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October 2017 Profile: Kaitlin Butts

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Bringing Local Music Home
By Laci Jones

The Wild Rose Ranch in Lone Grove, Okla., features dogs named after famous country singers, donkeys named after movie characters and one curly, red headed singer who found herself in the country scene after being raised in the city.

Kaitlin Butts began singing at five years old, taking classes in musical theater, tap and jazz and performing in local productions of Broadway musicals. Unlike many country artists, Butts did not grow up listening to country music. Instead, she listened to Pop and Alternative genres.

While she did not listen to much country music, Butts did listen to Shania Twain, Tim McGraw and the Dixie Chicks in the ‘90s. By the time she was 15 years old, Miranda Lambert and Taylor Swift were making a mark in country music.

“My neighbor just started taking guitar lessons, and I asked him to send his guitar teacher over to my house,” Butts explained. “I was obsessed with all those bands and wanted to learn every one of Miranda Lambert’s songs. My first lesson, he taught me ‘Kerosene.’ That’s what got me started in country music.”

Butts explored the music genre, and found many of her favorite artists did not always write their own songs, and they sometimes cover classic artists. She listened to Miranda Lambert’s “The Way I Am,” originally recorded by Merle Haggard.

The rendition of the classic song inspired Butts to research songwriters and began scribbling lyrics. When asked if she remembers the first song she had ever written, she laughed and said, “No, probably something about my first kiss.”

Butts continued to perform at state fairs and other events, but she did not recognize the potential of having a career in the music industry without being at the top level, like Carrie Underwood and Miranda Lambert, she added.

“We don’t have any local artists playing on the radio like in Texas. I mean in Texas, you’re hearing a mix of nationally touring bands on the radio and then someone who’s playing down the street tonight is on the radio.”

Her desire to make a career in the music industry led her to attend the Academy of Contemporary Music at the University of Central Oklahoma after graduating from Union High School in 2011. At the ACM, Butts said she was one of few singers who specialized in country music. Many students at the university were in Indie Rock Bands.

“I just really wanted to play country, but bringing in that rock aspect to it and playing with good musicians expanded what I could do performance-wise,” Butts said.

After receiving her associate’s degree from ACM, the student talked to Reba McEntire’s former guitarist for 10 years and ACM professor, Chris Hicks. She asked for Hicks’ advice on pursuing a bachelor’s degree.

“He said, ‘Honestly, I think there are some people who need some time to grow at this school and in life. I think you’re ready and need to just go for it because I think you’ll learn a lot more out there actually doing it,’” the singer recalled.

Butts said she was thankful for the advice, and she began working on her first album. She drew inspiration for most of her songs from old boyfriends. The track that would also become the title of her album, “Same Hell, Different Devil,” stemmed from her ex-boyfriend leaving her for a “dancer.”

“I had really bad relationships and that was the grand fireworks finale,” she said. “Many of the songs are about bad relationships, because it was the worst thing that happened to me at the time.”

She worked with producer and owner of Boohatch studios in Ada, Okla., Mike McClure on the album.

“I hadn’t recorded anything before,” she explained. “He didn’t make me feel incompetent or like a new person on the scene. That’s what I appreciated because there can be some condescending folks in this industry who can make you feel small. He didn’t and that was a breath of fresh air.”

She walked in the eclectic studio with her guitar and said, “How and where do we start?” He said, “Well, let’s hear your songs.” The songwriter played her songs, and together they figured out tempos and laid down the tracks.

One of the tracks on the album was a cover of “God’s Going to Cut You Down,” which was also covered by Johnny Cash. While she particularly liked the Johnny Cash version of the powerful song, she made the cover her own by speeding up the tempo.

The music artist released “Same Hell, Different Devil” in February 2015. She continued to perform at local shows in Oklahoma City, where she caught audiences’ attention with her cover songs including Destiny’s Child’s “Say My Name.” The singer said the unexpected tracks caught people’s attention. She also entertained audiences with a few original tracks off her newly released album.

One day, someone called to tell the singer her song was playing on “The Ranch” in Fort Worth, Texas. Shortly after hearing her first song on the radio, Butts was offered to perform at the North Texas Fair & Rodeo in Denton, Texas. Other artist headlining were Courtney Patton and Erick Willis, who were performing original songs, inspiring the singer to follow suit.

“I started playing ‘Wild Rose.’ People were singing along, and that had never happened before,” she said. “My mom and aunt were in the audience crying. It was the most bizarre experience because I didn’t think anyone knew my songs.”

