Thanks to HEIDI LABENSART for the invitation to hear Craving Records’/New Zealand-born artist JACKIE BRISTOW (with Australian guitarist MARK PUNCH) at 3rd & Lindsley May 10th.
If you’re wondering if there’s anyone who hasn’t seen a stage production of Mama Mia!, I was that person. But no longer, thanks to AMANDA VIRGILLITO, who extended a media night invitation for the May 1st performance at the Tennessee Performing Arts Center.
The musical comedy, with its magnificent, almost dizzying choreography, features 22 of ABBA’s most popular songs, including all of the group’s hits. It runs through May 6th at TPAC’s [ANDREW] JACKSON Hall. (Additionally, Amanda has been kind enough to provide media night [May 9th] tickets for TPAC’s production of O, Diego, Go Live! The Great Jaguar Rescue. The action adventure runs through May 13, also at TPAC’s [ANDREW] JACKSON Hall.)
The parking lot looked full, but the Belle Meade chapel designed for hundreds of worshippers seemed a little large for the May 1st memorial service for IRVING WAUGH. With visitation the evening before, perhaps many paid their respects at that time and opted not to interrupt their Tuesday workday lunch hour to attend the 45-minute service at St. George’s Episcopal Church.
Yet, a couple hundred mourners made the effort to salute the broadcasting and Music Row giant before family and friends took Waugh to his final resting place. Those listed on the program ranged from MIKE REID (who contributed his piano solo of Amazing Grace) to JOHN TESH.
Tesh, who contributed a piano solo of his own (Dear Unknown), recalled picking up the phone while news anchoring in North Carolina “30 or 40 years ago” (1975, to be more precise) and hearing a booming voice: “Is this John Tesh? This is Irving Waugh. You’re coming to work for me.”
Tesh’s reply? “OK.”
HUELL HOWSER, the deceased’s “Happy News” hire, eulogized Waugh, noting that the “No one ever accused Irving of being a touchy-feely person who was over-the-top with his emotions,” while DAN McKINNON, who, thanks to Waugh, was elected to the Country Music Association ‘s Board in 1964 (and who served on the CMA Awards Show TV committee), may have overstated Waugh’s unquestionably awesome accomplishments when he lauded Irving as “the one who put Music City, USA on the map.” (Why do I think DAVID COBB is rolling in his grave?)
As an aside, McKinnon credited National Life’s EDWIN CRAIG with saying “We’re going to keep the Opry going even if no one ever attends, “ while noting that “The CMA was reluctant to sponsor Fan Fair until Waugh promised that WSM Radio, which forced Irving’s compliance with its mandatory retirement requirement of all station employees at age 65, would “pick up the cost.”
Noting Irving’s penchant for referring to subordinates at “Young Chap,” or “Lad,” Dan emphasized that, as the producer of the CMA Awards, Waugh “didn’t care about advertisers, record companies, producers or songwriters” and the conflicting agendas that threatened the quality of the show. In so doing, McKinnon completely ignored the unpleasantness of the tiff that ultimately established the 1992 CMA Awards Show as the last one Irving ever produced, closing his remarks by making a bid for Waugh’s posthumous induction into the Country Music Hall of Fame.
Irving was very much a man of his time. If women did not figure prominently in the funeral service (though Waugh was a widower after a remarkable 70 years of marriage), there was a reason: Consider that, by Huell’s own admission, at the time Irving hired him, “I’d never been to a TV station,” let alone appeared on-air.
Now, contrast that with the fact that when I first sought employment with WSM my résumé highlighted a broadcasting background, dating back to my high-school years, that I proudly brought to Irving’s attention. Waugh’s response was consistent with his quirkiness, but, not knowing him, it caught me off-balance: Instead of discussing my qualifications, Irving spent a considerable amount of time, retelling, what, in another context, would have been exciting stories about his World War II adventures. Then Waugh introduced me to outgoing WSM personality DAVE OVERTON and told me to interview with him! (This was not too long after the WSM employment application TEDDY BART filled out requested his religious affiliation.)
I would love to know the extent to which Irving orchestrated his own funeral. It was interesting to note the choice of pallbearers and featured participants in the event- those included and those excluded- as Waugh’s enormous contributions were revisited with him being credited for accomplishment others have previously claimed- everything from Fan Fair to the building of Opryland and all it once encompassed.
Only those who were around at the time will know to what extent credit is rightfully Irving’s. Read what one of the pallbearers, my former neighbor, BUD WENDELL, told me a few years ago about where credit should be bestowed and draw your own conclusions.
Readers interested in a complete list of pallbearers and/or my incomplete list of mourners may let me know. Please put “Irving Waugh” in the subject line of your email and provide your full name, city and state (or country if outside the U.S.).
From the e-mailbag, Seigenthaler Public Relations’ PHILIP McGOWAN brings word of an “initiative… that will raise money and awareness for the Disabled American Veterans; specifically those suffering from hearing loss – a prominent and often overlooked disability associated with veterans.
”Takamine has donated a guitar to the nonprofit EAR Foundation and hearing product manufacturer Clarity.
”The two organizations are asking country-music personalities to sign the guitar backstage at the ACM Awards and, if possible, follow the lead of MONTGOMERY GENTRY, by signing the guitar prior to the show. The guitar will then be on display at various DAV air shows around the country this and eventually auctioned – the proceeds for which will go to the DAV.”
After nearly three weeks in the Davidson County jail, D(AN) R(OBERT) ROACH, the soon to be ex-“Mr. WYNONNA JUDD,” was allowed leave the premises April 25th after his bond was reduced to $75,000, Roach met it and he agreed to a stint in rehab, though he can’t leave the state of Tennessee and visits with his 17-year-old son are restricted, under a court order, pending his criminal trial.
Roach continues to face three counts of sexual battery against a minor under 13.
From the e-mailbag (and used with permission), Bluegrass/gospel recording artist and songwriter, GENE HALL, of Morehead, Kentucky, writes “Hi, Stacy, I just got me a MARTINA McBRIDE CD, Timeless.
”That girl has a golden throat. She does country songs the way country should be sung.
”There is a real chance country- good old country music- will find its way back with people like Martina singing the good stuff.
”The music coming out of Nashville is not country by any stretch of the imagination.
”Love your work. Keep it coming.
”Your friend, Gene Jack Hall.”
Many of you don’t know who JACK PAAR was but, if you did, you’d know I kid you not when I tell you that ALAN JACKSON is the deputy prosecutor in the PHIL SPECTOR trial.
Thanks to KAY CLARY and NANCY MOORE for the invitation to attend a number one party for KENNY ALPHIN, in celebration of Big Kenny’s penning of TIM McGRAW’s #1 hit, Last Dollar (Fly Away) at BMI April 24th.
McGraw showed up to salute Alphin during the presentations portion of the party, during which Kenny reminded those gathered about the true power of a dollar when spent for its highest purpose: charity. While appealing for aid earmarked for, and a stop to the genocide of, the people of Darfur; Alphin returned his thanks for the presentation of the traditional plaques awarded at such gatherings with a plug for the charitable efforts of those closer to home: Specifically, Nashville’s Magdalene, (residential communities designed to rehabilitate women with a criminal history of prostitution and drug addiction) and My Sister’s Keeper (a safe place for teen-aged girls to be mentored as also to receive “sisterly support” for life’s challenges).
Among those showing up for the fun were RANDY OWEN (who granted a photographer’s request to pose with fellow photog RANDI RADCLIFF), DAVID PRESTON, CARISSA McCALL, TWO FOOT FRED, JODY WILLIAMS, WALT TROTT, MARTHA MOORE, JOHN LOMAX, MICHELLE BROUSSARD, JIMMY CARTER, VERNELL HACKETT, HANK ADAM LOCKLIN and literally hundreds of others.
Thanks also to Kay and Nancy for the invitation to join MATTHEW PERRYMAN JONES, BROOKE WAGGONER, AUDREY SPILLMAN, KYLE ANDREWS, DENITIA ODIGIE, BRIAN RITCHEY, HEYPENNY, and THORNTON for “8 off 8,” April 30th at Mercy Lounge.
American Entertainment, a South Carolina-based publication, evidently has some country fans within its readership, as CRYSTAL GAYLE has just been awarded one of the magazine’s Reader’s Choice Awards.
However, it is hoped that by the time you read this, the magazine will have corrected its misspelling of another recipient’s surname (that of KRIS KRISTOFFERSON).
Regular Report readers know that Kris and I go back to a time before he cut his first album. They say that fame changes people and some things I have heard from at least one of Kris’ representatives- above and beyond that which is public knowledge- suggests that Kristofferson is Exhibit A.
