INTERNATIONAL

bluegrassIBWOBBREAKSRECORD!

BECKY BULLERCOOKIE RECIPES

Vol. 29 No. 11 November 2014

“That’s really been the trade secret”Mac Wiseman

September Board Meeting Minutes

and more!

STAFF

BOARD

INFO

International BluegrassVol. 29 | No. 11 | November 2014

Statement of fact and opinion are made on the responsibility of the writers alone and do not imply an opinion on the part of the officers, directors, staff or members of IBMA. Portions of International Bluegrass may be reprinted provided that explicit citation of the source is made: “Reprinted with permission from International Bluegrass, the publication of the International Bluegrass Music Association, www.ibma.org.”

Editor: Taylor Coughlintaylor@ibma.org

Designer: Erin Erdos Humannerinfaitherdos@gmail.com

INTERNATIONAL BLUEGRASS(ISSN #1095-0605)

IBMA: IBMA is the trade association that connects and educates bluegrass professionals, empowers the bluegrass

community, and encourages worldwide appreciation of bluegrass music of yesterday, today and tomorrow.

CONTACT USThe monthly emailed publication of the

International Bluegrass Music Association

608 W. Iris Drive, Nashville, TN 37204 USA615-256-3222 | 888-GET-IBMA

Fax: 615-256-0450 Email: info@ibma.org Website: www.ibma.org

Jon Weisberger/Board Chairperson

Taylor CoughlinSpecial Projects Director

Publications EditorEddie Huffman

Technology & Office Systems Manager

Joe LurgioMember/Convention

Services DirectorNancy Cardwell

Executive Director

Alan Bartram/Director, Artists/Composers/PublishersBecky Buller/At LargeDanny Clark/At Large

Jamie Deering/Director, Merchandisers/LuthiersRegina Derzon/Director Secretary, Associations

Henri Deschamps/At Large

Craig Ferguson, Vice ChairJohn Goad, Print/Media/Education

William Lewis/At LargeStephen Mougin/At Large

Joe Mullins, Artists/Composers/PublishersBrian Smith/Director, Agents/Managers/Publicists

David Smith/Director, BroadcastersBen Surratt/Director, Recording/Dist./Marketing

Tim Surrett/Director, Artists/Composers/PublishersAngelika Torrie/Director, International

Elizabeth Wightman/Treasurer, At Large

CONTENTS

NOVEMBERTable of

MAC WISEMANPays tribute to his mother and preserves the past.08

LETTER FROM EXECUTIVE DIRECTOR Nancy Cardwell04

EXECUTIVE DIRECTORJob Description18

Steps one, two three, FORE! Proven tactics to strengthen your brand from former golf pro.

16

HAZEL DICKENSSong Contest15

SEPTEMBER 2014

Board Meeting Summary20

INDUSTRY NEWS24NEW MEMBERS:

September and October26

FRESH SOUNDS 2.0:Sounds, Reads and Eats!21

WOB Breaks Record! 6

Cover photo by Julie Macie

International Bluegrass www.ibma.org4

NEWS RELEASE

Nancy Cardwel l

IBMADear Members of

After 20 years serving on the staff of the International Bluegrass Music Association, I made the decision last month to resign as executive director, effective Dec. 31, 2014.When I agreed to take the interim ED position March 5, 2012—and later in August 2012 when I was asked to take on the fulltime position, I let the IBMA Board of Directors know I intended to stay three to five years, to help the organization get through what I perceived as a crucially important transitional process following the tenure of longtime director Dan Hays—who I credit with building the organization from the ground, with the help of many of you early members.

My goals were to work with current and new staff, the board, and our new partners in Raleigh to rebuild membership numbers; to increase attendance, value, and the overall vibe at World of Bluegrass events; and to start the process of re-building our finances. We’ve also updated our website and our entire online presence during the past two and a half years. And the IBMA Youth Council, Membership Recruitment Committee, Leadership Bluegrass, and the international “I” in IBMA are strong and moving forward.

Bluegrass music is about passing tunes from one generation to another, and it’s also about passing leadership roles along to the next person on the industry side. Twenty years is a long time to do anything, and I know 2015 is the right time for me to pass the torch to the next executive director of IBMA. The IBMA team and I have accomplished what we set out to do during the past three years, and I have a passionate, talented staff with over a year’s experience under their belts in place with Taylor Coughlin, Eddie Huffman and Joe Lurgio, working hard for the future of bluegrass music.

I’m not sure what I’ll be doing next, but I have a couple of interesting leads—both inside and outside the bluegrass music world. I’ll let you know the details as soon as I can, and I would truly appreciate your support as I move forward in another role.

I grew up in a bluegrass family band in the Missouri Ozarks—hitting the stage and radio airwaves for the first time at age seven, and I’ve been writing professionally about bluegrass music in magazines since I was in college. I’m not leaving the music. My dedication and personal support of bluegrass music and its international trade association will continue.

It’s been an honor and a privilege to serve IBMA for 20 years, and to get to know and appreciate so many of you. I’m proud of what the organization has accomplished so far, and I’m excited about the future of both IBMA and bluegrass music. I appreciate what I’ve learned from each of you, the music and the stories, and most of all, your friendship.

Sincerely,

International Bluegrass www.ibma.org6

IBMA’s World of Bluegrass 2014Attendance figure exceeds 180,000

The International Bluegrass Music Association (IBMA)’s World of Bluegrass event, September 30-October 4, continued its successful run in

Raleigh, North Carolina. As detailed in a release today from the Greater Raleigh Convention and Visitors Bureau, preliminary attendance figures for the entire week, which include both local and out-of-town attendees, is estimated to be more than 180,000 people. The release also states that direct visitor spending is estimated at $10.8 million for the entire World of Bluegrass event.

The 2014 attendance number, as well as the direct visitor spending number, is based on attendance at the three-day IBMA Business Conference, the 25th annual International Bluegrass Music Awards Show, the Bluegrass Ramble evening showcases on eight stages over three nights, the two-day Wide Open Bluegrass festival, and the free-to-the-public weekend Wide Open Bluegrass StreetFest, which partnered with the North Carolina Whole Hog Barbecue State Championships. Combined, these events brought approximately 88,000 visitors from outside of North Carolina’s Wake County to the area, generating approximately 23,000 hotel room-nights.

