“I have tried very hard to stay in his life. He’s an extraordinary person,” added Caron.
“The thing that makes [his disease] so mind-blowing is [that] if you’ve ever spent time with Bruce Willis, there is no one who had any more joie de vivre than he. He loved life and ... just adored waking up every morning and trying to live life to its fullest.”
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Willis’ family announced that the actor was diagnosed with aphasia last year prior to sharing his dementia diagnosis in February.
In a recent appearance on the “Today” show, his wife noted the challenges that come with dementia.
“It’s hard on the person diagnosed. It’s also hard on the family. And that is no different for Bruce, or myself, or our girls. And when they say that this is a family disease, it really is,” said Emma Heming Willis, who shared that it’s “hard to know” if Willis is aware of his condition.
Caron, whose popular ’80s series starring Willis hit Hulu this week, informed the actor about the show’s availability on streaming.
“I know he’s really happy that the show is going to be available for people, even though he can’t tell me that,” Caron told the Post.
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