But I have no way of knowing if the information is correct or if Kristofferson is being poorly represented.
I do know, though, that while much has been made of a recent tribute presented to Kris by ROSANNE CASH (during which Rosanne referred to a letter Kristofferson’s mother, MARY ANN, sent the young Kris, expressing dissatisfaction with her son’s chosen career), Cash left out the “best” line from the letter: I am paraphrasing, but, as has Kris once indicated, the gist of Mary Ann’s complaint was that nobody we know likes that kind of music- and if they did, they wouldn’t be the sort of people with whom we’d want to associate anyway!
All of which brings me to the magazine’s third country-music honorees: THE OAK RIDGE BOYS: The publication offers a brief history of the quartet, including the personnel changes leading up to the current configuration, the rockiest years explained as follows: “In 1987 there was some discussion about WILLIAM LEE GOLDEN’s ’mountain man’ lifestyle. He was replaced by guitarist, STEVE SANDERS, who remained with the group through 1995. But Sanders found himself dealing with many problems and his problems became problems for the Oaks. At midnight on New Year’s Day 1996, William Golden returned to the group.”
The simplistic, pat explanation is also an attempt at revisionist history. In matters where there are least two sides to every story, it’s always convenient to blame the dead and especially convenient not to mention the word “suicide,” lest there be further questions requiring answers. Golden’s “lifestyle” didn’t suddenly become an issue in 1987 and Sanders’ problems were not exactly surprises to the Oaks.
I’m not taking up for Steve nor dissing William Lee. I’m simply suggesting that you don’t elevate Golden by deriding Sanders. William Lee’s accomplishments stand on their own and if anyone wants to criticize Steve they should pick another context.
Sanders’ imperfections have been well-documented, so, as in this case, if there’s nothing new to add, why bother revisiting the subject?
As Music Row sadly awaits a frail IRVING WAUGH’s apparently imminent passing (though we hope the native Virginian somehow lives to celebrate his 95th birthday December 8th), reaction to my breaking the news of GLENN SUTTON’s death (a particular shock to DIANE DIEKMAN who called me from her Upper Marlboro, Maryland home to announce she had just visited with Glenn in Nashville- and he appeared to be in good health!) continues to spiral.
Confirmation of the news came from Glenn’s daughter, LISA who indicates that “Evidently, he passed quickly and did not suffer.
”We've set up a page at www.glennsutton.com where we invite you to leave any comments or stories you'd like to share with the family about Glenn. We know he touched many of you with his songs and his humor, and the occasional practical joke. Please share your memories. I'd truly love to hear them.”
Since Glenn’s “wish was to be cremated… we will be having a short Memorial Service Friday, April 20th, at Woodlawn Funeral Home, 2:30pm. 660 Thompson Lane, Nashville, TN 37204, (615) 383-4754.”
”After the service, The Station Inn is hosting a Celebration from 4pm - 6pm where we will open up the floor for Glenn Sutton stories, share videos & pictures of him with you, and CARL JACKSON and LUKE WOOTEN are putting together a little music for our listening pleasure. My hope is to celebrate my father's life.” (This follows the Sutton family’s receiving guests at Glenn’s Green Hills home April 19th).
”If you'd like to send flowers, we'd prefer things we can plant that will continue to grow for years to come. If you'd like to donate to a charity, please send funds to Mississippi Chapter - Juvenile Diabetes Research Foundation [1640 Lelia Drive, Suite 130, Jackson, MS 39216 (601) 981-1184] in the name of Glenn's great niece, Brittany Darby.
”Thank you so much.”
Thanks to PHIL SWEETLAND for offering to lend me a copy of MARTINA McBRIDE’s new CD, Waking Up Laughing, and to ALLEN BROWN and ALICIA HARVEY for sending me a copy to share with you.
There’s nothing worse than going into an interview with an artist who asks “What did you think of my album?” That used to be because you’d have to offer an opinion- and even if you love the album, gushing is not very professional.
But lately, if the question is asked and it is the correct answer, I have no qualms about factually stating, “To tell you the truth, I haven’t heard it because I am not on your record company’s promotional mailing list.” If that’s the only way they learn there is a problem with those they trust are contractually looking out for them, so be it.
TRISTIN AARON informs me that ESI Design, funded by a $3 million grant from the Rock and Roll Hall of Fame Foundation, will be redesigning Cleveland’s Rock Hall of Fame and Museum, with completion scheduled for the first quarter of next year.
ESI Design is Founder and Principal Designer ED SCHLOSSBERG’s company. If you don’t know who Ed is, he’s CAROLINE KENNEDY’s husband.
Thanks to GILES HAYCOCK for the invitation to attend the press events surrounding the BBC America BritBus Tour: “We are bringing the best of British music, entertainment and culture to 13 major cities in North America over the next 9 weeks and are putting on 3 or 4 free events in each city we visit.
”Our music talent are a couple of up and coming bands from the UK called the CRAVE and the JYROJETS.
”We have a fantastic story as the vehicle for direct access for British content into North America and bring with us tremendous visual tour assets, like a vintage double decker bus, decked out with plasma screens, a kicker audio sound system and a bar on the upper deck.”
If you missed TERRI GROSS’ recent interview with NEIL SEDAKA, you missed an eye-opener: Learn why Neil has included his original “demo” of a classic hit that, arguably, should have been his (thus, perhaps rendering historically improbable, if not impossible, the later duets of GENE PITNEY and GEORGE JONES) and how Sedaka, who strives to remain upbeat, even about the most unpleasant of subject, skirts the issue of payola (once synonymous with refrigerators?) by clicking here.
(Something you won’t find in Terri’s interview: Sedaka’s delicate admission of his efforts to appear more manly reminds me of what I was told some years ago at CRS by one of the registrants. In essence, during his bachelor days, Neil would trade on the perception that he was less than manly by allowing dates to “help” him bring out his masculinity; thus “permitting” those women who were attracted to him because they “felt sorry” for Sedaka to “help” him act on the direction of his raging hormones in the name of mutual consent.)
Thanks to MARTHA “SKATES” MOORE for sending me a copy of TODD FRITSCH’s new 17-song CD, Sawdust.
Hope I’m not breaking too many hearts with the news of Todd’s betrothal to his fellow Texan and sweetheart of the last few years, RAEGAN. Todd and Raegan have set a May 12th date for their Texas wedding.
Todd follows with an eventful summer. Skates tells me he’ll perform at the IFCO show June 4th and for the second consecutive year at the CMA Music Fest (June 10th).
If you missed seeing Todd’s What's Wrong With Me video (featuring an EDDY RAVEN cameo), it may be found at several Web portals and country-music sites, including toddfritsch.com.
Thanks also to JENNA YOUNG for sending me a copy of Music City’s own MAK “MAKKY” KAYLOR’s new paperback, Confessions of a Session Singer: Scandalous Secrets of Success Behind the Mic.
With a series of tips expanded upon in chapters with snappy titles ranging from “Egos & Etiquette” and “Tracks, Lies and Audiotape: How to Listen,” Kaylor dedicates his “confessions” to “the gifted songwriters who have paid for the hard-earned lessons I have learned in the recording studio.”
A CD accompanying the book (“Live Vocal Session”) completes the invitation to “Get inside the head of one of the music industry’s most successful session singers.”
Legal updates: STONEWALL JACKSON has until May 2nd to respond to the Gaylord Gang’s April 9th request for a partial summary judgment. The Gang is asserting that certain aspects of the case need not be adjudicated since those facts are not in dispute.
And… if you’re wondering what’s happened with SAMMY KERSHAW’s Chapter 13 (reorganizational) bankruptcy petition, let’s just say that one of Sammy’s 24 creditors, the IRS- you may have heard of them- objects to and will not accept an aspect(s) of Sammy’s reorganizational plan.
What to do? Apparently, go back to the drawing board.
The case has been continued until May 7th.
Further, as of April 16, 2007, the Country Music Association’s favorite attorney, DICK FRANK’s son, R. HORTON FRANK III, has yet to make good on his March 31st promise of my receiving from him a letter on behalf of the CMA.
Thanks to STACY ABERNETHY and ANN DELLA VALLE for extending press credentials to the Southern Women’s Show April 12-15th at the Nashville Convention Center.
I was on my way to the annual event April 14th when I ran into PHIL SWEETLAND at the Nashville Public Library. But before I could ask Phil if he wanted to join me and JIM PICKFORD, Sweetland announced he was about to miss a bus.