“Overall attendance at World of Bluegrass 2014 exceeded our expectations,” said IBMA Executive Director Nancy Cardwell, “and we couldn’t be more pleased with the hospitality and support from the Raleigh community and everyone working behind the scenes for our second fabulous and wide-open year in Raleigh, North Carolina.

Members who were not able to attend in 2013 came this year and were overwhelmed with everything Raleigh has to offer, as well as how the entire week of IBMA events have evolved. More people in the region came out to check out bluegrass music at the Wide Open Bluegrass StreetFest, which helps IBMA reach the goal of introducing some of the best music in the world to new audiences.”

“My compliments and appreciation to Mayor Nancy McFarlane, Loren Gold at the GRCVB, Laurie Okun at the Raleigh Convention Center, William Lewis and staff at PineCone, our Local Organizing Committee, and everyone on the Raleigh team working together with IBMA to make World of Bluegrass a resounding success through 2018, and perhaps beyond.”

A more detailed look at the World of Bluegrass attendance numbers:

• 171,580 people attended Wide Open Bluegrass, presented by PNC

• 2,065 music fans attended the IBMA Awards Show Oct. 2

• 3,796 (cumulative) attendees were part of the IBMA Business Conference over its three days

• 3,390 fans (cumulative) attended the Bluegrass Ramble showcases.

In addition to the visitor spending, IBMA’s World of Bluegrass also produced $3.6 million in media value for Greater Raleigh. This figure was researched and calculated by Meltwater News, a division of the San Francisco-based monitoring and analytics firm Meltwater Group. Meltwater used readership data from Nielsen to compute the $3.6 million media value for IBMA’s World of Bluegrass, based on domestic and international media impressions from a variety of mediums.

Several aspects of IBMA’s Business Conference were noteworthy: the inaugural year for the Talent Buyers Focus got off to a great start, with 65 in attendance at the first Agent Pitching Session. There were 600 appointments at The Gig Fair, and more than 200 attendees at the Agents & Talent Buyers Reception.

The five-day event in Raleigh, North Carolina, September 30–October 4, generated $10.8 million in direct visitors spending and $3.6 million in media value

www.ibma.org International Bluegrass 7

EDITORIALFrom the Executive Director’s desk

Additionally, The Bluegrass Expo, considered the world’s largest bluegrass industry and acoustic music trade show, grew to 112 exhibitors this year. Attendance at the 2014 Bluegrass Expo was exceptional, with at least 13,000 visitors estimated during the Wide Open Bluegrass

StreetFest, when attendance at the Expo was free and open to the public. The first IBMA Film Festival was also very well received, with favorable reviews from both bluegrass fans and film aficionados.

IBMA BUSINESS CONFERENCE: Bluegrass Unlimited (national sponsor), AirPlay Direct, AristWorks, Bandzoogle, Boston Bluegrass Union, Fishman, Grey Fox Bluegrass Festival, Homespun Tapes, Lagunitas Beer, Martin Guitars, Mast Farm Inn, Morgan Stanley, Quicksilver Productions, SESAC, SteelBridge Insurance, Touchstone Essentials, and a number of Bluegrass Ramble co-sponsors.

IBMA AWARDS SHOW: BMI, Bluegrass Today, Compass Records, Deering Banjos, International Bluegrass Music Museum, Mountain Home Music, Music City Roots, John Pearse Strings and Yep Roc.

WIDE OPEN BLUEGRASS: PNC (presenting sponsor), D’Addario Strings (national sponsor), Crabtree Valley Mall (main stage sponsor), Knee-Deep in Bluegrass, the North Carolina Arts Council and Smith Anderson.

WEEK-LONG SUPPORT: PineCone-Piedmont Council of Traditional Music; the Raleigh Convention Center (including the staff at the RCC, the Duke Energy Center for the Performing Arts, and the Red Hat Amphitheater); the Greater Raleigh Convention & Visitors Bureau; and the City of Raleigh.

World of Bluegrass 2014 was made possible by the kind support of the following sponsors:

Photo by Todd Gunsher

EDITORIAL From the Executive Director’s Desk

International Bluegrass www.ibma.org8

Mac Wiseman: Pays Tribute to His Mother and Preserves the Past

By Eddie Huffman

Longevity: at 89 years of age, Mac Wiseman is big on this word. After all, he has been recording and performing longer than any

other artist alive today and shows no sign of slowing down. Not only has Wiseman been at it longer than anyone; he has been prolific all the while. He has released hundreds of recordings over his 70-year career (bluegrass master discographer Charlie Pennell has cataloged 230 recordings in various formats). He helped define bluegrass in its infancy, and he has profoundly

shaped the country music landscape as well. He is a founding member of the Country Music Association, and he has been a member of the International Bluegrass Music Hall of Fame since 1993. Now, he adds a new record and an induction to the Country Music Hall of Fame to an already remarkable career. With all this under his belt, Wiseman sees there is yet more ahead for him to do. “Because it’s not just my life,” he says, “but an era that has passed and never will be again unless somebody preserves it.”

Photo courtesy of Wrinkled Records

EDITORIALFrom the Executive Director’s desk

www.ibma.org International Bluegrass 9

Songs from My Mother’s Hand, Wiseman’s latest record, is part of the preservationist project, a collection of songs from his mother Ruth’s thirteen-volume set of handmade songbooks. He had the record on his mind for sometime, and found an opportunity to pursue it shortly after the announcement of his induction into the Country Music Hall of Fame last spring. Independent label Wrinkled Records contacted him about doing a record, and he soon got together with producer and guitarist Thomm Jutz and Nashville journalist

and musician Peter Cooper. The three went through the notebooks, and things came together with a set of tunes from volume three. They called in session king Jimmy Capps, recording all twelve tracks in six hours with some overdubs by Sierra Hull, Mark Fain, and others added later. The arrangements on the recording are sparse, dutifully featuring that “voice with a heart.” As always, Wiseman avoids any straightforward generic conventions with the performances, reflecting the historical moment recorded in his

International Bluegrass www.ibma.org10

mother’s songbooks. Yet the album is fresh and avoids the trappings of a reenactment.

