ACM Announces New Officers and Board

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The Academy of Country Music has announced its new officers and Board of Directors for the 2011-2012 term.

2011-2012 Academy of Country Music Board of Directors:
Chairman of the Board: Sarah Trahern, Great American Country
President: Butch Waugh
Vice-President: Ken Robold, Universal Music Group
Treasurer: Duane Clark, FBMM
Parliamentarian: Paul Moore, WME
Secretary: Tiffany Moon, Academy of Country Music

Six qualifying professional categories (listed below) are elected to the Board by the Academy’s membership. In addition to the elected, director-at-large positions have been selected by Trahern, Waugh, and Robold. Directors elected from each category are based on that category’s membership numbers. Each director serves staggered two-year terms, with half the board membership changing each year.

“The officers and the Board look forward to continued day-to-day involvement in the operations of the Academy,” said Trahern. “We’re delighted to have the commitment from so many industry leaders to help achieve the ongoing goals of the Academy and to sustain our ability to stay ahead of trends in country music.”

Elected Board Members

Affiliated
Tony Brown, TBE
Gary Haber, Haber Corporation

Artist/Entertainer/MBI
Craig Morgan
John Rich
Blake Shelton

Club/Casino/Venue Operator
Roger Gearhart, Graham Bros Entertainment

Manager
Robert Allen, 13 Management
Ken Levitan, Vector Management

Music Publisher
Pat Higdon, Universal Music Publishing

Record Company
Tom Baldrica, Average Joe’s Entertainment
Paul Barnabee, Sony Music Nashville
John Esposito, Warner Music Nashville
Jon Loba, BBR & Stoney Creek Records

Directors At Large

Scott Borchetta, Big Machine Records/The Valory Music Co.
Benson Curb, Curb Records
John Dennis, Dennis Entertainment
Marc Driskill, ASCAP
Pete Fisher, Grand Ole Opry
Jeff Garrison, CBS Radio
Brandon Gill, Morris Artists Management
T.K. Kimbrell, T.K.O. Artist Management
Jay Liepis, iTunes
Greg McCarn, Black River Entertainment
Doc McGhee, McGhee Entertainment
Kimberly Perry
Fran Romeo, Romeo Entertainment Group
Ray Sliva, Best Buy
Ben Vaughn, EMI Music Publishing
Ed Warm, Joe’s Bar

Australia Attracts Growing Number of Country Tours

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Lady Antebellum joined Australia native Keith Urban on tour Down Under in 2011.

During 2011 a swarm of country stars ventured out on Australian tours for the first time. Numerous factors are driving the trend explains Jeff Walker, President of The AristoMedia Group, who spearheads many international country music initiatives.

Australia’s rural landscape is home to a significant country fan base who relate to the genre’s subject matter—the same reason tour buses have been crossing the northern border to Canada for years. Yesterday Dierks Bentley announced runs through both countries in early 2012.

Similarly, both countries also have country music television networks helping fuel the frenzy. “The concert promoters can build up a pent-up demand in those territories by use of music videos,” explains Walker. “Plus, the growing impact of social networking and its ability to engage fans worldwide helps the artists feel more confident about going over there.”

Talk about pent up demand, earlier this year Alan Jackson’s first tour Down Under sold out six dates within minutes, turning into the biggest country outing to visit Australia in 20 years.

In 2012 Tim McGraw and Faith Hill are hitting the road together for the first time in five years, in a run that will be the couple’s first Australian tour. The March tour includes a two-night residency in Brisbane and headlining the CMC Rocks the Hunter festival.

Walker notes that two-night stands are commonplace in Australia because many of the venues are smaller than their American counterparts. Festivals are also attractive to artists who want to journey to Oz. “They can go down for the festival and also play another four or five venues,” he explains. “They have a good infrastructure there. A lot of artists have to scale down their shows from what we’d see here in America, but they still have great venues, and festivals.”

Joe Nichols headlined CMC Rocks the Hunter in March 2011, and returned in May for a multi-city tour.