I trust Phil knows that the Southern Women’s Show isn’t just for women. While Sweetland may not have been in line for a facial, to oogle MARIO LOPEZ, or listen to PEGGY FLEMING’s inspirational pep talk about overcoming breast cancer (Peggy’s diagnosis coincided with the 10th anniversary of her Olympic gold medal win), he might have enjoyed sampling three different varieties of ice tea(d), several different flavors of ice cream, spinning a couple of prize-winning wheels, trying out a mattress, picking up a Sleep Number water bottle, having his tarot cards read, or trying out an electronic stimulation massage unit known as the Mini Masseuse.
Phil missed seeing RALPH EMERY (who didn’t stick around for the Nashville Firefighters Fashion Show- an annual highlight that is more “hot” bumping-and-grinding and shrieking women than “fashion”). Emery may or may not have missed seeing his former WSM-TV colleague and Southern Women’s Show exhibitor, BILL HALL (who is fond of calling Emery’s golfing buddy, TOM T. HALL, “Cuz”).
Ticket prices range from $9 at the door (for adults without a Kroger Plus Card knocking $1 off the admission with an advance purchase) to free admission for the six and under set when accompanied by a paying adult.
When GARY ALLAN’s wife, ANGELA offed herself, I received more e-mail speculating on the circumstances and asking me to do so than I have probably received on any other subject, before or since.
As I predicted, when Gary chose to go public on the subject, as he just has, People would get the interview.
The article, in the magazine’s April 23rd issue, has received surprisingly little attention. Not only is it not a cover story, the article isn’t even headlined on the magazine’s cover! (Dare I write that the article is “buried”?)
Less surprisingly, Gary has little to say on the subject which has changed his life so dramatically. But Allan appears to be well-coached, courtesy of media schooling, into saying just enough so that he can easily say he’s addressed the subject once and for all. This would seem to be the only reason to have consented to an ”interview”- so obviously not written in Gary’s voice that there are no quotation marks surrounding the text- in the first place.
From the e-mailbag, TONY GOTTLIEB brings both happy and sad DAN SEALS news: “Stacy: This seems to be an appropriate time for Warner’s to have posted [Dan’s] We Are One video… Dan is scheduled next week for surgery on what is suspected to be a malignant lesion in his throat.
”Though he is anticipated to make a full recovery, his schedule, currently working with brother JIM SEALS, from SEALS & CROFTS, has been postponed until a full recovery is complete in May.”
I felt badly for SARA EVANS when I learned that veteran Republican operative LEW CONNER would be mediating Evans’ marriage dissolution agreement with CRAIG SCHELSKE May 22-23rd, but now that Schelske is suing one of Evans’ attorneys (JOHN HOLLINS, SR.) for $20 million, I feel badly for Lew!
Attorneys hate suing each other and the suits and countersuits in the Sara Evans divorce, with the exception of the divorce itself, will be quietly settled outside of court. There will either be a bow to pressure to drop the case(s), or a check nowhere near what is being demanded will be written in settlement- though probably only at the last minute.
Thanks to ADIE GREY for the invitation to attend the April 14th show honoring the memory of DAVID SCHNAUFER and to Tennessee Performing Arts Center Audience Development Director BENNETT TARLETON for the invitation to attend one of two media night performances (May 3rd or May 4th) of “the big laugh of 2007,” I Hate Hamlet, running May3rd-May 19th at TPAC’s [JAMES K.] POLK Theater.
NOW’s Nashville chapter (yes, it has one) is titling its May conference Through a Woman’s Voice: Women in the Music Industry.
JANIS IAN will be featured. Call (615) 269-7161 for more information.
Thanks to MARK THOMPSON for sending me a copy of TAMMY COCHRAN’s current CD, Where I Am and to JENNA YOUNG for sending me a copy of The Rockabilly Legends: They Called It Rockabilly Before They Called It Rock and Roll.
This exquisite coffee table book by JERRY NAYLOR and STEVE HALLIDAY, complete with a DVD, will be familiar to PBS viewers who may have seen its stories and reminiscences highlighted during the network’s most recent pledge week. The book will continue to be offered as a PBS pledge drive premium over PBS’ 360 stations (and in Canada as well as in the U.S.) during the sporadic airing of Naylor’s hour-long performance documentary through 2010.
Power-lunched with FARON YOUNG and MARTY ROBBINS biographer, DIANE DIEKMAN, Diane’s daughters, APRIL and AMANDA and her sister, KAYO at J. ALEXANDER’s April 10th.
Diane and I did the “Nashville handshake,” but instead of my handing her a cassette of my hit song (and I do have one, if anyone’s interested), Diane received a requested dub of the last interview I did with Marty for her upcoming Robbins biography.
I’ve referenced the interview in this Report, but not the portion where Marty told me that he had no objection to speaking about his precarious health. In the process, the singer drew a connection between his love for dairy products and his heart disease: “If I had really watched what I was doing last year and not been a dummy,” Robbins told me he never would have had a heart attack.
Marty maintained that the problem was not his heart, (“I have a good heart- or I wouldn’t be alive”) but his blood.
Robbins suggested that dairy “irritates the problem that you have. And since I have a cholesterol problem- I think most doctors or specialists would say that dairy products are not good for people with a high cholesterol count. I’m not saying it causes it, because they really don’t know what causes it… My system will not fight off the fats that happen to be in dairy products.”
While Marty went on a low-cholesterol diet during the period preceding the heart attack about which he spoke, “Little by little I got off it; completely away from it.
Because “I love milk. Oh I love it so much! I could drink a gallon a day. Last year I would take a quart of milk and mix it with a pint of whipping cream. Now that’s rich… I would eat four, five and six bowlfuls of cereal with sugar. Then I ate all the eggs I wanted- and that’s not good.
The heart attack got his attention. He could no longer eat salty foods, but Marty told me he was never big on salt anyway: “I’ve learned to get along without the low sodium, low cholesterol foods,” courtesy of microwave ovens, then just on the fringe of to become the necessity they are today.
You knew this was coming: ALISON CLINTON LEE and her husband, CHRIS are suing SARA EVANS for defamation in Davidson County Circuit Court.
The April 10th filing requests compensatory and punitive damages to the tune of $3 million.
JOHNNY CASH’s home fell into a ring of fire April 10th. Cash’s 13,000-14,000 square-foot (depending upon the source) Hendersonville home, sold by TOMMY CASH to BARRY GIBB, in January, 2006 for $2.3 million, was totally destroyed in less than one hour following a construction crew’s miscalculation. (It was Gibb’s plan to restore the mansion.)
BRAD SCHMITT acted in his own best legal interests April 8th, when he refused to consent to a blood alcohol test and to admit to DUI, for, in so doing, Schmitt declined to assist Goodlettsville police in building a case against him.
Since WKRN-TV’s entertainment reporter admitted having consumed alcohol during a period prior to his arrest, it may be Brad’s refusal to cooperate that acquits him at trial (a hearing is slated for May 8th) and saves his job.
If that is the scenario, contrast Schmitt’s fate with that of WTVF-TV’s DAN MacDONALD, who, in 1999, was charged with drunk driving.
Even when celebrity attorney ROGER MAY got the charge against MacDonald dismissed, WTVF enforced a non-compete clause of McDonald’s contract that gave Nashville’s CBS affiliate not only the right to fire Dan but to keep him from being hired by either WSMV (Nashville’s NBC affiliate) or WKRN (ABC in Nashville) for six months.
At its first opportunity, WKRN hired McDonald as its chief investigative reporter and backup news anchor. But, for whatever reason, Dan left broadcasting entirely a couple of years later, assuming his present position as Director, Media Relations for Bridgestone/Firestone on August 5, 2002.
Apparently, my suggestion that those Country Music Association members who are less than independently-wealthy further scrutinize the waste of their membership dollars struck quite a nerve with one of the UK’s top country DJs. An April 6th response followed.
I am withholding the country-radio veteran’s name, at the e-mailer’s direction, but I am looking at the same impressive résumé of which the CMA is aware, wondering why the arrogant organization remains unresponsive- apparently, to many: “I've been an avid reader of your site for many a year and am well aware of your continuing problems with the CMA. With the above in mind I thought I should let you know about my experiences with the CMA…
”Before stating my problems with the CMA I should say that they may appear minor to these experienced by you, however they are important enough to me and, as a member, I am extremely annoyed about their total lack of courtesy.
”My problems with the CMA started around nine months ago when I contacted them regarding my membership. I sent them numerous emails regarding a query to do with my membership. I never once got a reply to any of my emails. For an organisation that boasts about how it values my membership I found this a very strange way to react. However, I just stumped up my fees and decided to continue as a member of the organisation.