The record stands as a tribute to Wiseman’s mother, and her role in building a foundation for his career in music. Between the late 1920s up to the Second World War, Ruth Wiseman transcribed the popular songs of the day streaming in from WSM in Nashville, WLS in Chicago, WCYB in Bristol, and a host of other stations. Songs range from “Greenback Dollar” and “Silver Haired Daddy” to “Lamp Lighting Time in the Valley.” Interestingly, most of the songs represent composite versions, pastiches of radio airwaves collected over time. His mother would catch a few lines here, or a verse and a chorus there, and assemble them into complete versions. A number

of the songs in the notebooks have never been recorded, the lyrics of the live performances transcribed by hand and their tunes absorbed through hours sitting by the radio. In effect, Ruth Wiseman, like the ballad hunters who scoured the Shenandoah Valley and wider Appalachia, was documenting the music of her day.

Some of Wiseman’s favorite songs came out of these handmade songbooks, forming the basis for his early repertoire. “[‘Lamp Lighting Time in the Valley’ is] one of my very favorites because I can visualize that, mainly the lamps shining bright in the windows. ‘East Bound Train,’ as well,” He says. “The railroad, Norfolk and Western, went within a half a mile, I’d be out doing chores at dusk dark, and I’d see that

passenger with silhouettes of people sitting and wonder just where in heck they were going or coming from.” The songs spark childhood memories of his mother and life in depression-era rural Virginia. And the songbooks themselves evoke childhood memories, having been used for family sing-alongs with everyone gathered around the pump organ.

For Mac, however, the books were more than a source of casual entertainment. “Oh, they were my life,” he says. They were an invaluable resource for honing his craft. As a child, he would sit at the dining table after supper and study each book, one after the other until bedtime. He recalls, “I remember when I was learning to play the guitar, I had a lot of

Photo by Parker Young

www.ibma.org International Bluegrass 11Photo by Stacie Huckeba

International Bluegrass www.ibma.org12 Photo by Stacie Huckeba

www.ibma.org International Bluegrass 13

trouble with coordination. I could make the chord changes, but when singing the song I’d be ahead of my chord change. I will never forget the night sitting at the kitchen table, and I first got that combination down. That was a night they almost sure enough had to whip me to put me to bed.” These books and their songs are his life, both the foundation of his livelihood and his experiences over the past 89 years.

Ruth Wiseman’s documentary efforts and Mac studies paid off, of course. Mac started in radio in Harrisonburg, VA, hosting news, “disc jockey shows,” and live radio. After a year of working 60-70 hour weeks, he says, “I realized that the program director and the manager was driving Fords and Chevrolets, and the hillbillies was driving Cadillacs. So I said, ‘Well, I’m in the wrong end of this racket.’ ” Wiseman formed his own band, using his radio connections to get gigs playing firemen’s carnivals and the like in Fredricksburg, MD in exchange for advertising time. Shortly thereafter, he signed on as bass player with Molly O’Day and began what would become a legendary career in bluegrass and country music.

In all this, Wiseman has been able to maintain an identity while also slipping effortlessly into a variety of musical guises, from pop to jazz. He says, “I’ve had enough success from a lot of different fields that people accept me as ‘Mac Wiseman music’ instead of bluegrass

or pop or rock. Even when I recorded with these other people [outside bluegrass music], I did my thing, you know, and I know that that has contributed to my longevity in the business, the fact that if they hear me, why, they don’t hear somebody else. And I think, without making a big issue of it, that’s really been the trade secret.”

In addition to his diverse artistic contributions, Wiseman is being honored for his industry involvement, including his role in founding the Country Music Association and working as an executive at Dot Records. Proliferation has always been foundational to his business acumen. While at Dot Records, where he recorded and worked as an executive in the 1950s, Wiseman developed the business model that still informs his career today. The typical industry practice was to schedule new releases with falling chart action for prior singles. Wiseman says, “But we had a pattern, in order to build a repertoire quickly, we released every six weeks regardless of what the one ahead of it was doing.” Rather than trying to maximize charting for each single, Wiseman and Dot emphasized quantity. Within a year of joining Dot, Wiseman, Webb Pierce, Johnnie and Jack, and Slim Whitman all had concurrent hit singles. But Wiseman and Dot were not really selling for the charts. Rather, their market consisted of the 75,000 jukeboxes in the United States at that time.

Wiseman says, “I remember one time I played Dayton, Ohio, and afternoon and evening show. And after the afternoon show, I went across the street to get a pack of cigarettes at a little shotgun diner, you know, where they have the counter and a bunch of stools. I just idly went back to the jukebox to see if my records were on it. I had sixteen sides on that damn jukebox! We didn’t always have chart action, but we sold records, buddy.”

After more than 70 years of recording, touring, and building the bluegrass and country music industries, the Mac Wiseman has much more to give. He has an album with Bakersfield legend Merle Haggard already in the can, and he has completed his autobiography with help from Nashville journalist Walter Trott. The book is slated for publication in early 2015. Future projects include a photo biography and the preservation and publication of his mother’s cookbook. Of course, Wiseman has the remaining twelve volumes of his mother’s songbook collection. With a list of 200 hundred songs he has never recorded, he is eager to get back into the studio. “Besides a labor of love,” Wiseman says, “It will be a preservation for your generation. If I get to where my voice isn’t holding up, I’m not too proud to quit.” As heard on Songs from My Mother’s Hand and at a recent sell-out show at the Franklin Theatre just outside Nashville, the “voice with a heart” is holding up quite well these days.

International Bluegrass www.ibma.org14

EDITORIAL From the Executive Director’s Desk

It’s about Jamming !

l Hands-on learning in large & small groups.l Only four chords needed, G, C, D, and A.l Full ground rules and etiquette of typical jams.l Ear skills taught: How to find melodies, fake solos, carry a tune, sing harmony.l How to lead songs and follow new songs.l Tab/note reading not needed or used.l Low-pressure, time-tested teaching!l Gentle tempos! Mistakes expected.

Wernick Method classesteach real bluegrassjamming! All ages.