With her newfound success in Texas, the musician received requests from venues to come perform. She hit the road while continuing to ask questions and learn from her experiences. She performed Thursday through Sunday with a small break to come home, do laundry and repack.

She traveled to California, Georgia, Texas as well as other states across the country. One of her favorite venues to perform is the Magnolia Motor Lounge in Fort Worth, Texas, because of its “cool vibe” with a blend of a listening room and bar atmosphere.

“Depending on how you play your show, people will either be quiet or party,” she explained. “If you want your show to fluctuate— [the audience] will get quiet when you want them to get quiet, but if you start playing like Merle Haggard “I’ll think I’ll Just Stay Here and Drink,” they will start drinking and it’s really fun.”

Performing at a wide variety of venues can create wild scenarios. The 24-year-old said the most annoying situation that has ever happened at a show is someone joined her on stage and Snapchatted her while singing along.

“I was playing a sweet song like ‘Wild Rose,’ and I just thought it was disrespectful,” she added. “The wildest thing was having Red Dirt Randy get on stage and start singing. I liked him on stage because he was there to have fun and not Snapchat it.”

While the red head has an outgoing personality on stage, Butts said she becomes a recluse before each performance.

“I can talk anyone’s ear off for a long time, but right before the show, I need at least 20 minutes to just sit in quietness, be on my phone or listen to quiet music in my car.”

She is joined on stage by bass player Caleb Shirtum from Davis, Okla., drummer Walton McMurray from Ardmore, Okla., and guitar player Matt Hargis from Norman, Okla. Life on the road is full of laughter, she admitted.

“Every time I get onstage and introduce them, I don’t even say where they are from,” the lead singer joked. “For Caleb, I say that he’s from the Arbuckle Mountains. I say that Matt is from the Cleveland County Jail and Walton is from the bottom of the Red River,” Butts joked.

Recently, however, she has been “toning it down” on touring shifting her focus to songwriting.

“I’m just giving myself enough time to be alone with myself because when I wrote ‘Same Hell, Different Devil,’ I didn’t have jack going for me,” the songwriter began. “I wrote most of those songs in the summer when all my friends had gone home from college. I stayed in my little one-bedroom apartment in Oklahoma City by myself.”

While the songs on her previous album were written solo, Butts has made trips to Nashville, Tenn., to work with Angaleena Presley of the “Pistol Annies” on a few songs. As the songwriter   matured, her songwriting evolved.

“The worst thing that used to happen to me was a guy didn’t like me, and I don’t feel like I’m that person anymore,” she said. “Now, actual real life bad things have happened, and it just puts things in perspective.”

The currently untitled album will feature songs about alcoholism, substance abuse and divorce. Butts has also written a sequel to “Wild Rose” as well as a song about a nursing home in Oklahoma City where she regularly performs. While the album does not have a title yet, she hopes it will be released in 2018.

She will also have one love song featured on the album about current

boyfriend and lead singer for “Flatland Cavalry,” Colletto “Cleto” Cordero. When he was working on the album “Humble Folks,” one of his friends suggested he make the song “A Life Where We Work Out” into a duet.

While everyone in the band was asleep in the van, except for Cordero who was driving, Butt’s song “Gal Like Me” played on the radio. Once Cordero identified the singer, he invited the red headed music artist to sing on Flatland Cavalry’s album.

After recording the track “A Life Where We Work Out” with Flatland Calvary, she went on the road with the Texas band. Butts and Cordero became good friends, but the road brought them closer together.

“We just had undeniable chemistry where everything just felt easy in a comfortable way,” she said of Cordero. “It just felt like home.”

When asked where she sees herself in five years, Butts said she expects to have a family while balancing her passion for songwriting and performing.

The red headed music artist will be performing at the Cheatham Street Warehouse in San Marcos, Texas, and at the Ziegenbock Festival in Houston, Texas, on Oct. 6 and Oct. 14, respectively. To book Kaitlin Butts, visit www.kaitlinbutt.com.

This article originally appeared in the October 2017 issue of Oklahoma Farm & Ranch. 

Country Lifestyle

The Almanac: Old Wisdom, New Uses

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By Savannah Magoteaux

It may seem old-fashioned in today’s world of instant weather apps and precision farming tools, but for generations, farmers and ranchers have kept something tucked alongside their feed store receipts and fencing pliers: the almanac.

