Dolly Parton and Lipscomb President Candice McQueen cut the ribbon to the Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
“It’s hard to be a diamond in a rhinestone world,” said Dolly Parton on Friday evening (Oct. 27) at Lipscomb University.
She was quoting a line from her 1984 chart-topping song “Tennessee Homesick Blues” as she pondered her love of sparkly, dress-up glamor. “I love to shine,” she added. “It makes me feel lighter and more exciting.”
The occasion was the gala VIP party celebrating the opening of “Dolly Parton and the Makers,” an exhibit of her glittering, iconic costumes. The evening was also the launch party of her new book, Behind the Seams: My Life in Rhinestones.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
“Whew! That’s a lot of livin,’” she commented about the various outfits on display. “I’m amazed at how much I’ve done, I really am….Each of my dresses has a story…..We all have these pictures where we look at what we were wearing and say, ‘What was I thinking?’”
The superstar has been wearing custom-sewn creations since her earliest days on Music Row. When she signed with RCA Records in 1967, label boss Chet Atkins suggested that she stop wearing wigs and flashy outfits. Parton recalled him saying, “Dolly, you need to tone it down — you look a little trashy. Nobody’s going to take you seriously as a songwriter or a singer.” She replied, “They will if I’m good enough.”
Instead of toning it down, she became even more flamboyant. After she made it big, Atkins cracked, “Aren’t you glad you took my advice?”
“I think it’s important that people wear what they’re comfortable in,” she told the gala crowd. “Be yourself. That’s what I’ve done my whole life.”
Pink butterflies and pink landscape spotlights greeted attendees as they ascended the steps to the university’s library building. Next to the building’s exterior doors was an oversized neon “Dolly and the Makers” sign for selfies. Inside, the entrance to the exhibit was flanked by Dolly-inspired dresses created by Lipscomb’s Fashion Design majors.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
A blow-up of the book’s jacket contained holes on either side of Dolly’s portrait so that attendees can take snapshots of it with their heads surrounded by painted flower petals. This is located next to a 45-foot walkway featured a pink wall containing a timeline placing pictures of the various costumes in chronological order. The ceiling was festooned with golden butterfly decorations.
Inside the art gallery are 25 gowns in glass cases, a wardrobe-creation station with sample fabrics, a lighted makeup station (with a bottle of her Scent From Above perfume for spritzing), a video featuring the clothes’ various designers talking about their work and assorted displays of jewelry, wigs, hats and high-heeled shoes.
The exhibit is called “The Makers” because it spotlights “lots of creativity from a lot of people,” as Parton put it. Next to the displays are bios of more than a dozen designers who have created looks for her.
Places for photo ops are scattered throughout. One spot contains giant pink angel wings that attendees can pose with. Another is a mini stage with a life-sized cardboard likeness of Dolly to pose with. Still another is a wall of pink feathers topped by her logo in white neon, also designed for posing.
In attendance were Iisha Lemming, Riley Reed Hanratty, Christian Fletcher and the star’s archivist Rebecca Seaver, all members of the star’s creative team. Lemming is now serving as a visiting faculty member at Lipscomb, mentoring young designers.
“Dolly Parton and the Makers” particularly emphasizes the gowns designed by Steve Summers, her creative director. Like the star, he is an up-by-his-bootstraps success story whose visions for Parton and inventive flair rose him through the ranks of her organization. Summers said he estimates that his team creates 300 dresses a year for the superstar.
Her favorite outfit is the white gown she wore singing “He’s Alive” on the 1989 CMA Awards. The book contains a photo of her in it with arms outstretched, creating a “wing” effect because of its draped upper sleeves.
Seaver curated and preserved the hundreds of gowns pictured in color in the book, which Dolly wrote with award-winning author Holly George-Warren, also in attendance. Most of the exhibit copy came from the chapters in Behind the Seams.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
The event began with greetings from Mayor Freddie O’Connell, who talked about how his daughters learned to love reading via Dolly’s Imagination Library program. To date, it has distributed more than 200 million free books to children.
Lipscomb president Candace McQueen described Parton as “the most beloved figure in the entertainment industry.” McQueen added, “Her courageous fashion sense has left an indelible mark on the world of style.”