Teachers!Qualified teachers who want to teach the Wernick Method are certified promptly at no cost, and can start a class as soon as January!

For 15%, we provide:l Full teacher trainingl Customized class flyerl Class page on BGjam.coml Registration, handling paymentsl Promo blasts to our email listl Student materials, emailed and hard copyl Consult with Pete as neededl Student evaluations & summary

Bluegrass organizations!Sponsor a teacher to be certified

and start teaching jamming locally.

FESTIVALS hostingWernick Method classes:Merlefest (NC)Grey Fox (NY)Huck Finn (CA)Palatka (FL)ROMP (KY)Blythe (AZ)Tamworth (UK) Gettysburg (PA)Cruise2Jam (CA)Jekyll Island (GA)Myrtle Beach (SC)Delaware Valley (NJ)Mammoth Lakes (CA)Pickin’ in Parsons (WV)Albino Skunk Fest (SC)Pickin’ in the Pines (AZ)Lighthouse Bluegrass (BC)

Bristol Rhythm & Roots (VA/TN)

Palisade Bluegrass & Roots (CO)

... and many more!

Asked, “Did you attend the festival to take

this class?”40% of students said: YES.

Let’s Pick!

“I made a huge leap.I can actually sing! ”

“The learning curveis amazing in this

jam class setting.”

“I have been waiting to start playing real bluegrass with people for quite a while, and now I can.”

Pete Wernick’s Silver Bay BLUEGRASS CAMP

Innovative camp model includes:l coached small jam groups dailyl instrument instruction dailyl trio harmony singing dailyl nite fun: open mic, karaoke, moviesl all certified Wernick Method teachersl beginning jammers to performing bands

“Pickers want to jam!... and it’s much easier than

many folks think. Most teaching leaves them in the closet, butwe get them jamming!”

− PETE WERNICK

Details atBGJAM.com

Attendance Limited!

on beautiful Lake George June 22-26.

BGJAM.COMAUSTRALIA

EUROPE

in 39 states & 9 countries3000+ students, 60+ teachers

A class near you? See BGJAM.com

RESULTS!

Anonymous online surveys from 254 classes in39 states and 9 countries. Response rate 60-80%.

How our students rate their classes on a 1-5 scale

5 4 3 2 1 1308 444 80 18 6 1245 507 85 26 14 1306 403 91 33 13

Fun !!Good LearninG experience

WeLL Worth the Money

Wernick Method classes

www.ibma.org International Bluegrass 15

CONTEST

The Hazel Dickens Song Contest is accepting entries until January 1, 2015. The new competition honors the life and music of one the most beloved songwriters in bluegrass.

The first-place winner is invited to play his or her song on the main stage at the DC Bluegrass Festival in Vienna, VA, February 28, 2015.

From hardscrabble beginnings in West Virginia coal country in 1935, Hazel moved to Baltimore, MD, as a young woman to find factory work and quickly connected with local musicians. She started performing throughout the Baltimore/Washington region and was soon recognized for her singular mountain singing style and her gift with a lyric.

Hazel wrote of coal miners, unionization, hard times, feminism and much more. She recorded several albums with duo partner Alice Gerrard in the 1960s and 1970s and went on to release four records as a solo artist. Her best-known songs include Won’t You Come and Sing for Me, West Virginia My Home, Few Old Memories and Mama’s Hand. Hazel was awarded a National Heritage Fellowship in 2001 from the National Endowment for the Arts. Her life came to a close in 2011 following complications from pneumonia.

The contest category is bluegrass, including gospel. Entry fee is $30 per song and all entries must be received by January 1, 2015. First, second and third-place winners receive cash prizes and will be announced on February 7, 2015. Entry rules and judging information can be found at www. DCBU.org/songcontest.htm.

“We wanted to honor Hazel’s legacy with a song contest that focuses on bluegrass music,” said DC Bluegrass Union President Randy Barrett. “We hope it will become a prime opportunity for songwriters to show their craft and become better known.”

All proceeds from the Hazel Dickens Song Contest help fund the DC Bluegrass Union. DCBU is a 501(c)3 nonprofit membership organization with a mission to promote bluegrass music in the greater Washington region through education and performance.

It’s about Jamming !

l Hands-on learning in large & small groups.l Only four chords needed, G, C, D, and A.l Full ground rules and etiquette of typical jams.l Ear skills taught: How to find melodies, fake solos, carry a tune, sing harmony.l How to lead songs and follow new songs.l Tab/note reading not needed or used.l Low-pressure, time-tested teaching!l Gentle tempos! Mistakes expected.

Wernick Method classesteach real bluegrassjamming! All ages.

Teachers!Qualified teachers who want to teach the Wernick Method are certified promptly at no cost, and can start a class as soon as January!

For 15%, we provide:l Full teacher trainingl Customized class flyerl Class page on BGjam.coml Registration, handling paymentsl Promo blasts to our email listl Student materials, emailed and hard copyl Consult with Pete as neededl Student evaluations & summary

Bluegrass organizations!Sponsor a teacher to be certified

and start teaching jamming locally.

FESTIVALS hostingWernick Method classes:Merlefest (NC)Grey Fox (NY)Huck Finn (CA)Palatka (FL)ROMP (KY)Blythe (AZ)Tamworth (UK) Gettysburg (PA)Cruise2Jam (CA)Jekyll Island (GA)Myrtle Beach (SC)Delaware Valley (NJ)Mammoth Lakes (CA)Pickin’ in Parsons (WV)Albino Skunk Fest (SC)Pickin’ in the Pines (AZ)Lighthouse Bluegrass (BC)

Bristol Rhythm & Roots (VA/TN)

Palisade Bluegrass & Roots (CO)

... and many more!

Asked, “Did you attend the festival to take

this class?”40% of students said: YES.

Let’s Pick!

“I made a huge leap.I can actually sing! ”

“The learning curveis amazing in this

jam class setting.”

“I have been waiting to start playing real bluegrass with people for quite a while, and now I can.”

Pete Wernick’s Silver Bay BLUEGRASS CAMP

Innovative camp model includes:l coached small jam groups dailyl instrument instruction dailyl trio harmony singing dailyl nite fun: open mic, karaoke, moviesl all certified Wernick Method teachersl beginning jammers to performing bands

“Pickers want to jam!... and it’s much easier than

many folks think. Most teaching leaves them in the closet, butwe get them jamming!”