”This week I have sent three emails to the CMA on a different topic which I will return to shortly as the subject matter may well be of interest to you. I have not had a single reply to any of these emails from the CMA. It's now quite obvious to me that the CMA does not value my membership in any way. I find it hard to believe that an organisation like the CMA regards its members with such disdain. But that's the way it looks to me.
”The subject matter of my emails this week to the CMA is a song which has been included on the latest volume of the CDX service they send out to broadcasters worldwide who subscribe to the service they supply. In case you are not aware of the CDX service....these are compilation cds they send out each month containing all the most important releases and presumably the singles that the CMA are keen to promote for radio play.
”The song which I objected to on the latest CDX is a new release by RODNEY CARRINGTON. It's called Show Them To Me. The subject matter of this song is believe it or not....women's breasts! It's an offensive song, the lyrics are basically the singer asking women to show him their breasts and, if they do, this will basically cure all the world’s problems!
”There are numerous slang words for breasts included in the lyrics of the song. If it was a funny song, I might just begin to understand why it had been recorded, but it is neither funny nor clever and, as I stated before, it's quite offensive.
”I am staggered at the thought that the CMA thought this song was a fit and proper song to include on their promotional material. I know, without doubt, that should I have played that song on my shows I would have been instantly dismissed from my post. I am also certain that the song will never get any radio play in America so why they thought it appropriate for others is beyond my understanding.
”My emails to the CMA this week was simply to enquire why they thought that song was a fit and proper song for them to promote. As I stated earlier, I have emailed them three times now about it and these emails have been totally ignored by the CMA.
”I really think you should try to listen to this song so that you can best understand the problem with it and decide for yourself if this is the kind of material that the CMA should be promoting.”
D(AN) R(OBERT) ROACH was jailed April 5th in Nashville. With three counts of sexual battery against a minor under 13 against Roach, his bail has been set at $150,000. Since the soon-to-be “ex-Mr. WYNONNA JUDD” has already been indicted, there will be no preliminary hearing.
In turn, this should expedite Roach receiving his right to a (supposedly fair) and speedy trial.
News organizations will be faced with a sobering ethical dilemma should, as expected, the charges involve Wyonnna’s children. Normally, news outlets withhold the names of children who are crime victims, sometimes even withholding the names of their parents when the parent/parents’ name would identify the child.
In this case, the adults impacted have already been identified in connection with the charges and fans already know the names of the children. All that is left is for that other jailbird, ARCH KELLEY, III, to weigh in with his two-cents’ worth about the investigation.
(If the children were not involved, Wynonna would be a less-than-responsible parent if she did not confirm as much as the investigation nears its end.)
IMPORTANT ANNOUNCEMENT: Change is in the air at STACY’S MUSIC ROW REPORT.
I am still maintaining two Web sites of my own (though one will be temporarily parked) and those of you who are in on the news will know where to find me during the transition.
Posts will continue with the same frequency as you’ve come to expect up until an “official” announcement of my plans about May 1st. (I’m thinking in terms of the end of one contract and the beginning of another.)
Because all of this involves the expansion of the Report and the plans of my partners, current and prospective, I want to make sure we are all of like mind before I say anything more. In the meantime, if you can’t find me on the Internet any other way, look to my Geocities “teaser” site and it will, as always, link you to the expanded Report and my preferred e-mail address.
Again, I am not jumping ship. I’m just building a little more equity in the ship line…
Thanks all around: to Lotos Nile Media’s KISSY BLACK and PATRICK STEVEN PATTERSON for sending me a copy of PAM TILLIS’s new CD, Rhinestoned. If you’d like to preorder a copy- the CD will be released April 17th- you can do so using the link provided in my CDs section.
And… thanks to PHIL SWEETLAND for restoring me to his Country Insider comp list.
And… I simply can’t let another minute go without thanking Gorgeous PR publicist VERSA MANOS and my former publisher, HarperCollins’ HarperEntertainment publicist BRIANNE HALVERSON, for sending me a copy of MITCH MYERS’ new book, The Boy Who Cried Freebird: Rock & Roll Fables and Sonic Storytelling.
An NPR pop commentator, Myers’ broadcast thoughts have inspired, or have otherwise found their way into, these 40+ essays that trade on adventures of the mind ranging from nostalgic trips to others of the time travel variety. Throw in a few apocryphal situations and drop a few names, as Myers does (and famous names at that, ranging from a timely PHIL SPECTOR to THE EDWIN HAWKINS SINGERS), and you have just the right mix befitting an author who just happens also to be the late SHEL SILVERSTEIN’s nephew as well as the curator of his uncle’s Chicago archives.
There won’t be any fireworks at this year’s Gaylord Entertainment shareholders’ meeting- at least not in Nashville. The Gaylord Gang’s May 3rd meeting of the silenced lambs will occur at the Gaylord Palms.
From the e-mailbag (and used with permission) : BETTY PARRISH writes, “I couldn't resist sending a note to join in the 'Amen' corner regarding TANDY RICE's statement in your recognition and presence at the recent GJU event!
”For someone (like me) on the outside looking in, and yes, one of those who lives and breathes day to day in that Nashville dream - I have felt so honored that you have printed my opinions and comments in your prestigious website.
”On a personal note; I recently took a part-time job at WAKG FM 103.3, our local Country station. Needless to say, I am having the time of my life, loving every minute of my new job. I continue to work daily with my Nashville connection in publishing and freelance/songwriting; this remains priority.
”It's people like you who give me the strength and encouragement to strive for the realization of a dream come true. I've seen this in your work; in other words, you practice what you preach! I commend and admire you, Stacy ~ Thank you.”
Thank YOU, Betty! And, while on the subject of GJU, imagine my surprise on Monday morning, April 2nd, to receive a call from one of my GEORGE JONES University “classmates!” I remembered well, the “Arkansas Hillbilly,” as the gentleman from Fayetteville reintroduced himself, via a phone call he made not long after arriving home from the classes he took with his wife and son. I give out a lot of my business cards with various degrees of expectation of hearing back from the recipients, but seldom am I as pleasantly surprised as when this GJU grad called simply to say “hi” and to express his happiness to meet me and photographer RANDI RADCLIFF and for the extended conversation between class breaks.
MARCIA WEAVER confirms that the performance lineup in the celebration of THE WILBURN BROTHERS at Hardy, Arkansas’ Hardy Good Old Days will include DON HELMS, the TRUE BROTHERS, BILLY JOE FRENCH and “VICKI and JERI with POSSUM TROT.” Additional updates will be posted here.
There are two sides to every- - uh, lawsuit. And Nashville writer E. THOMAS WOOD has obtained TRAVIS TRITT’s- sort of…
On March 27th, Starlake Roadhouse, Inc. (D/B/A Pepsi-Cola Roadhouse) of Burgettstown, Pennsylvania filed a seven-page Complaint in Davidson County Chancery Court, essentially accusing Tritt of reneging on a February 6th contract to perform in concert March 30th – and under false pretenses at that!
Around February 12th, the Complaint alleges, as tickets were already being sold, Travis’ booking agent informed the show’s promoter via e-mail that Travis was cancelling due to production concerns that had seemingly been assuaged during discussion that preceded the signing of the contract. The next day there was an attempt to alleviate the situation and to “reinstate the concert.”
The e-mail correspondence continued and, as it did, the reason for the cancellation began to change: Supposedly the original agreement had been “prematurely confirmed by both parties” and, by Valentine’s Day, Travis was in the recording studio, booking time that would result in album production commitments that would conflict with the Pennsylvania concert date.
The next day Tritt’s cancellation was blamed on a broken promise to promote Travis’ concert by buying advertising time on Pittsburgh radio station Y108.
Once ticket-buyers were issued refunds for the 474 tickets sold, however, the venue’s owner learned that Tritt would be headlining Y108’s annual July “Hot Country Jam” at the Post-Gazette Pavilion- adjacent to the Pepsi-Cola Roadhouse! (Country-music booking agencies avoid booking acts for return appearances in any area in which they have performed within the past year, lest the acts be overexposed and there are usually ad buy tie-ins that prevent bookings in competitive venues within a similar time frame.)
That last straw triggered the Complaint charging Tritt with breach of contract and unjust enrichment. While the amount of damages is not specified in the Complaint, the Plaintiffs have requested a jury trial.
On April 3rd, Tritt’s manager, DUKE COOPER, told Wood that no contract had ever been signed that would obligate Travis to perform March 30th. Cooper says that while Tritt’s booking agency “may have ‘jumped the gun and confirmed it, we had no deal as we understood it.’”