A favorable exchange rate is also enticing artists. “Nowadays it is a lot easier for Australian promoters to come over here and make offers to artists, because the artists can earn as much as they do in the States,” says Walker. “Plus, sometimes they’ve saturated the markets here by touring the same cities over and over. In Australia, they can take three weeks, have a mini-vacation and work at the same time.” Sounds like a win-win.

Major merch sales are another big plus, thanks to the untapped market. Carrie Underwood made her first tour of Australia when she was promoting the international release of Play On: Deluxe Edition.

Among others who performed in Australia in 2011 are native Keith Urban, Lady Antebellum, and Montgomery Gentry. Taylor Swift’s world tour stops there in March.

“You can build a career by going back and back and back,” sums Walker. “Because artists like Don Williams, Charley Pride, Tom T. Hall, Dolly Parton, and Kenny Rogers have fostered that fan base, they are able to book successful international tours every two or three years.”

Alan Jackson's first Australian run. (L-R): Storme Warren, GAC TV and Sirius/XM Radio Show Host; Rob Potts, CEO, Rob Potts Entertainment Edge; Jackson; Michael Chugg, Exec. Chairman, Chugg Entertainment; Matthew Lazarus-Hall, CEO, Chugg Entertainment. Photo: John Huber

New Gig For Jules Wortman

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Jules Wortman

Jules Wortman has been named VP of Public Relations for TNA Entertainment, home of TNA Impact Wrestling. With almost two decades of experience, she operates her namesake company, Wortman Works Media & Marketing.

Total Nonstop Action (TNA) Wrestling, the top-rated program on Spike TV, airs in over 120 countries worldwide. It is the home to such well-known professional wrestlers as Hulk Hogan, Ric Flair, Kurt Angle, Sting, as well as Jeff Hardy, Bobby Roode, and James Storm.

Wortman’s career includes time at Warner Bros. Records, and MCA Records, as well as work with CMT, Chevrolet, Sony Music, ACA Awards, Billy Ray Cyrus, Blake Shelton, Rodney Atkins, Big & Rich, and Red Light Management.

In the new role, Wortman reports to TNA President Dixie Carter. “Jules is one of the most talented PR executives in the business today,” explains Carter. “In addition to her media skills, her creativity and strategic thinking is what really sets her apart from the rest. I am so excited about the exposure I know she will bring to Impact Wrestling, our talent, as well as TNA’s other ventures.”

“I have been watching the trajectory of TNA Entertainment for several years,” adds Wortman. “I love entertainment, period. But to be involved in such a creative force coupled with extremely talented and gifted athletes, as well as a staff full of energy and the knowledge of how to grow a unique and very popular brand, is something I am ready to sink my teeth into.”

Wortman Works will remain available for special projects, with Lindsey Bynum still on board.

Wortman is involved with the T. J. Martell Foundation, Gallatin Chamber of Commerce, Leadership Middle Tennessee, and is the founder/owner of Jewelweed Design Studio and Mercantile in Gallatin, Tenn.

She can be reached at [email protected].

Faith Quesenberry-Malloy Launches New Venture

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Craig Morgan recently stopped by the RED distribution offices in NYC to play new music from his upcoming release, including current single "This Ole Boy.” (L-R): Greg McCarn, GM, Black River Entertainment; Faith Quesenberry-Malloy, Honor Music Ent.; Craig Morgan; Bob Morelli, President, RED.

Longtime artist manager Faith Quesenberry-Malloy has launched her own outfit, Honor Music & Entertainment. Joining her at the new company is client of ten years, Craig Morgan.

Quesenberry-Malloy has more than 20 years experience, including most recently a partnership with Vector Management.

Morgan is signed to Black River Entertainment and is busy promoting his current single and upcoming album.

Quesenberry-Malloy is based in Nashville and can be reached at [email protected] or (615) 668-9720.

How To Get A Job (In The Music Business)

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Many companies in the music industry are small and those that are not, run like they are. They are efficient and lean with everyone wearing many different hats. These days, it’s not optional. I’ve learned this first-hand taking the reigns of MusicRow.