− PETE WERNICK

Details atBGJAM.com

Attendance Limited!

on beautiful Lake George June 22-26.

BGJAM.COMAUSTRALIA

EUROPE

in 39 states & 9 countries3000+ students, 60+ teachers

A class near you? See BGJAM.com

RESULTS!

Anonymous online surveys from 254 classes in39 states and 9 countries. Response rate 60-80%.

How our students rate their classes on a 1-5 scale

5 4 3 2 1 1308 444 80 18 6 1245 507 85 26 14 1306 403 91 33 13

Fun !!Good LearninG experience

WeLL Worth the Money

Wernick Method classes

HAZEL DICKENS

SONG CONTESTAccepting entries

16 International Bluegrass www.ibma.org

Life has its funny ways of leading you where you never thought you’d end up. Sometimes you start going down one road only to find out you’re being led a different way. This happened to Josh Trivett, co-founder of Moonstruck Management – the company who manages bluegrass titans like Ralph Stanley, Lonesome River Band, Russell Moore & IIIrd Tyme Out and more. Trivett played golf professionally before entering into the business side of the golf world. Between the two facets of the sport, he totaled 12 years in the industry. The initial professional playing sidew morphed into traveling internationally as an international brand spokesperson and senior VP of two golf companies during his career.

So how did he get into music? Trivett says he met a lot of music contacts through golf, which makes sense as a lot of musicians have golf as a hobby. It was one day out on the green with Dan Tyminski when a lightbulb in Trivett’s head started burning bright. “Have you ever thought about how similar the golf business and the music business really are?” Tyminski said. Trivett’s gears started turning; when it comes to the business of golf and the business of music, there is a lot of crossover in management and marketing. “Take away the golf clubs and insert instruments; take away

Proven tactics to strengthen your brand from former golf pro and business executive Josh Trivett By Taylor Coughlin

the golf course and insert a stage,” Trivett thought. “It’s all about what player is hot and marketable, and the same is for the hottest player on tour.”

After building a friendship with Hall of Famer Doyle Lawson, one thing led to another in Trivett’s life and he switched from overseeing tour players and operations to managing and booking Doyle Lawson & Quicksilver. From that point, he transitioned and formed Moonstruck Management with co-founder Peter Keiser, former head of marketing for Cracker Barrel. What he learned from over a decade in the golf world would translate surprisingly well and easily into navigating the music business after his vast experience in contract negotiation, marketing, brand building, PR, and general management. “It’s all about who’s hot, who’s marketable, and who’s getting the endorsements,” he said,

comparing golf players to musicians. Bottom line, he said, is “Who is selling tickets and and clubs and who is getting people in the door and selling records?”

Make no mistake, Trivett knows the different in talent that it takes to be a good golfer and a good musician. He appreciates and loves bluegrass music having grown up in eastern Tennessee. He knows that. He knows that at the heart of it all, is the music. But in order for the music to have business, there must be customers (audience) and a demand. Through his tenure in the golf world, Trivett has seen how golf markets is events and how bluegrass could easily do the same. “For one tour, [golf] isn’t selling it just one way; they’re selling it many different ways to reach all the different demographics they can possibly reach,” he said.

FORE!

Steps

21

3

Josh golfing in Utah

EDITORIALHere are tips straight from Trivett on how to succeed in music business, from his own experience – golf and music.

Marketing and Growing through Alignment

Do your research! If you don’t know the audience you have, or are trying to cultivate, how are you going to reach them, influence them, and keep them around to be your customers? Trivett suggests looking at the demographics of what your fan base is made up. Do this by taking a survey at your next gig or festival, or make note of who comes into your store for a numbered period of days. See what other markets share those same characteristics in their demographic but who aren’t crossing over into the bluegrass world.

From there, the next step is crucial and this is where growth through alignment comes in: Find the right component to partner with your brand. When pairing up with a partner with a similar demographic, you’re helping each other grow by reaching a broader audience of like-minded folks whom it would be harder to reach just by going it alone. Co-mingling can be healthy for your business, and if done right, parallel growth can really take off for the both of you. Trivett says, “It’s about building bridges.”

Brand Awareness

Do you have a solid brand? Whether you’re a band, festival, PR firm, radio station, association: You are a brand. It is important that you develop that and push it out to promote yourself and gain more attention. Good brand awareness means: “Good management, booking, and publicity all working together,” Trivett says. “There is strength in numbers, and the more members you have on your team that can elevate your brand is crucial.” While sometimes it is financially unrealistic to add more people to your team, it doesn’t mean there aren’t cost effective ways to make sure your brand is solid and getting the attention it needs. You just have to tap into your business sense and pair it with a little creativity. “Like any other business in the world, it takes an investment of both time and money to strategically build something that can break through, withstand, grow, and live,” Trivett says.

Moonstruck Management is a modern music management company that focuses on the country and bluegrass music business. Moonstruck incorporates artist development, management, growth, and booking into one controlled business. Their current artists include Ralph Stanley, Russell Moore and IIIrd Tyme Out, Lonesome River Band, Adkins and Loudermilk, The Twang Bangers, and the Hogslop String Band.

“There are a few things I try to beat my clients over the head with:

1. Top of mind awareness: Find ways to make your brand top-of-mind with fans.

2. Brand strength: Really create a brand (i.e. Ford, Levi, Mtn. Dew, etc.) and understand that your music is far more than words or notes…it’s a BRAND.

3. Frequency in the marketplace: Knowing what the bounds of your marketplace are and exploring all avenues within that market that are means to create opportunity, spotlight and visibility in that market.

Trivett recalls a Johnny Cash quote, “The music doesn’t have to change, but it has to grow.” This is true for bluegrass businesses (bands and artists among them) who have to be willing to do things differently in order to grow – not change – their business.