Further, Duke sees no relevance to the subsequent July booking: “One thing had nothing to do with the other.”
When I “audited” a couple of classes at GEORGE JONES University March 31st, I was not expecting that GJU’s “Dean” TANDY RICE would be kind enough to introduce me to the class I was covering as a “world-famous journalist.” Nor was I prepared for Tandy to add that “We are honored by your presence.”
The honor was all mine. I think the last time I was publicly so honored was during the “Evening with CHET ATKINS,” when Mr. Guitar made it a point to tell those assembled at the W.O. SMITH School of Music how highly he thought of me.
Something similar happened when I didn’t necessarily “want to be seen at the Stock-Yards,” yet was asked to take a bow as the spotlights shown in my face. But, as they say, enough about me…
The real stars of GJU were its volunteers, speakers (even if, reflecting the industry’s sexism and racism, they were mostly white males) and students. If you were expecting snake oil, simply because for years unsavory Music Row types who don’t mind making a fast buck off the gullibility of the unwashed masses haven’t passed up an opportunity to do so, you came away impressed with GJU’s overall operation.
How so? While the caliber of instruction, in my opinion, was as varied as the choice of speakers, those I saw and, in that sense, sought out, were excellent. They would be JACK, LYON and JONES’ Music Business Attorney PHILIP K.LYON (who represents, among others, The Possum) and JAMESON CLARK.
With apologies to the religious among us, forget the Ten Commandments: If you want to make it big in the music biz, take a look at Lyon’s Rules for New Artists (just one of the many informative handouts provided during the March 29-31st “inaugural first semester seminar.”)
I’ll leave it to the barrister (or CHARLTON HESTON) to recite the whole list of rules to live by, but here’s one I like “You can get in more trouble in Nashville with a pencil than with a pistol.”
More? “When you are offered something to sign, and the other party says ‘If you’re ever unhappy we’ll tear it up’- RUN.”
Lyon’s handout listed contact information for 10 Nashville-based entertainment law firms (the attorney is big on the number 10?) beginning with his own which was, unlike the others, bold-faced just as it was printed in larger type than the rest. This was not coincidental, as noted in Lyon’s written disclaimer: “These firms are not listed in any particular order, except Philip is partial to the first one.’)
Lyon’s presentation on legal pitfalls included a humorous introduction to one of his firm’s most recent hires, MATTHEW BECKETT. Lyon minced no words as he praised Beckett’s ability while, at the same time pointing out that being BARRY BECKETT’s son didn’t hurt when it came to beating out other applicants for a position at the high-powered law firm.
As mentioned, Clark gave an excellent presentation (on publishing and his related areas of expertise). Clark’s easy explanations of what can be dry, if not complicated, information, as well as his candor, were especially appreciated.
Both speakers took questions from the crowd that, at other times, may have numbered up to 200 registrants, most of whom (apart from those awarded scholarships) paid $300 in “tuition” to be there. Sure, some questions were so pedestrian I could recite them- and the answers- in my sleep, but the vast majority were the queries of those who had done their homework and, based on my later conversations with them, knew how to separate the wheat from the chaff.
Adding to the interactivity of the classes (which were not held in George Jones’ home, but rather outside on Jones’ vast Franklin ranch property, complete with a barn and hers/his porta potties), students were allowed to set the agenda at times. For example, when it became clear one that one of the students’ priorities (with some exceptions) was to be able to showcase their performing talent, Rice encouraged them to do so at various times before, during and after breaks, including that for a lunch catered by Backyard Burgers.
Those burgers, coleslaw and tomatoes were washed down with a choice of soft drinks and Jones’ own bottled White Lightning (as in, you’ll be relieved to know, artesian spring water. Did I add that “All GJU official functions are non-alcoholic, non-smoking, & punctual?”)
It was a pleasure to meet so many folks who are seeking their dreams in Nashville. I especially appreciate DARCY FERRIS’ extending an invitation to cover the event and was thrilled to be able to spend some time with two ladies all of the registrants should get to know: PRESHIAS TOMES-HARRIS (looking as robust as I’ve ever seen her, for which we are all very grateful) and the incomparable RANDI RADCLIFF.
Column’s best wishes to BEVERLY KEEL on her engagement to RONNIE STEINE.
Having deftly dealt with music industry politics for so many years, Beverly is the perfect political wife-to-be. Ronnie evidently agrees, for, as Bev informs me, “We’ve been dating for nearly 6 years and we'll marry at the end of this year.
”It's a very exciting time! We are just now making our wedding plans.”
Speaking of plans, the Country Music Association’s favorite attorney, DICK FRANK’s son, R. HORTON FRANK III, apparently has resumed a plan to be my pen pal.
If you’re a CMA member wondering how your exorbitant membership fee is being spent, what follows might interest you.
I want the same relationship with CMA that the organization claims to want to have with every other media outlet. Nothing more. Nothing less.
For some reason, as the torch has been passed at CMA, so has the animus for which no one can seem to account, since there is the pretense that it doesn’t exist; this, despite its manifestations as I have outlined them, first privately and later, because it became necessary, publicly.
At some point circa 1998, CMA chose to go the intimidation route. Enter Mr. Frank.
In the summer of 1998, as described in my article The Country Music Association: What Is It Afraid of?, I received my first letter from the organization’s attorney. It was civil, but basically indicated that the CMA’s failure to keep its promise to answer my written questions about its tax returns was not of concern, ethical or otherwise, to the organization nor its legal representative.
A second letter from Mr. Frank, this one unsolicited, arrived in the fall. It read: “While CMA has elected to provide you with certain background and historical information in response to some of your questions, your request for answers to other questions now and in the future will be regarded as harassment."
Of course, then and subsequently, Frank and the CMA were blowing smoke. If that wasn’t frustrating enough to a membership that was subsidizing such discourse then and all that has followed in almost a decade since, the backfiring tactics reached ground zero when the CMA’s attorney made the mistake of shooting first and asking questions later. That took the form of a December 8, 2006 accusation, in CMA’s name yet, that I was untruthful when I wrote of receiving a copy of a letter Frank sent to DIANA RUCH only months later after it was forwarded to me. If Frank had bothered to check with The Tennessee Human Rights Commission before he committed his statement to print, it would have verified that my statement was entirely truthful.
Anyone who is playing a losing hand is prone to such blunders, as Frank was once again when he told me that he had advised the CMA not to speak with me as long as we were involved in litigation. The CMA and I have never been involved in litigation, but I honored Frank’s request that any communication to CMA be done through him, since my most recent reaching out to TAMMY GENOVESE had been ignored, anyway.
Since my objective all along has been nothing more than to get along with the folks at CMA, seemingly only an attorney could find fault with such an arrangement that threatens nothing more than a reduction of his revenue. (Why else would Frank blast me as being “arrogant” and “condescending” as he did in a September 1, 2006 letter to me?)
A truce was never more in CMA’s best interest that when I received a call not long ago from a network producer requesting my input into a special segment of a weekly program. The opportunity represented my ability to negotiate with CMA from a position of strength.
I conveyed this notion to Frank through his assistant, SHEILA A. BLACK. I found Sheila easy to deal with until she ran out of excuses for her boss’ inability or unwillingness to return phone calls. At that point she and I agreed that the best course of action was for her to relay Frank’s instructions by calling me herself. On March 30th, after waiting weeks for Sheila to do just that, I called her.
By then Black, who advised me of a letter from Frank that was on its way but somehow never arrived, was happy to tell me that her boss was in the office after I explained that, despite her untenable position, Sheila’s continuing to justify someone else’s bad behavior could reflect on her should she ever choose to move on to work for someone else, or even for herself. When I asked if I might hold for Frank, Black agreed to let me do that.
After holding what I thought was a reasonable time, I hung up, later calling back, only to be told Frank was on a conference call. When the receptionist told me she didn’t know even roughly how long the call would last and that she was charged with answering 21 lines, I asked to be put in Frank’s voice mail (despite my lack of success going that route several months before).
I left a message for Frank reiterating my desire to get along with CMA, asking what was in it for them and him to not make that a reality. Taking more time than would have been required to return my call with an answer to that simple question, through Black, Frank drafted a letter to me (received March 31st) indicating that Sheila and the receptionist relayed a message that I “demanded” to speak with him (I don’t make demands of anyone, especially litigious types), and that I “insisted” I “remain on hold until I did so, notwithstanding the fact that you were told I was unavailable.” (Again, I was told first that Frank was on another line and later than he was on a conference call of undetermined length.)