When I read an article this morning, I knew I needed to share it with you. With unemployment at 9.1% and our music industry continuing to tighten its collective belt, the following is a valuable read for both job seekers and job creators.

This is an article about getting a job. It’s not specifically about the music biz…but then again, it is.

• • • •

How to Get a Job with a Small Company

By Seth Godin (posted with Seth’s permission, of course)

Most advice about job seeking is oriented around big companies. The notion of a standard resume, of mass mailings, of dealing with the HR department–even the idea of interviews–is all built around the Fortune 500.

Alas, the Fortune 500 has been responsible for a net loss in jobs over the last twenty years. All the growth (and your best chance to get hired) is from companies you’ve probably never heard of. And when the hirer is also the owner, the rules are very different.

1. Learn to sell. Everyone has sold something, some time, even if it’s just selling your mom on the need for a nap when you were three years old. A lot of people have decided that they don’t want to sell, can’t sell, won’t sell, but those same people need to understand that they’re probably not going to get a job doing anything but selling.

Small businesses always need people who can sell, because selling pays for itself. It’s not an expense, it’s a profit center.

2. Learn to write. Writing is a form of selling, one step removed. There’s more writing in business today than ever before, and if you can become a persuasive copywriter, you’re practically a salesperson, and even better, your work scales.

3. Learn to produce extraordinary video and multimedia. This is just like writing, but for people who don’t like to read. Even better, be sure to mix this skill with significant tech skills. Yes, you can learn to code. The fact that you don’t feel like it is one reason it’s a scarce skill.

Now that you’ve mastered these skills (all of which take time and guts but no money), understand the next thing about small businesses–they aren’t hiring to fill a slot. Unlike a big company with an org chart and pay levels, the very small business is an organism, not a grid. The owner is far more likely to bring in a freelancer or someone working on spec than she is to go run a classified help wanted ad.

And many small businesses are extremely bad at taking initiative that feels like risk. They’d rather fill orders than take a chance and go out prospecting for a person who represents a risk. And that’s your opportunity.

When you show up and offer to go prospecting on spec, offer to contribute a website or a sales letter or some sales calls–with no money on the table–many small business people will take you up on it, particularly if they are cash-strapped, profit-oriented and know you by reputation. (Please don’t overlook that last one).

Hint: don’t merely show up and expect a yes. It’s something you earn over time…

The rest is easy. Once you demonstrate that you contribute far more than you cost, now it’s merely a matter of figuring out a payment schedule.

This is probably far more uncertainty and personal branding than most job seekers are comfortable with. Which is precisely why it works.

 

CMA, ABC and Macy’s Ramp Up For The CMA Awards

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As excitement builds for The 45th Annual CMA Awards, the Country Music Association and the ABC Television Network are scheduled to air an exclusive sneak peek into Country Music’s Biggest Night. The special televised show, CMA Close Up Presents Road to the CMA Awards, is a half-hour exclusive packed with artist interviews and highlights from past CMA Awards. The special will air on local ABC affiliates between today (10/28) and Wednesday, Nov. 9.

CMA Close Up Presents Road to the CMA Awards discusses artists’ favorite memories from past CMA Awards, as well as what it’s like to be nominated and perform for the first time. Featured artists include Jason Aldean, The Band Perry, Dierks Bentley, Kristin Chenoweth, Miranda Lambert, Little Big Town, Scotty McCreery, Brad Paisley, Rascal Flatts, Blake Shelton, Sugarland, Taylor Swift, Shania Twain, and Chris Young,

This special will air in more than 90 percent of ABC markets including New York, Los Angeles, Chicago, Philadelphia, Dallas, San Francisco, Boston, Washington, D.C., Atlanta, Houston, Miami and Nashville. Check your local listings for times.

“This special was an incredible success last year,” said CMA Chief Executive Officer Steve Moore. “This is a great opportunity to ramp up the excitement for the upcoming CMA Awards and increase awareness in each of these markets.”