Most of what Trivett preaches can be summed up through the following:

1. Continually reinvest in your business

2. Create a foundation to grow from it

3. Avoid repetition and embrace change

4. Perceived value can both increase and decrease your brand image

5. Learn to grow through partnerships, both within your genre and outside

Trivett and Moonstruck’s Laura Ford with the Soggy Bottom Boys at the Ole Smoky Moonshine Distillery, Marh 2014

International Bluegrass www.ibma.org18

IBMA Executive Directorposition description

Executive Commitee accepting applications

The Executive Committee has approved the following job description for posting here and in a variety of other places. To expedite the process of finding a new Executive Director, we ask that if you have a candidate for the job in mind - yourself included - please send contact information and a brief descrip-tion to jonweisberger@gmail.com.

IBMA Executive DirectorResponsible to: Board of Directors

 

Summary of primary job functions:The Executive Director is responsible for establishing and executing major goals,objectives and Stra-tegic Plan for the IBMA. Implements policies established by the board of directors. Provides leader-ship, direction and guidance of Organization’s activities. Analyzes and evaluates the effectiveness of all organization operations. Develops and maintains organizational structure and effective personnel. Coordinates major activities through subordinates and appraises assigned personnel. Represents the Organization to regulatory bodies, other agencies, community and civic organizations, donors, funders and supporters, and the general public.

• Acts as the spokesperson for organization • Executes board-approved policies • Directs and oversees the implementation of

short and long term strategic plans• Attends Board Meetings • Efficiently maintains a competent and effec-

tive staff • Provides leadership to organization person-

nel and contractors through effective objec-tive setting, delegation, and communication

• Conducts staff meetings to disseminate per-tinent information

Duties and responsibilities

General • Ensures that appropriate salary and wage

structures are maintained• Delegates authority and responsibility to

staff and contractors• Coordinates and directs employees• Oversees the execution of established office

procedures• Ensures that job descriptions are current • Conducts performance appraisals as re-

quired• Formulates and implements corrective ac-

tion as needed

www.ibma.org International Bluegrass 19

Administration• Ensures administrative staff remains current to organization business and Board directives/ap-

provals that affect their functions and areas of responsibility• Works with the Board of Directors on governance policy issues by providing support and by initi-

ating approved recommendations or actions • Ensures compliance to minimum standards in accordance with all government legislation, regu-

lations and guidelines pertinent to the organization’s role as an employer and non-profit agency• Recommends to the Board changes to policies and procedures that would improve the

organization • Maintains an effective and cost efficient office environment• Develops, maintains, and up-dates job descriptions pertinent to the organization• Determines staff training and/or equipment needs of clerical and administrative employees, tak-

ing into account annual budget allocations• Submits all information, reports and records as requested or required by law to appropriate

government officials and/or the board of director• Develops and implements operational plans, policies, and goals that further strategic objectives

Financial

• Maintains full awareness of the complete financial, statistical, and accounting records of the orga-nization

• Ensures that operating results established in the annual budget are achieved and the control of operating expenses within budget

• Ensures the accuracy, integrity, and timeliness of all financial accounting and reporting• Signs all checks and obtains secondary signature when required • Ensures the preparation of the annual budget for board approval• Facilitates fundraising actvities including short term and long term sponsorship relationships• Create diversified income streams

Other

• Manage all aspects of World of Bluegrass. This includes both internal functions and those con-tracted to others.

• Oversee services to members to ensure members needs are met• Oversight of all other programs and goals

**Compensation commensurate with qualifications and experience

International Bluegrass www.ibma.org20

The IBMA Board met in Raleigh, NC on September 29th and 30th, immediately before the start of this year’s World of Bluegrass.

The meeting opened with reports on publicity and sponsorship. The Board discussed the need to get an early start on sponsorships for 2015. Following that, the Board discussed a report on membership, noting that professional membership has risen more slowly than total membership. Strategies for existing member retention and new member recruitment were discussed. The Board then heard the Treasurer’s financial report and a report on festival ticket sales from Wide Open Bluegrass producer and Board member William Lewis. The Board discussed a variety of issues related to the various World of Bluegrass components, including business conference attendance, logistics, planning and divisions of labor. No formal action was taken on any of these subjects.

The meeting’s first day concluded with a presentation by Jim Thompson, former Executive Director of the Association Executives of North Carolina, on association board “best practices.”

Tuesday’s meeting began with a general discussion of ways to improve the business conference. No formal action was taken. The Board then took up the issue

of volunteer compensation. In the Board’s last comprehensive review of the issue about seven years ago, it established or reaffirmed guidelines for determining which jobs - e.g., awards show producer - were to be carried out by volunteers, and which could be carried out by compensated providers. At that time, the Board also reaffirmed the principle that its members serve without compensation or reimbursement of any expenses.

Since then, however, the Board has opted to contract several jobs - e.g., festival producer - which were previously uncompensated. In addition, it has changed the “model” of the festival to one in which performing artists are compensated (in fees and/or other expenses), and similarly broadened the kinds of compensation that may be offered to Awards Show performers.

The result is that the principles that previously operated with respect to volunteer compensation are no longer operative; instead, we have more of a patchwork of inconsistent policies. Board Chair Jon Weisberger is in the process of establishing a Task Force to review the issues and make recommendations to the Board for a new guideline or set of guidelines. The Board discussed the issue from a variety of perspectives,

with the understanding that the discussion would inform the work of the Task Force. No formal action was taken.The Board then entered into Executive session to discuss the Executive Director’s performance. Action taken during the session will be reported following the Board’s approval of the meeting’s minutes.

The Board then elected officers and its Executive Committee:

Jon Weisberger was elected Chair.Craig Ferguson was elected Vice-Chair.Elizabeth Wightman was elected Treasurer.Regina Derzon was elected Secretary.

Weisberger and Ferguson serve on the Executive Committee by virtue of their positions. In addition, the Board elected Alan Bartram, Ben Surratt and Elizabeth Wightman to the Executive Committee.

Following the elections, the meeting adjourned.

September Board Meeting Summary FRESH BITES

www.ibma.org International Bluegrass 21

Oatmeal Cookies Baked for the Sam Bush Band session

½ cup butter ½ cup brown sugar ½ cup white sugar (cream together)

Add: 1 egg 1 tsp vanilla 1 tbsp buttermilk Sift & add: 1 cup unbleached all purpose flour ½ tsp baking soda ½ tsp baking powder ½ tsp salt 1 tsp cinnamon Stir in: 1 cup uncooked quick oats ½ bag butterscotch chips ½ bag chocolate chips ½ sm bag shredded coconut handful chopped pecans

• Mix well.