From what I did say, Frank deduced what I did not say, namely that “you have told my assistant and our receptionist that their reputations, along with the reputation of me and our law firm were ‘on the line.’” (Again, this is a bit of creative writing based on my suggesting that there are, or should be, limits to doing someone else’s dirty work, lest it reflect adversely on an otherwise innocent party. At no time did I mention Frank’s nor his law firm’s reputations, let alone that either was “on the line.”)
Frank went on to accuse me of saying something to his receptionist that the receptionist agrees I did not say (and which I won’t repeat here, lest it be given credence) and “This morning you also left me a voicemail that I have saved in which you have made the same thinly veiled threat.”
I have no motivation, nor do I have the inclination, nor am I stupid enough, to threaten R. Horton Frank, III. His receptionist assures me she did not feel threatened and, speaking with me April 2nd (after Sheila Black got cold feet when I told her I was calling about a letter Black signed off on without advising Mr. Frank that she knew he mischaracterized whatever she and the receptionist told him about my conversations with them), the receptionist said whatever happened went down because Frank didn’t want to speak with me.
”If that was the case, why did you agree to put me on hold?”
”Because I didn’t know that.”
”Well, neither did I.”
Frank closes his March 30th letter indicating “I know that you are waiting to receive a letter from me regarding the project in which you are asking to involve the Country Music Association, Inc. I will send you the letter as soon as I can.”
KARL ROVE may have stolen the show during the 63rd annual White House Radio and Television Correspondents’ Dinner, but I trust that C-SPAN’s April video replays of the March 28th comedic breaking of bread among perennial adversaries will include a less-publicized, runner-up performance for the evening’s biggest belly laugh: BRIAN WILLIAMS’ rendition of ”JOHNNY CASH”’s (“Speaking of stolen…,” as GORDON JENKINS might put it) Folsom Prison Blues,
Greenville, Illinois songwriter DANNY HINKLE reports that GUY LEROUX’s new CD, to be released this summer, now has a title: Changin' Time Again.
As of March 30th, the tax-dodging (as in IRS 990s mission statement, not “failure to pay” taxes) “international” trade organization known as the Country Music Association’s Web site “boasts” only one link in its publications category: that of Country Weekly, a biweekly publication.
If visitors get the idea that hayseeds are running the CMA, who could blame them? If any further proof were needed that the organization engages in employment discrimination than the Tennessee Human Rights Commission‘s investigation and the Commission’s offering me a “permission to sue letter,” (the details of which you’ll find in an archival Report), then consider this: Not only has PETER CRONIN (whose qualifications, as documented by CMA in its own March 20,.2006 press release, pale in comparison to my own) been replaced as CMA Close Up editor after only a year, Cronin’s replacement, BOB DOERSCHUK, as documented by CMA in its own March 26, 2007 press release, likewise lacks editorial expertise that holds a candle to my own in terms of breadth or depth, let alone longevity.
I am going to be on “vacation” (quotes intended). Please do not e-mail me until I return. I expect my e-mail box will be jammed with spam and your urgent message will probably bounce.
I expect to be back before, say, RICKY HEADLEY loses his job.
Thanks to KAY CLARY and NANCY MOORE for the invitation to attend a number one party for the writers of RODNEY ATKINS’ chart-topper, Watching You. That would be Rodney, STEVE DEAN and BRIAN WHITE.
BMI’s Nashville headquarters (the international performing rights society’s other locations include New York, Los Angeles, Atlanta, Miami, London and Puerto Rico) hosts the March 28th event.
Atkins and Dean are BMI writers. SESAC represents White.
You didn’t have to be Jewish to attend the free, Third Annual Health and Wellness Fair March 18th. Just ask my former Music City News editor, LaWAYNE SATTERFIELD and former Amusement Business Account Manager RAY PILSZAK.
Ray has traded his old AB business cards for AN cards- AN as in Amusements NOW. In his newest incarnation, Ray is still keeping up with the “information about fairs, festivals, amusement parks, theme parks and more.
Write Pilszak at P.O. Box 110. Old Hickory, TN 37138 or give Ray a call at (615) 541-2554. If you have breaking news to share, Ray might just give you his cell phone and fax numbers! (They’re on his business card, but I don’t want to divulge them, lest they be- you’ll pardon the pun- trade secrets.)
A little more on plans to honor THE WILBURN BROTHERS from MARCIA WEAVER, but first an explanation of how this is all coming together: Marcia and FREDA GAMBLIN are committee members charged with the planning of Hardy, Arkansas’ annual Memorial Day and Labor Day tradition known as Hardy Good Old Days.
HGODW includes “an antique show and a flea market and lots of music and food. For each show we try to have a new 'Partner event'. SUSAN [BRANT]’s letter to [Alderman] JACK HUFFMASTER was brought up in City Council so our committee (HGODW) decided that a Tribute would be a great partner event. We need to raise money to replace the ‘Welcome to Hardy, Home of the Wilburn Brothers’ signs and some day having a museum for them and this event could go along way toward that end.
”The Wilburn family has been very helpful as has Susan. We are hoping for a big turnout and maybe some donations, either cash or CD's, photos or something we could sell. We will have t-shirts and buttons and whatever else we might think of. Any help in any way would be great, Stacy.”
With apologies to Jesus, WWOD?
No, I’m not referring to that , the Portland, Maine radio station, but rather (WILLIAMS) OWEN BRADLEY, who, as I remember, was not particularly political.
For the Music Row park, named in Owen’s honor, was the site of a St. Patrick’s Day rally and march sponsored by Nashville’s Peace Coalition. Regrettably, Bradley didn’t live long enough to have a position on his country’s commitment to the war in Iraq and the park that bears his name will likely be the future site of many such public protests.
I don’t know the answer to the question, “What would Owen do?,” but I presume he believed in the Bill of Rights, including Americans’ First Amendment “right of people peacefully to assemble.”
From the e-mailbag, Spelling Communications Account Executive BRIAN McWILLIAMS wants you to be attuned to the future of online media in general, and to the role of his client, WhiteBlox, in particular.
”WhiteBlox is a leading IPTV solutions and development provider, and they have a very exciting NAB planned! WhiteBlox will be teaming up with several big name partners to highlight the integration between their technology and the WhiteBlox suite. For example, Clear Channel will have staff on-hand to explain the interaction of WhiteBlox and their programming.
”WhiteBlox will also be showing off the latest successes - for instance, WhiteBlox kicks off the first broadcast of the Indy Racing League season on March 24th. They will be broadcasting every race via IPTV this season, following the record-breaking airing of the Indy 500 through the system.
”WhiteBlox will be showcasing the new solutions they provided for Mexico's largest communications group, MVS - for their top-ranked radio station's (EXA FM) online interactive broadcast. This is in conjunction with MVS's new EXA TV - a MTV-like online station launching soon.
”Top Radio Board manufacturer, Prophet will be showcased at the booth, with WhiteBlox showing how the Prophet automation system triggers WhiteBlox's automatic digital ad insertion.
”Other tech partners that will be highlighted at the booth: VBrick and Viewcast: WhiteBlox will be demonstrating both hardwares being controlled by the WB backend and being used as a source for live video. Vividas will be showing their high quality video in the WhiteBlox Player.
”WhiteBlox will also have their development kit on site for demonstration for corporate clients.”
While those who are aware of my acting credits know that my movie debut occurred many years before my “starring” role with SALLY FIELD, I’m pleased to report that Two Weeks opened March 3rd in Nashville.
I’m not so pleased to report the flick closed shortly thereafter. I’ll let Sally take the blame for the box office bomb.
Meanwhile, I expect the residuals for my uncredited role as a mourner to begin rolling in momentarily.
From the e-mailbag, JACKIE MONAGHAN writes, ”Whoever thought I’d be working with BRENDA again! Talk about a column item!”
If I told those who don’t already know, how far back Jackie and Brenda Lee go together, it might be considered impolite. What I will divulge is Jackie’s news that Provident Records is relying on the veteran publicist to spread the word (no pun intended) about the Brenda’s latest release for the Christian label: Gospel Duets with Treasured Friends.
Who might those buds be? : “MARTINA, VINCE, DOLLY, ALISON, BROOKS & DUNN, PAM TILLIS, The POSSUM, CHARLIE DANIELS, HUEY LEWIS, EMMYLOU HARRIS- It’s quite awesome!”
The album hits record stores April 10th but you can pre-order by clicking here
Greenville, Illinois songwriter DANNY HINKLE wants to share his song, Like JAMES DEAN with Report readers. The song, which you can check out by clicking here, will be released on Canadian independent artist GUY LEROUX’s next CD set for early summer.