If you’ve ever wondered what makes an almanac different from a regular calendar—or how you can actually use one on the farm today—you’re not alone. The truth is, there’s a reason the almanac has stuck around for more than two centuries. It’s part tradition, part practical guide, and part good old country common sense.

What Exactly Is an Almanac?

At its simplest, an almanac is an annual publication that contains a wide variety of information:

  • Weather forecasts (both short-term and long-range)
  • Moon phases and sunrise/sunset times
  • Best days for planting, harvesting, and other chores
  • Tide tables
  • Astronomical data (eclipses, meteor showers)
  • Farming advice
  • Home and garden tips
  • Folk wisdom and humor

The Old Farmer’s Almanac, founded in 1792, is probably the most famous, but there are many versions today—including regional editions designed for specific areas of the country.

What sets an almanac apart is that it doesn’t just tell you what is happening; it often tells you when and how to do things based on seasonal rhythms, tradition, and long-standing patterns of nature.

How Are Almanac Predictions Made?

One of the most famous parts of the almanac is its weather forecast section.
While the exact methods are often kept secret, most almanacs combine:

  • Historical weather patterns
  • Solar cycles (like sunspots)
  • Lunar phases
  • Meteorological data

They aren’t as precise as modern radar forecasts, but they’re designed to give a general idea of what to expect for an upcoming season. Many readers use them more for planning and tradition than strict prediction.

Interestingly, some almanacs claim accuracy rates of around 80%, though independent studies suggest they’re closer to 50–60%. Still, for long-range planning—like when to schedule planting, hay cutting, or even branding days—many farmers find them helpful.

How to Use an Almanac Today

If you flip open an almanac today, you’ll find it offers much more than weather. Here are a few practical ways to use one on your farm or ranch:

  • Planting by the Moon: Many people still plant certain crops according to the waxing and waning of the moon, believing that different phases influence root growth, fruit production, or hardiness.
  • Scheduling Hay or Harvest: Long-range dry or wet forecasts can help you pick safer windows for cutting and baling hay.
  • Livestock Planning: Some ranchers time breeding, calving, or vaccinations according to signs in the almanac (or at least avoid unlucky dates!).
  • Gardening Tips: Almanacs are packed with advice on companion planting, pest control, and organic practices.
  • Household Projects: Need to set fence posts or pour concrete? Some almanacs recommend the best days for setting things in the ground to “set stronger.”

Even if you don’t follow it to the letter, it can still offer a broader way of thinking seasonally—something that technology sometimes encourages us to forget.

Tradition Meets Technology

Many almanacs now have companion websites and apps, offering digital versions of their classic wisdom.
Still, there’s something satisfying about flipping through a paperback almanac, circling dates, and marking notes in the margins just like the generations before us.

It’s a reminder that even in a high-tech world, farming and ranching are still closely tied to the rhythms of nature—and a little old-school wisdom never hurts.

References:

  1. The Old Farmer’s Almanachttps://www.almanac.com
  2. Farmers’ Almanachttps://www.farmersalmanac.com
  3. University of Illinois Extension – Understanding the Farmer’s Almanac Weather Predictions
  4. National Weather Service – Historical Weather Patterns

SIDEBAR_

5 Fun Facts About the Almanac

1. It’s Older Than the U.S. Constitution.
The Old Farmer’s Almanac was first published in 1792—one year after George Washington was elected President.

2. There’s a “Secret Formula” for Weather Predictions.
The Old Farmer’s Almanac claims it uses a top-secret mathematical formula, created by its founder Robert B. Thomas, that factors in sunspots, tidal action, and planetary positions.

3. It’s Not Just One Almanac.
There are actually several famous almanacs, including the Old Farmer’s Almanac and the Farmers’ Almanac, and they’re produced by different companies with slightly different forecasting methods.

4. Moon Phases Matter.
Many planting and farming guides in the almanac are based on the waxing and waning of the moon. According to tradition, above-ground crops do better when planted during a waxing moon, and root crops thrive during a waning moon.

5. It Once Had a Hole in the Corner.
Early editions of the almanac were printed with a hole punched through the corner. Why? So farmers could hang them on a nail in the barn or outhouse for easy reading (and sometimes, as a backup to toilet paper)!

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Country Lifestyle

The Sounds of the Country

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Daylight in the country is busy. There are engines, gates, dogs, birds, wind, and people moving with purpose. Even when it feels quiet, there is usually something making noise. It is familiar noise, the kind you stop noticing because it belongs there.