• Make into 1 inch balls.

• Bake for 10-12 minutes until light brown at 350˚.

Fun fact: For each recording session, Becky Buller baked dif-ferent cookies for the musicians to snack on. At her album release party in Nashville on October 21, she had baked the four batches of cookies she shared during recording.

She kindly shared her recipes! Pro tip: Listen to ‘Tween Earth and Sky as you bake and bite.

Lydia Bettis’ Bodacious Chocolate Chip Cookies Baked for Barry Bales, Ron Block, Jesse Brock, and Kenny & Amanda Smith

Ingredients

1 cup sugar 1 cup brown sugar 2/3 cup butter or margarine (or mix) 2/3 cup shortening (butter flavor best!) 2 eggs 2 tsp vanilla 1 ½ cup all purpose flour 1 ½ cup self rising flour 1 tsp baking soda 1 tsp salt 1 bag chocolate chips

Directions

• Mix ingredients in order. Add more flour if necessary.

• Drop golf ball sized rounds onto ungreased cookie sheet.

• Bake ‘til golden brown at a pre-heated 350˚.

A Ginger’s Gingersnaps Baked for Darin & Brooke Aldridge, Beth Lawrence, Ned Luberecki, Ste-phen Mougin, Tim O’Brien, Mike Bub and Bryan Sutton

Ingredients

¾ cup butter 2 cup brown sugar (cream together)

2 well-beaten eggs ½ cup molasses 2 tsp apple cider vinegar (add)

3 ¾ cup unbleached flour 1 ½ tsp baking soda 3 tsp ginger ½ tsp cinnamon ¼ tsp cloves (sift and add)

Directions:

• Mix ingredients well.

• Roll into ¾ inch balls and roll them in white sugar.

• Bake approximately 12 minutes or until done, at 325˚

• You might want to check on them to make sure they don’t turn crispy! Really good with “pumpkin” cream cheese dip.

FRESH BITES

International Bluegrass www.ibma.org22

NOVEMBER 2014FRESH SOUNDS

Claire Lynch BandHoliday

Rick LangThat’s What I Love About Christmas

Becky Buller, ‘Tween Earth and Sky

Larry Stephenson BandPull Your Savior In

Chris Jones and the Night DriversLive at the Old Feed Store

Shawn LaneMountain Songs

FRESH SOUNDS

FRESH READS

www.ibma.org International Bluegrass 23

Berklee College of Music professor and renowned songwriter Mark Simos has crafted a book on songwriting titled, Songwrit-ing Strategies: a 360˚ Approach, published by Berklee Press. The book is comprised of all-encompassing instructions on songwriting. Whether you start with the lyrics, melody, harmo-ny, rhythm, or idea, Simos makes sense of where to take your writing next. Written with a conversational tone, Simos is up front and thorough, a trustworthy guide into the complex (or sometimes not-so) world of writing music. Established song-writers who are intent on bettering their craft and newbies alike will find this book extremely helpful in guiding them forward on their songwriting journey. Songwriting Strategies can be pur-chased online on Amazon.com, Barnes & Noble, and your local book or music store. Catch up on Simos’ recent interview with Bluegrass Today at World

James LevaAll Over the Map

Crowe BrothersForty Years Old

International Bluegrass www.ibma.org24

November 2014Industry NEWS

On the Charts as reflected at press time For the Record

standing o!

Billboard: Bela Fleck and Abigail Washburn, Bela Fleck and Abigail Washburn at number one; Bass and Mando-lin by Chris Thile and Edgar Meyer at number two; The Earls of Leicester, The Earls of Leicester, at number 3.

Bluegrass Today Weekly Airplay songs: “Remind Me of You,” by Blue Highway at number one; “Her Love Won’t Turn on a Dime,” by Lonesome River Band at number two; “Fiddlin’ Joe,” by Michael Cleveland and Flamekeep-er at number three.

Bluegrass Unlimited songs: Junior Sisk and Rambler’s Choice, “I’d Rather Be Lonesome,” (written by Milan Mill-er, Davis Raines) at number one; “Bitterweeds,” by Larry Sparks (written by Barbara Wilkinson and Sonya Wood) at number two; and “Don’t Let Your Deal Go Down,” by Earls of Leicester (written by Wayne Walker, Louise Cer-tain, Gladys Stacy, and George Sherry) at number three.

Bluegrass Unlimited albums: “Busy City” by Rhonda Vincent (written by Jesse Daniel) at number one; “Only Me” by Rhonda Vincent and Willie Nelson (written by Bill Yates, Roger Brown) at number two; “The Game,” by Blue Highway (written by Shawn Lane, Barry Bales) at number three.

Grammy-winning banjoist and Compass Records Group co-founder Alison Brown is among 34 artists to receive a USA Fellowship from United States Artists. The recipients of this year’s awards were an-nounced this week and selected by a panel of expert peers in each artistic discipline.

Ned Crisp and Bottomline walked away with the first ever Bluegrass Group of the Year award at the In-ternational Music & Entertainment Awards in Ashland, Kentucky on Saturday, October 4.

Lester Flatt, was honored in his hometown of Sparta, Tennessee re-cently when city and county officials joined forces to unveil an historical marker in his honor during Sparta’s annual event, Liberty Square: A Lester Flatt Celebration. The his-torical marker was unveiled during the city’s annual event, named for Flatt, on Saturday, October 11th.

The 45-minute ceremony included a special music presentation by Blake Williams who enlisted the help of another Nashville Grass alumni, Roland White, as well as Michael Cleveland, Wayne Southards, Dwayne Anderson and a guest ap-pearance by Darin Aldridge. Tennes-see State Representative Paul Bailey presented a proclamation on behalf of the State of Tennessee honoring Flatt’s contributions to bluegrass and country music.

The Northern California Bluegrass Society has announced that Bob Cole, Charlie Cran, Penny Godlis, and Chris Stevenson will receive Lifetime Achievement Awards at the 2015 Northern California Bluegrass Awards. The January 24 ceremony & concert in Redwood City are part of the free weekend-long NCBS Blue-grass On Broadway Festival.