Look for LORETTA LYNN on the March 11th edition of This Week.
The pride of Butcher Holler will discuss “tackling difficult women’s issues through her music.”
Thanks to Lotos Nile Media’s KISSY BLACK for sending me a copy of Standard Songs for Average People, a compilation CD of 14 standards (ranging from Saginaw, Michigan to Just The Other Side of Nowhere), recorded not by the original artists or songwriters, but by the unlikely collaboration of JOHN PRINE and MAC WISEMAN.
Have you been following the ongoing controversy re: Virginia’s state song?
A decade ago, the state’s General Assembly retired a slightly reworked version of JAMES A. BLAND’s 1880 composition, Carry Me Back to Old Virginny. Carry Me Back to Old Virginia had been the subject of almost 30 years of objections to its racist lyrics (references to “darkie[s]”- an acceptable enough term to fans of STEPHEN FOSTER’s classic Old Folks at Home- and “massa”).
In the years that followed, beginning with a 1999 contest to select a new state song, politics reared its ugly head. Not one of eight songs chosen as finalists was selected.
Last year a state senate resolution that would have given the Old Dominion an interim choice was defeated and three new songs that followed failed to pass muster with Virginia’s General Assembly this year.
It’s been a colorful charade: At one point there was a perception, if not evidence, of the equivalent of ballot-box stuffing. Then JIMMY DEAN and his wife, DONNA MEADE co-wrote a song that Jimmy denied was a heavy-handed attempt to have his palm greased, so to speak, following Dean’s donating to the campaigns of several state legislators, including a $2,250 donation to STEPHEN MARTIN, a State Song Subcommittee member (thus making Dean the fourth-largest individual contributor to Martin’s coffers of the decade).
Now, DIXIE and TOM T. HALL have gotten into the act. They’ve submitted a song titled Virginia.
If successful, the bluegrass song, the lyrics of which successively blend the names of A.P., SARA and MAYBELLE CARTER with bumper-sticker sentiment (“Virginia is for lovers”), won’t be the favorite of Giles, Virginia bluegrass musician, LESTER RAY SEARS. Sears submitted a bluegrass song of his own in the same competition- and with the same title as that of the Halls’ entry!
Thanks to Tennessee Performing Arts Center Audience Development Director BENNETT TARLETON for the invitation to attend one of three media nights’ performances of LYNN NOTTAGE’s Intimate Apparel , running March 22nd-April 7th at TPAC’s [ANDREW] JOHNSON Theater.
Thanks also to KEN SUNSHINE Consultants’ TRISTIN AARON for inviting me to cover the Rock and Roll Hall of Fame induction ceremony March 12th at New York’s famed Waldorf-Astoria Hotel.
You may have heard that JOHN CARTER CASH is producing a JUNE CARTER CASH tribute album and that he has written a companion book.
Curiously, the titles June’s son chose are derived from Anchored in Love. You and John Carter might know that Anchored in Love is the title of an old CARTER FAMILY classic.
If John Carter had consulted me, I would have told him that the title brought back bad memories of MICHAEL ORGILL’s 1975 book of the same title. That’s what June told me during an interview for Country Song Roundup, that I have previously discussed in this Report.
For those of you who forget the story, the relevant portion is that June said that the family found Orgill’s book very upsetting. When I pressed her for specifics, June said that she hadn’t read Michael’s book, but that her sister HELEN had and that Helen could tell me.
When I followed up, I learned that the substance of the objection was not that Orgill got his facts wrong, but that Michael’s portrayal of A. P. CARTER was unflattering when referring to A.P.’s alcoholism.
BTW, John Carter inherited some of the family sensitivity toward “outside” biographers: When MICHAEL STREISSGUTH appeared on the October 10, 2006 edition of Morningline, to promote JOHNNY CASH: The Biography, host NICK BERES took a call from a man who, at first, only identified himself as "John."
When Streissguth, the author of two previous Cash books , failed to recognize John Carter's voice, Cash identified himself, chastising Michael for not working more closely with him. Then Cash advised Streissguth, "I could have helped you in some of the processes."
John Carter added that his father “was a very complicated man. The only thing about my father- and I probably knew him better than anyone alive now, is that I never completely understood him.”
Then Cash further challenged Michael, "Do you feel like you have a comprehensive book about my father?," before declaring "I'm looking forward to reading your book."
Back to the June Carter tribute CD: just as June would surely have chosen another of the many Carter Family-associated titles for her son’s projects, she’d surely notice another irony about the CD: While it boasts an all-star group of participants (SHERYL CROW, WILLIE NELSON, RONNIE DUNN, LORETTA LYNN, PATTY LOVESS, ELVIS COSTELLO, BILLY BOB THORNTON, THE PEASALL SISTERS, GREY DE LISLE, BILLY JOE SHAVER, RALPH STANLEY, EMMYLOU HARRIS) and even John Carter’s half-sisters, ROSANNE CASH, and CARLENE CARTER), there’s a notable exclusion: Is it possible that TOMMY CASH had something better to do?
Thanks to Gorgeous PR’s VERSA MANOS, Amoeba Music and POLLY PARSONS for the invitation to join them March 15th in Austin, Texas for an “exclusive listening party” spotlighting GRAM PARSONS Archives Volume 1,” and THE FLYING BURRITO BROTHERS : Live at the Avalon 1969 (an upcoming Amoeba Records release).
Following the 8-9 p.m. event, to be held during SXSW, guests are invited to stay on until 3 a.m. Friday, as they take in a “Cosmic American Music Party.”
SARAH KELLY takes the 1300 Fourth Street stage at 9 p.m., BRANDI SHEARER follows at 9:30. DEAD ROCK WEST is on at 10 p.m. At 11:15 GOLDRUSH entertains until 12:30 a.m., when it’s time for OCHA LA ROCHA.
Following SPINDRIFT at 1:30 a.m., QUINCY COLEMAN, TIM EASTON, JON LANGFORD and JAMES WALSH (STARSAILOR) join the unlikely trio of JIM LAUDERDALE, CHARLIE LOUVIN and their favorite groupie/author, PAMELA DES BARRES.
You never know who you’ll run into at Hendersonville’s Italian Grille. DIANE JORDAN reports that she and her husband, LARRY FULLAM dined at the restaurant March 3rd, where they encountered LORRIE MORGAN’s and SAMMY KERSHAW eating with another couple.
”We actually didn't see them as we walked by, to go upstairs, but Lorrie saw Larry and stopped him. We talked for a couple of minutes.
”Lorrie and Sammy both looked good and they seemed to be in a great mood!”
As fans of THE WILBURN BROTHERS await DOYLE and TEDDY’s induction into the Country Music Hall of Fame, the Wilburns are being remembered at nephew JASON WILBURN’s Web Site.
You’ll want to check out this work-in-progress.
And, thanks to the effort of Hardy, Arkansas Alderman JACK HUFFMASTER, “Home of the Wilburn Brothers” welcome signs have returned to Teddy and Doyle’s home town.
With Hardy Mayor NINA THORNTON’s assistance, Huffmaster has overseen the planning of a Wilburn Brothers museum in Hardy. As the museum is in the process of becoming a reality, photographs are already on display, with the Wilburns’ music being heard in the tourism office.
As PHIL SWEETLAND will tell you, I’m not a big fan of selective reading- nor selective indignation, for that matter. I’m more interested in motivation: That’s why, consistent with the highest journalist ethics, I try to pose a lot of questions.
Sometimes those questions are for purpose of clarification. Other times they are rhetorical and when there are a series of these- the answers to which would be contradictory- it is wrong to infer that I am implying anything.
If I am editorializing, as opposed to reporting hard news, I may make a judgment (based on the same supporting documentation). I do so only after thoughtful consideration of the other side(s) of the issue.
I don’t have the inclination, let alone the time, to dance around a subject: If I have an opinion, my readers will know it. If I have mixed feelings, or have yet to formulate an opinion, they should know that, too. (If not, they may always ask for clarification, or otherwise give me the benefit of the doubt. If it doesn’t sound like my reasoned approach- Remember, readers have a standing invitation to use this Report as a forum for their disagreements with me- it isn’t meant to be interpreted as my viewpoint.)
That is the “deal” I have with my readers. Their end of the deal is to make assumptions only after asking questions, not to pick fights and, when in doubt, to take me at my word unless I fail to hold up my end of the bargain. (Again, the operative word is “motivation.”)
If they fail to hold up their end of the bargain, unfair as that is, it remains their problem. It’s a waste of time to make it mine.