Night is different.

When the sun drops and the work winds down, the sounds change. Some disappear entirely. Others step forward like they were waiting their turn. It is only then that you realize how much the land talks after dark.

The first thing most people notice is how far sound carries at night. Voices travel farther. A truck door slams a half mile away and still feels close. Coyotes sound like they are just beyond the fence, even when they are scattered across an entire section.

There are reasons for that. Cooler nighttime air is denser, allowing sound waves to move more efficiently. During the day, sunlight heats the ground unevenly, creating air layers that bend and scatter sound. At night, temperatures even out, and sound travels straighter and farther. The land does not get louder. You just hear more of it.

Coyotes are often the headliners. Their howls, yips, and barks are not random noise. They are communication. A single howl can be a location check. Group yipping can signal territory or reunite scattered pack members. What sounds like chaos is often a coordinated conversation that carries for miles.

Owls tend to follow. Great horned owls announce themselves with deep, rhythmic calls that sound older than fences and roads. Barred owls ask their unmistakable questions from creek bottoms and timber. These calls serve the same basic purpose as the coyotes’. Territory, presence, and pair bonding, all broadcast into the dark.

Insects fill the gaps. Crickets and katydids create a steady background hum that changes with temperature and season. In late summer, their calls are loud enough to drown out distant traffic. In early fall, the rhythm slows. By winter, silence settles in where that sound once lived.

Frogs take over after rain. Stock tanks, ditches, and low spots become stages. Each species has its own call, its own timing, its own volume. To someone unfamiliar with rural nights, it can sound overwhelming. To those who live with it, it becomes reassurance that water is present and life is moving.

Livestock contribute their own nighttime sounds. A cow bawling for a calf. Horses shifting and blowing softly in the dark. The occasional thump of hooves when something unseen moves through the pasture. These noises are usually brief, but they catch your attention because they break the expected rhythm.

Some sounds are seasonal. In the fall, migrating birds pass overhead, calling to one another in the dark as they navigate by stars and landmarks. In spring, night birds return, filling the air with calls that have been absent for months. The land sounds different when life is arriving versus when it is leaving.

What surprises many people is how much quieter the country can be without human interference. With fewer buildings, less traffic, and minimal artificial lighting, natural sounds are not masked the way they are in towns and cities. Even distant highways fade into the background, leaving space for subtler noises to emerge.

That quiet can feel uncomfortable at first. Silence magnifies small sounds. A branch snapping or leaves shifting can sound larger than it is. Over time, you learn what belongs and what does not. The land teaches you what is normal.

Nighttime sounds also slow you down. There is less pressure to move, to fix, to finish. Sitting on a porch or leaning against a fence, you start to listen instead of scanning. The dark removes visual distractions, leaving only sound to tell the story.

Those sounds carry information. Weather is changing. Animals are moving. Seasons are turning. Without realizing it, you begin to recognize patterns. You notice when the coyotes are quieter than usual, or when frogs call earlier than expected. The land speaks in small signals long before anything obvious happens.

Most of these sounds go unnoticed unless you stop and listen. They are not dramatic on their own. They do not demand attention. But together, they form the soundtrack of rural life after dark.

In a world that rarely slows down, nighttime in the country offers something increasingly rare. A chance to listen without interruption. To notice what has always been there. To understand that even when the lights are off and the work is done, the land never really rests.

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Country Lifestyle

Growing Something Better

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By Beth Watkins
There’s something about springtime that makes folks want to open windows, clean out closets, and maybe even peek out the front door to see if the neighbors are still alive and ready for a cookout. After a long winter of confusing, seesawing temperatures—where you needed shorts one day and a parka the next—March just rolls in with her own mysterious mood swings. Will she bring warm breezes and wild daffodils, or will she slap us with a late snowstorm and the flu for good measure?


March is the season of new growth. The earth starts greening up, baby calves find their legs, and every hardware store in the county sells out of tomato plants. Folks start making ambitious garden plans, fueled by equal parts hope, memory loss about last year’s weeds, and the siren song of heirloom seed catalogs. You find yourself petting baby chicks at Atwoods, thinking, “How hard can it be?” while conveniently forgetting you once killed a cactus.


But maybe this year, along with our gardens and yards, it’s time we put a little effort into growing something else: personal responsibility. And maybe even—brace yourself—neighborly love.