Macy’s is also preparing for the CMA Awards with Macy’s Walk of Stars, which officially kicks-off Country Music’s Biggest Night. This year the Macy’s Walk of Stars will be positioned on Demonbreun Street between 4th and 5th Avenues. Artists and celebrities will be able to walk down the red carpet lit by the iconic Macy’s “star” beginning at 4:00 PM/CT on Wednesday, Nov. 9. Macy’s offers fans an opportunity to be part of the excitement with an exclusive fan bleacher section in the paparazzi photo area, where the stars stop for their fashion photos.

Macy’s is additionally promoting the partnership in Nashville with a special shopping event at the Green Hills location on Saturday, Nov. 5  at 2:00 PM/CT. Shoppers can get glammed up with complimentary hairstyling with feather hair extensions by Macy’s Premier Salon. Participants can then show off their best red carpet poses and participate in a karaoke contest for a chance to win a pair of tickets to the Awards. All participants will take home a copy of their recording.

The 45th Annual CMA Awards will air live on ABC Wednesday, Nov. 9 (8:00-11:00 PM/ET) from the Bridgestone Arena in Nashville. Brad Paisley and Carrie Underwood return as hosts for their fourth consecutive year.

Charlie Cook On Air

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Halloween is right around the corner. It’s not my favorite holiday. I may be the only American who does not like Halloween. It’s cold out. Even in California, I would stand by the front door handing out candy to cute little kids, but it was always cold.

There is nothing cuter than a 3-4 year-old looking through a poorly-fitted mask, in a costume five sizes too big, with a huge bag pointed towards the sky, knowing that they get smiles and candy. But it’s always cold.

I also don’t love candy. You know, “Lead us not into temptation.”

I grew up in Detroit and it is really cold there. Which is one reason people in the Detroit area start fires on what is known as “Devil’s Night,” the night before Halloween. Because it is cold. They should move Halloween to July. It stays light longer, and it’s not cold.

Now that I have established I am not a fan of Halloween, let’s talk about some things that we should be afraid of as Halloween approaches. It is the scariest holiday, after all.

It’s when companies start doing their budgets for the upcoming year. They look back on the current year, which was not good for many people in our businesses, and they start looking for shortcuts. Radio had a tough revenue year, the record industry has had another challenging year.

More than cold weather at Halloween, I hate that managers lack the creativity of finding non-traditional revenue sources and deciding that they can save their way out of problems.

I do not spend money willy nilly. I worked for Westwood One for 10 years (post Norm Pattiz). I have been a partner in a privately held consulting company for close to 30 years. Every dime spent came out of our pockets. I have never worked for a company that spent frivolously. I am careful with costs, but trying to win with three less people than you failed to win with this year is generally a formula for failure.

If you have the wrong people, replace them, don’t eliminate the position. If you’re not accomplishing your goals with the people you have in those positions, is it the people, and not necessarily the position, that is the problem?

I have always believed that you find what works and you just repeat it over and over until it doesn’t work again, all the while evolving the process so that you’re prepared for the change when it is inevitable.

In radio the template has been to put the best product on the air, generate the biggest ratings you can and then send station representatives into the market to find sponsors that can benefit from using your station to reach consumers. This takes people.

In the record business you record the best music you can. Then you send representatives out to radio stations to convince them that this record will help them generate those ratings so that their representatives can go out into the market and, you get the idea. At the same time the record people are using the station to “advertise” the record to the audience. It is a win/win. Or should be. And it takes people.

A lot of stations are doing good radio today. In our format there are a ton of stations doing good radio. Boston, Detroit, LA, Minneapolis and others are seeing real ratings successes.

The music, in our format, and in CHR, is as good as it has ever been. Miranda Lambert is amazing. So are Chris Young and Justin Moore and Lady A and many more. In CHR, I love Katy Perry and Bruno Mars. The new Maroon 5 song is stuck in my head.

How tough is it to be good in a bad time? It’s like wearing the best Halloween costume to the Christmas Party.

Some people are afraid of change. They are afraid of innovation. The Country Music business is under attack. Radio is being attacked by Pandora and Spotify. The record industry is being attacked by dot edu accounts, and single track instead of full-album sales.