KET won two awards from the National Educational Telecommu-nications Association for “Jubilee” recently. KET’s long-running musi-cal performance series won an award for Content Production (Large Market) for its “Best of the 2012 Fan Fest.” The program featured highlight performances from an array of musi-cians – including the Del McCoury Band, Russell Moore and IIIrd Tyme Out, the Steep Canyon Rangers and more – filmed at the 2012 Interna-tional Bluegrass Music Association (IBMA) Fan Fest in Nashville. The program marked the first time that Fan Fest performances have ever been filmed for broadcast.

www.ibma.org International Bluegrass 25

INDUSTRY NEWS

For the Record

In Remembrance

Joe Mullins & the Radio Ramblers are proud to welcome Jason Barie as their newest member. Jason will make his official debut during the Southern Ohio Indoor Music Festi-val held in Wilmington, OH Novem-ber 7th and 8th.

Kameron Keller has been chosen as the new bass player for Junior Sisk and Rambler’s Choice. Junior Sisk is also in the news for injuring his hand while hunting. Although he had to get stitches, he will make a full recovery.

Stash Wyslouch, frontman for blue-grass rebels the Deadly Gentlemen, is working on a solo project combin-ing bluegrass and metal. Help make his project a reality by donating to his Kickstart campaign!

The Kevin Prater Band has an-nounced Rod Smith as the newest member of the group as the banjo and reso-guitar player. The tradition-al band is based out of Kentucky. Shelby Means, bassist for Della Mae for 2.5 years, has announced her departure from the band. She will be pursuing other artistic ventures.

Glen Gibson, banjo player for Mi-chael Cleveland and Flamekeeper, has also announced his departure from the band.

Randall Deaton and Lonesome Day Records have announced the launch of a new label imprint to be known as Dry Lightning Records, which will focus on non-bluegrass material and will aim to garner a different brand identity in the market.

Ken Scoggins, a bluegrass singer, songwriter, bandleader and Old Homestead recording artist, suf-fered a heart attack on October 19 after having run a half marathon earlier in the day. He was admit-ted to the ICU at the Grand Strand Medical center in Myrtle Beach, and is now at home resting. Cards and well wishes for Ken can be sent to the band address:

PO Box 3432 Rock Hill, SC 29732

Ernest Charlton Ferguson passed away October 19, 2014 after battling a long illness. He was 96. Ernest was a Nashville native and in the early 40’s played mandolin with Johnnie & Jack & the Tennessee Mountain Boys, Kitty Wells, and Paul Warren, among others.

Hazel McGee, of New England’s White Mountain Bluegrass band, passed away on October 27 after battling cancer. She, along with her beloved husband Mac, were recog-nized as Bluegrass Pioneers by the In-ternational Bluegrass Music Museum for their work in bringing attention to bluegrass in the New England area.

Stan Jay, popular string seller at Mandolin Brothers in Staten Island, passed away October 22. He had managed the store since its open-ing in 1971 and served many artists; everyone from Bruce Springsteen to Joni Mitchell. He died at age 71 of lymphoma.

Brandon Bowles, also known as “BB,” died in a car accident in North Carolina. The bass and guitar player was well known in the North Caro-lina/Virginia area where he played at many festivals with local and regional bands. BB was 32.

Nashville songwriter Paul Craft, died October 18 in the hospital. Craft had recently been inducted into the Songwriters Hall of Fame when he fell ill. Craft was also a musician, most notably a banjo player for Jimmy Martin and his Sunny Moun-tain Boys. He was 76 years old.

Norman Wilson, mandolinist and tenor vocalist with Primitive Quar-tet, passed away while hunting with friends in North Carolina on October 15. It is presumed that he had a heart attack. He was 70 years old.

International Bluegrass www.ibma.org26

Craig Baird

Daniel Barker

Chris Bellamy

Johanna Blake

Rachel Chanoff

Gene Cobb

Bernard Cunningham

Bill Davis

Carolyn Evans

Cindy Faulkner

Joe Ferris

Jodie Fishbein

Stephen Fisher

Denis Gainty

Caroline Gallagher

John Gillespie

Parker Gondella

Sherry Graf

Pamela Gray

Priscilla Guild

Gerald Harbour

Brenda Holdridge

Peter Hutwelker

Jonathan James

Jesse Lee Jones

Carl Landi

Devon Leger

Randy Leroy

Todd Letcher

Tammy Lewis

Robert Lockhart

Carol Manuel

John Marshall

Jeffrey Marshall

James Mathis

Victoria Mcandrews

Tucker Mccandless

Carol Mcconnell

Tim Mcgaughy

Brittany Mclamb

Angela Medlin

Freddie Medlin

Ted Miller

Neal Montgomery

Stephen Parkhurst

Jake Patty

Wesley Pettinger

Gary Phillips

Juliana Proctor

David Rhodes

Ruth Rupp

Julia Sandoz

Jake Schepps

Eli Smith

Blake Smith

Mary Smith

Travis Stimeling

Gwen Stimely

Jesse Sullins

John Tate

Stuart Teplin

Peter Thompson

Stuart Vincent

Tim Wilson

Elanor Withnall

Carter Worthy

Anne Yarborough

Jeff Zitsman

NEW MEMBERS: SEPTEMBER

www.ibma.org International Bluegrass 27

Lisa Bianchi

Karen Bobbitt

Kalyn Bradford

Tj Cantin

Amy Dement

Allison Dorris

Donn Duncan

Bo Edwards

Bailey George

Arnold George

Bruce Hill

Brian Hull

Shannon Hunt

Ernie Jarrell

Colton Kerchner

Dena Kilgore

Linda Kittler

James Kornegay

Larkin Legrand

Steven Loggie

George Nethercutt

Mary Noecker

Caroline Pate

Pamela Perkins

Fletcher Potanin

Ronald Simmons

Ira Thomas

Gene Thompson

Ron Tipton

Chris Windenburg

Margaret Wooten

OCTOBERNEW MEMBERS: OCTOBER

IBVol. 29 No. 11

November 2014