Now, I’m not talking about the kind of neighborly love where you let someone move in with their three untrained dogs, six boxes of drama, and a Wi-Fi password they never stop using. I mean the kind where we treat folks with basic kindness and decency, without expecting them to carry our groceries, fix our fences, or raise our children.


Somewhere along the way, it seems like society forgot that love and enabling are two different things. The Bible says to love your neighbor as yourself. It does not say to take your neighbor on as a dependent. Yet more and more, we’re seeing an attitude of entitlement blooming like crabgrass in what used to be tight-knit, self-reliant communities.


There was a time when being called “self-sufficient” was a compliment. It meant you could patch a roof with tar and a prayer, make a pot of beans stretch a week, and wrangle your own problems without immediately calling the government, your mama, or Channel 5 News. You didn’t expect handouts—you offered a hand up when someone else truly needed it. But lately, some folks have gotten real comfortable hollering “help me!” before they’ve even tried standing up on their own two feet.


Case in point: a woman on social media said she needed her oil changed and a chicken coop built. She had the supplies but no funds to pay for help. Fair enough—times are tough. But the very next day, she posted photos of her estate sale haul, bragging about how she “only” spent $400. Not even a month later, she’s showing off her custom steel gate entryway. Clearly it’s not a money shortage—it’s a priority misplacement.


That kind of thinking doesn’t just stunt personal growth—it chokes the roots of the community. I know people need help, and we are called to love our neighbors, but let’s get real, folks. Last year’s gold medal for gall goes to the woman hosting her child’s backyard birthday party who posted: “Can anyone bring enough food for about twenty people? The child loves spaghetti with all the trimmings, and a cake. Please deliver it hot, at party time.” You think I’m kidding? I’m not. I’m still in shock.


We weren’t meant to live like hermits, but we weren’t meant to sponge off the folks who are doing the work either. There’s a balance somewhere between “do-it-all-yourself survivalist” and “the world owes me a living.” And that sweet spot is where real growth happens.


Spring is a perfect reminder of that. You can’t just toss seeds in the dirt and expect a harvest. You have to work the soil, pull the weeds, and show up every day—even when it’s hot, dry, or swarming with grasshoppers. Same goes for character. You’ve got to tend it. Cultivate it. And not just when people are watching.


If you want a better world, you’ve got to start in your own backyard. Literally and figuratively. Pick up the trash that blew into your fence line, and since it came from your poly cart, go grab your soda can out of your neighbor’s yard too. Wave at your neighbor, even if he insists on mowing in Crocs and tube socks and blowing his grass trimmings into the street. A little physical kindness can go a long way.


I grew up being taught that if someone was struggling, lost a loved one, or just got over an illness, you found a way to help—even if it was just sending over a casserole. Honestly, our first instinct should be to offer help, not because we want a parade in our honor, but because it’s the right thing to do. If you’re swamped with work or kids or life, send a food gift card. If you’re short on funds, offer to mow a lawn, babysit for an hour, or just check in.


We should teach our kids and grandkids that it’s natural to struggle. That hard work isn’t punishment—it’s how things get built. It’s how we move forward. Asking for help in a crisis is fine, but leaning on others indefinitely is no way to grow tall and strong. A goal shouldn’t be “how do I get the best handouts” but rather, “how do I build a life I’m proud of?”


We all need each other, but we also need to pull our own weight. Otherwise, this whole wagon’s going to tip. There are programs out there to help folks get back on their feet, but they aren’t just hangouts—they’re meant to be springboards. To break the cycle. To build something better.


So maybe this spring, as the world begins to thaw and bloom again, take a quiet moment to reflect on the life you’re growing—both inside and out. Ask yourself what kind of neighbor you are. Are you showing love, or just expecting it? Are you helping things bloom, or draining the rain barrel?


There’s still a lot of good in this world. I see it every day—in farmers helping neighbors fix fence after a storm, in church ladies who deliver meals without a fuss, in kids learning to shake hands and look folks in the eye. But good doesn’t grow on its own. It takes effort. It takes intention. And sometimes it takes a little tough love with a smile.


So here’s to spring: the season of new beginnings, fresh starts, and maybe, just maybe, a collective shift back to kindness, accountability, and old-fashioned neighborly grace.


Let’s roll up our sleeves, open the windows, clean out the cobwebs. Let’s go through our closets and our abundance, and donate to local places that help people get back on their feet—places that believe in a hand up, not just a handout. That’s how we grow something better.

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