Following Parton’s remarks, Matthew Inman of Crown Ten Speed Press surprised the star by announcing that the book will debut at No. 4 on next week’s New York Times Book Review chart. Inman’s imprint is a division of Penguin Random House, which is Parton’s partner in her Imagination Library.
The Lipscomb University Chorale offered a lovely a cappella arrangement of Parton’s 1977 song “Light of a Clear Blue Morning.” Parton and McQueen took giant shears to cut the ribbon, officially opening “Dolly Parton and the Makers.” Joining McQueen at the gala were Lipscomb deans Beth Morrow and Mike Fernandez, among many other faculty members.
Dozens of Lipscomb Fashion students were also in attendance, all attired in elegant gowns and sporting new coiffures. Dolly Parton wore a steel-toned gown festooned with little metal spikes. The black-and-silver creation was accented by mesh sleeves. Nestled in her cascading wig was a small tiara also bristling with tiny spikes. It is one of her rock-themed outfits created for Rockstar, her next album.
“Dolly Parton and the Makers” will be on display at Lipscomb until Dec. 9. Tickets must be purchased in advance online and cost $25, which includes a guided, 45-minute tour. Hours are Tuesday-Saturday, 10 a.m. to 6 p.m. Behind the Seams: My Life in Rhinestones is available at bookstores everywhere and in the gallery’s gift shop. The coffee-table tome retails for $50.
Country Songwriting Great Bill Rice Passes
/by Robert K OermannBill Rice
Nashville Songwriters Hall of Fame member Bill Rice died at age 84 in Florida last Saturday (Oct. 28).
During his career, Rice earned 73 ASCAP awards. Among the No. 1 country hits he co-wrote are “Lonely Too Long” (Patty Loveless, 1996), “Wonder Could I Live There Anymore” (Charley Pride, 1970), “Would You Take Another Chance on Me” (Jerry Lee Lewis, 1972) and “Ain’t She Something Else” (Conway Twitty, 1985). His songs were recorded by Hank Williams Jr., Sonny & Cher, Reba McEntire, Robert Goulet, Loretta Lynn, Glen Campbell, Sammy Davis Jr., Bobby Bare, Bobby Blue Bland and Tammy Wynette, among many others.
He was born Wilburn Steven Rice in Arkansas in 1939. He began playing guitar at age 14 and was signed to his first recording contract at 18. The label was Fernwood Records, a Memphis imprint founded by guitarist Scotty Moore. Rice’s first success as a songwriter occurred in 1960, when Elvis Presley recorded “Girl Next Door Went A’walking.”
Relocating to Nashville, he teamed up with songwriter Jerry Foster, and the pair became an outstanding success story. Their early successes included 1968’s “The Day the World Stood Still” and “The Easy Part’s Over,” both sung by Pride.
The following year, Jeannie C. Riley’s recording of their “Back Side of Dallas” earned a Grammy nomination. Mel Tillis hit the top 10 with their “Heaven Everyday” in 1970, and Pride returned to No. 1 with “Wonder Could I Live There Anymore.”
In the 1970s, Bill Rice also pursued a singing career on Capitol, Epic and Polydor. Of his six charted singles 1971-78, only one of them achieved top 40 status, 1971’s “Travelin’ Minstrel Man.” His career as a country songwriter would be wildly more successful.
In 1972, alone, Rice co-wrote Johnny Paycheck’s “Someone to Give My Love To,” Jerry Lee Lewis’s iconic “Think About It Darlin’” and Bob Luman’s “When You Say Love.” The last-named was covered by both Lynn Anderson and Sonny & Cher. Lewis also topped the charts in that year with their “Would You Take Another Chance On Me.”
At the 1972 ASCAP Country Awards, Foster and Rice won an unprecedented 10 awards. They were publicized carrying the trophies in a wheelbarrow.
In 1974, they had 11 songs on the chart at the same time. One of them was Mickey Gilley’s “Here Comes the Hurt Again,” which earned the songwriters a Grammy nomination. Another was “I’ll Think of Something,” a top 10 hit for Hank Jr. Revived by Mark Chesnutt, the classic song hit No. 1 in 1992.