In the words of the Chinese proverb I have quoted here before, “He convinced against his will is of the same opinion still.” (I also like something RONALD REAGAN said: “My 80 per cent friend is not my 20 per cent enemy.”)
On a related note: Why would any country-music artist, songwriter, author, publicist or record company fail to take advantage of the opportunity for free publicity offered by this Report? It’s easy enough to reach my international audience of industry professionals, media and fans. (The only “catches” are noted on the FAQs page linked to this Report.)
When my readers don’t supply the content, I do. That’s either good or bad, depending upon how readers react to the overall mix.
From the e-mailbag, ICEBERG FAQ #21 writes “I didn’t know if you were aware that there was a major shakeup at Country Weekly magazine yesterday (March 1st). My sources tell me the editor, BILL GUBBINS, was canned after a two-year reign that saw the publication's newsstand circulation drop in half.
”Gubbins (a Music Row ‘outsider’ hired by Country Weekly's financially and ethically besieged corporate parent, American Media, the tabloid company, in 2005) also apparently rubbed everyone on Music Row the wrong way, including most of the staff of the magazine--those who stuck around and didn't jump ship soon after he took over.
”No replacement has been named, but Executive Editor LARRY HOLDEN has been charged with holding the ailing mag together for the time being.
”I'm no fan of Country Weekly, as such, but it's the only country magazine still standing. So I'm hoping it pulls through.
”Thought you'd like to know...”
Actually, Gubbins lasted a little longer than two years, signing on with CW in December, 2004. Bill’s answering machine was still activated as of March 2nd, his outgoing message suggesting he’ll be “out of the office until March 5th,” with calls being directed to Holden.
I left a message for Larry at 2:15 p.m. March 2nd, but Ice should know that CW has been on the auction block for some time with no takers.
Invitations. I get invitations: Thanks to KIVA, DAWN KAMERLING and The Press House for the invitation to join them March 16th at Austin, Texas’ Momo’s (during SXSW) for “free food and free beer [and] some amazing music” (courtesy of THE STERNS and GRAHAM ISAACSON, who’ll be appearing along with the TXRD LONESTAR ROLLERGIRLS).
Thanks also to CLAIRE RATLIFF for inviting me to attend LEAH DURELLE’s March 10th showcase at The Rutledge, in celebration of the 15-year-old singer’s fourth album, 9 Days in Nashville and the single, I’m Not Sorry.
… And, thanks, as always to AMANDA VIRGILLITO for another media night invitation. This latest is for the March 3rd performance of Eclipse: Visions of Crescent and the Cross.
ABDEL SALAAM’s newest dance theater epic “explores the histories and cultures of Islam and Christianity through people, places and events ranging from the Crusades to [those of the] the mid-20th century.” The 7:30 p.m. performance will be held at the Tennessee Performing Arts Center’s [JAMES K.] POLK Theater.
And a belated acknowledgement of an invitation received to party February at the Nashville’s Renaissance Hotel with KIRT WEBSTER and Wrangler Jeans' Senior Marketing Manager EDYIE BROOKS-BRYANT.
The snail-mailbag brings a copy of Slidin’ Home.
JOHN STARLING & CAROLINA STAR’s latest CD (which reunites the “soulful acoustic music singer” with two of his SELDOM SCENE cohorts, MIKE AULDRIDGE and TOM GRAY, and also features the talent of EMMYLOU HARRIS) comes courtesy of KISSY BLACK’s Lotos Nile Media.
Not to be outdone, Jawbone Press Sales & Marketing Manager KEVIN BECKETTI sends copies of two new books: JOHN BLANEY’s, (JOHN) LENNON & (PAUL) McCARTNEY Together Alone: A Critical Discography of Their Solo Work and GARY SHARPE-YOUNG’s Metal: The Definitive Guide.
The former is worth its list price ($27.95) for the cover alone: a cover shot of one side of McCartney’s face fused with the other, asymmetrical side of Lennon’s. Much more than a simple discography of the post-Beatle years, each song (including John’s and Paul’s collaboration with artists other than each other) is historically recalled, evaluated and/or reviewed in a manner that will be appreciated by Lennon and McCartney’s fans.
The latter, which include a forward by JUDAS PRIEST’s original lead vocalist, ROB HALFORD, describes and details the contributions of the purveyors of heavy, thrash, death, black, gothic, doom and progressive metal music in an entertaining and informative narrative (accompanied by photographs of several of metal’s most memorable bands) that also includes a discography.
Congratulations to ROGER TYLER MAY, Esquire. Thanks to May, (the defense attorney who has made life immeasurably easier for JENNIFER O’NEAL, ADAM “PACMAN” JONES, MARTY STUART, and TERRI CLARK), GARY CHAPMAN has just been excused from doing some serious jail time.
May got dismissal of speeding, drug possession and possession of drug paraphernalia charges against Chapman in exchange for Gary’s pleading guilty to DUI. (After Gary failed sobriety tests and registered double the allowable blood alcohol limit, there wasn’t much for Roger to dispute.)
Chapman loses his license for a year and, while on 11 months, 29 days probation, he must take an alcohol safety class.
Years ago, I enjoyed watching MICHAEL MEDVED, whose claim to fame, at that time, was his televised movie reviews. (Medved and JEFFREY LYONS were the beneficiaries of [the late GENE] SISKEL and [ROGER] EBERT’s “take-it-or-leave-it” contract renewal dispute with Chicago’s PBS affiliate, WTTW.)
Medved became an author and most recently has reinvented himself as a conservative talking head. An Orthodox Jew, Michael’s religion requires that he adhere to ethical standards deemed generally higher than not only those of most other Jews, but also of those who practice virtually any other religion.
As such, it was most disappointing when Michael proved to be hypocritical, misleading and dishonest, as he took on EDWARD MORRIS and Morris’ Tennessean opinion piece on DIXIE CHICKS, followed by Medved 's attempt to censor my setting the record straight by correcting what Michael knows to be both morally and factually wrong, but yet, in true PAUL HARVEY fashion, refuses to acknowledge.
There is not room in this Report to reprise either Ed’s column nor Michael’s rebuttal (both are easily accessed through Googling), let alone my post to Medved’s ironically named TownHall Web site. Suffice to say, Medved used a straw man argument unworthy of him as he distorted Morris’ column, in lieu of offering a stronger argument against Ed’s viewpoints. Medved also gave his readers the impression that Ed is a Tennessean staffer. (Morris is no more of a staffer than I am. We have both been guest columnists for the newspaper.) and even failed to correct his misnaming the paper (which was renamed years ago to reflect its circulation beyond Nashville proper).
Medved’s blog encourages readers to respond. And when the posted responses (which, at last count, numbered 28) did not include my own (which contained no “bad language,” libelous statements, etc.), I wanted to know why. I received a response from unnamed members of Michael’s “team” advising me that Medved and only Michael decides what comments will be posted on Medved’s site. (The average reader would assume Michael posts everything that meets the guidelines to which I refer. That he does not should be disclosed- by Medved- but since he won’t…)
They claimed to “have no way of forwarding emails to Michael. If you were a medhead member we would recommend you send a note to the producers via this website, but you must be a member to do that. So we suggest you contact the show itself.”
I wasn’t given a phone number until I sent yet another e-mail and even after receiving the number was never able to reach Michael. Why he was afraid of what I had to say, I don’t know, but it may have something to do with what WILLIAM F. BUCKLEY, JR. once said when asked why ROBERT KENNEDY refused Buckley’s offer to appear on Firing Line: “Why does meat reject the grinder?”
It is difficult to explain to Johnny/Janie-come-lately Music Row types who don’t know their history (and have not taken the time to read articles that would educate them) that both the Country Music Association and the Country Music Foundation have historically engaged in discriminatory practices. To the uninformed, it sound like whining to even suggest such a thing, but such practices serve a purpose: The presence of a scapegoat serves to keep other members of a fear-based industry in line.
The comfortable don’t want to hear about gender, religious discrimination and all of the other forms of depriving one of a livelihood that I have documented to EEOC and Tennessee Human Rights Commission investigators.
EEOC and Tennessee’s investigators have found both organizations wanting (in one instance the violation prompted the investigator to offer me what legalists call a “permission to sue letter”), but the catch has always been that employees are in the best position to expose the Country Music Foundation and the CMA.
Indeed, years ago, when I first began documenting the CMF’s and CMA’s discrimination, I was told that since I didn’t work for these organizations, about the only way I could establish the kind of paper trail that would allow these governmental agencies to successfully prosecute would be to apply for employment. I could only do that in good faith if I knew of open positions that truly interested me.
I finally found one in each organization.