The problem with having radio and records partnering to fight these challenges is that we are at cross purposes on some of this stuff. Radio has run ads saying that stealing music is like stealing food from the Piggly Wiggly. Records continue to help radio with promotional tools in order to make sure that their music is presented in an exciting fashion.

But when it comes to Pandora and Spotify I am afraid that we part company. I mentioned a couple of weeks ago that a pipe is a pipe is a pipe to an artist. Anything that gets the music out to the consumer is good.

I know some record executives who would love to diminish the influence of radio in the music/consumer equation. That is wrong-headed because it is the relationships, built over years and years, that can finally get over these problems.

I have a Pandora account. I really don’t listen much because I have to listen to radio for work. I hear 12 hours of radio a day. Not much time for Pandora. When I do listen I hear unfamiliar music but I am not sure if I hear a lot of new music. I know that I hear new music on the radio.

I have said in past columns that radio should do a better job of teaching the listener about new music and new artists and keeping the established artist’s profiles current. I mentioned months ago that providing tools for stations to use in order to introduce the artist information was imperative to continued success.

But most labels have cut the people who did this. How is that working out for building new acts? When it takes three CDs for an artist to break through, you don’t really make that up in volume.

Well sorry, I have gone long this week but I have to go to Target and buy some candy. Monday is Halloween.

How Chris Young Ended Up With Keith Whitley’s Guitar

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Chris Young performs with the guitar once belonging to Keith Whitley.

How did Chris Young come to own a prized guitar of one of his heroes, the late Keith Whitley? The short answer is he bought it from Music City Pickers, the Nashville outfit formed by artist Brady Seals and former Gibson Guitars web editor Gabe Hernandez.

But here’s the rest of the story:

During the mid-to-late 1980s at the height of his popularity, Keith Whitley performed mainly with three guitars: a Martin acoustic, a Fender Telecaster, and a Sigma by Martin acoustic/electric.

The Martin acoustic and Fender Telecaster are owned by private collectors and have been displayed on occasion at museums throughout the southeast since Whitley’s death. The Sigma by Martin acoustic/electric, however, remained in the hands of a family friend and fellow musician, Earl Watkins, until now.

Watkins, who previously owned the Circle H Saloon near Lexington, Ky., met Whitley during the mid 1970s. They became close friends, and often played music together at the Circle H. During a visit to the venue in 1987, Whitley traded his Sigma by Martin SE-36 for the Fender Telecaster belonging to one of Watkins’ band mates, Jerry Fannin. Not long after that, Watkins purchased Whitley’s guitar from Fannin for $500. Watkins eventually passed it on his daughter Jeanne, who sold it to Music City Pickers during a recent event in Lexington.

In turn, Music City Pickers sold it to Young. He explains, “Keith Whitley has always been one of my musical heroes, so to get the chance to hold a piece of history in my hands and play his guitar on the Opry stage was beyond awesome.”

Young played it during a recent performance on the Grand Ole Opry, where he sang his own hit “Tomorrow,” and Whitley’s classic “Don’t Close Your Eyes.” The show is set to air Sat., Oct. 29 on GAC.

Google Music Nears Launch

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Google’s music offering is nearing launch according to numerous reports including the New York Times.

The MP3 store is expected to have ties to the company’s growing social network, Google+, allowing users to share the music they buy with friends/followers. There is also supposed to be a cloud-based storage component.

Reportedly, EMI Music is close to agreeing to license its catalog, but NYT reports that the other majors are not yet on board with Google Music.

More from cnet.

Bobby Karl Works The Room

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Chapter 380
Photos: Alan Mayor

On Tuesday evening (10/25), it was all about “giving back” at the Ben Folds Studio on Music Row.

The occasion was the fourth annual presentation of The Cecil Scaife Visionary Award. The salute was to the Mike Curb College of Entertainment and Music Business at Belmont University. The honorees were Norbert Putnam and David Briggs. Both of them, especially Norbert, were so kind to me when I was a pup in Music City.

LaQuela Scaife Cude, Sherytha Scaife, Norbert Putnam, David Briggs, LaRawn Scaife Rhea and Joe Scaife.

Cecil’s daughter, LaRawn Scaife Rhea, welcomed everyone and introduced music journalist Dan Daley as the evening’s host. He, in turn, introduced Jaci Wisot. The singer/pianist was the inaugural recipient of Cecil Scaife Belmont scholarship money and proved her worth by performing her original and award-winning ballad “Firefly.”

Second daughter LaQuela Scaife Cude recounted her late father’s vision for a music-business school in Nashville. She said that Cecil helped create the first Belmont music curriculum with his 1971 class on music marketing.

Tony Brown

Tony Brown praised Norbert and David as pioneers of non-country recording on Music Row. “Nashville is more than country music,” he said. “These two guys did it years ago and didn’t need to tell anybody.” Neil Young, Joan Baez, Dan Fogelberg and Jimmy Buffett all recorded at their Quadraphonic Studio, not to mention R.E.M. David’s House of David publishing company was the home of hits for Whitney Houston, Steve Winwood and more.

Tony called the honorees, “two of my heroes and two of my best friends.” He was also hilarious, recalling Elvis Presley anecdotes from the days when he and David both played in The King’s band.

Ray Stevens

Ray Stevens called the honorees, “some of the major boys who made the noise on 16th Avenue.” John Briggs and Dan Daley read letters of congratulation from Kris Kristofferson, Dolly Parton, Joan Baez and Barbara Mandrell, plus a proclamation from Rep. Marsha Blackburn.

The 2011 Cecil Scaife Scholarship recipient is singer and mandolin player Jena Rickards. She performed her lovely pop song “Waiting Up.”

“I had a nightmare last night, because I dreamed I would follow Tony Brown and Ray Stevens and two beautiful singing ladies,” said Harold Bradley. “And it was true.” He presented David’s award.

“Thanks to all the guys who told all the lies about us,” David said. “Thanks to all you people tonight for coming, but you’re not here for us. You’re here for the future.” He sagely remarked that there aren’t enough jobs in the music business for the Belmont grads, but added that there weren’t enough slots when he and Norbert arrived, either.

Cecil’s widow Sherytha Scaife and son Joe Scaife presented Norbert’s award. David Pomeroy presented an AFM 50th anniversary pin to David. “The thing that makes Nashville unique is the give-back and the pass-through,” he noted.

Jena Rickards, Harold Brdley and Jaci Wisot.

Cecil Scaife, who died in 2009 at age 81, was the first sales and promotion director at Sun Records in Memphis when Elvis began his career there in 1954. In Nashville, he co-founded the Gospel Music Association, worked as a CBS executive, was a radio entrepreneur, served as a president of the NARAS chapter (1971-72), established one of the city’s first multi-track studios, produced records, was a song publisher and urged the creation of the Belmont music-biz program.

The prior winners of the Visionary award in his name have been Mike Curb, Tony Brown and Wynonna Judd. The honor is given annually, “to a an individual whose life and work have made it possible for future generations to realize careers in the music industry.”

The historic host studio, formerly RCA Studio A and Javalena, was transformed into a nightclub for the eve. Black-draped tables with turquoise-hued candle centerpieces were arrayed in front of a stage set with elegant living-room furniture. The invitations said that this was to be a “reception” from 6-8 p.m. That turned out to mean continuous hors d’oeuvres. To wit: burger sliders, chicken skewers, pork sandwiches, shrimp cocktail, spicy hot cheese mini-balls, cupcakes and bacon, basil and tomato on toast points.

Working the room were Don Goodman, Don Cusic, Susan Stewart, Suzi Ragsdale, Becky Judd, Bob Fisher, Ben Folds (it was, after all, the pop star and Sing Off TV judge’s studio), Sharon Corbitt-House (she manages it), Diane Pearson, Harold Shedd, Lisa Harless, Lori Badgett, Rick Sanjek, Pamela Johnson, Gilles Godard, Steve Gibson, Jay Orr, Randy Moore, Pat Alger and Fletcher Foster.