Both Rice and Foster were inducted into the Nashville Songwriters Hall of Fame in 1994. By then, Bill Rice had formed another songwriting partnership. He and the award-winning Sharon Vaughn created 1982’s “I’m Not That Lonely Yet” for McEntire. Leon Everette introduced this team’s “Til a Tear Becomes a Rose” in 1985. Lorrie Morgan and the late Keith Whitley earned a CMA Vocal Duo Award with the song in 1992.
The two songwriters married one another. Success continued with 1992’s Patty Loveless smash “Lonely Too Long.” At the singer’s Country Music Hall of Fame induction last month, Vince Gill memorably performed the ballad. (The independently successful Vaughn joined her ex husband in the Nashville Songwriters Hall of Fame in 2019).
Bill Rice initially worked for Jack Clement and Bill Hall as his publishers on Music Row. When he became a song publisher, himself, Rice helped several up-and-coming writers. These included Roger Murrah, Jim McBride and Rich Alves. Rice also produced records.
The songwriter passed away in Merritt Island, Florida at his home, surrounded by family members. He is survived by granddaughter Melissa Mae (Clint) Hanes and several grandchildren, stepchildren and extended family members.
Arrangements are being handled by Ammen Family Cremation & Funeral Care (1001 S. Hickory St., Melbourne, FL 32901). No events are scheduled. The family suggests planting a tree in the memory of Wilburn Steven “Bill” Rice.
Bart Herbison & Erika Wollam Nichols Receive Bob Kingsley Living Legend Award
/by Lorie HollabaughPictured (L-R): Nan Kingsley, Erika Wollam Nichols, Rhett Akins, Bart Herbison and Dan Rogers. Photo: Chris Hollo for Grand Ole Opry
Bart Herbison and Erika Wollam Nichols were honored Monday night (Oct. 30) with the Bob Kingsley Living Legend Award at the Opry House, at a dinner to benefit the Grand Ole Opry Trust Fund.
The event, which has been on hiatus since the pandemic, returned for a seventh time to celebrate the career of Bob Kingsley, and has raised more than $350,000 since the event’s inception. Songwriters participating in this year’s tribute included Jeffrey Steele, John Rich, Rivers Rutherford, Lee Miller, Steve Bogard, Tim Nichols, Lee Roy Parnell, Victoria Shaw, Tony Arata, Don Henry, Kathy Mattea, Jon Vezner and Rhett Akins.
Herbison is the Executive Director of the Nashville Songwriters Association International (NSAI). He worked as a reporter and spent 14 years in radio and as a correspondent for The Nashville Banner newspaper before joining the administration of former Tennessee Governor Ned McWherter as Deputy Director of Communications in 1987. Herbison ventured to Music Row in 1997 following his political career. He has played a pivotal role in legislative efforts aimed at protecting intellectual property rights and ensuring fair compensation for songwriters in the digital age. He has helped shape key copyright legislation, including the adoption of the Music Modernization Act of 2018, the most important copyright law reform for songwriters in decades which created The Mechanical Licensing Collective.
Wollam Nichols serves as the Chief Operating Officer at the Bluebird Café and oversees all aspects of the venue’s on-site and off-site operations, along with marketing, sponsorship and brand development of The Bluebird Café name. She is also co-director of the Tin Pan South Songwriters Festival and handles the performance program of the Nashville Songwriters Hall of Fame Induction Ceremony. Prior to her role at Bluebird Cafe, Erika held several executive positions within the entertainment industry.
Previous Bob Kingsley Living Legend Award honorees included Kingsley himself in 2014, Joe Galante (2015), Jim Ed Norman (2016), Lorianne Crook and Charlie Chase (2017), Clarence Spalding (2018) and Lon Helton (2019).
The Opry Trust Fund began in 1965 with a mission to help those in the country music industry by offering financial assistance during a time of extraordinary need, emergency or catastrophe. This includes individuals who are or have been employed full time in a facet of the country music industry (i.e. performer, songwriter, publisher, radio, session musician, etc.). The fund pays for items such as medical bills, living expenses, utilities, and rent or mortgage. The fund accepts referrals from individuals within the country community, including Opry members, as well as other charitable organizations such as MusiCares, ACM Lifting Lives and Music Health Alliance.
Luke Combs, Morgan Wallen, Post Malone Among CMA Awards Performers
/by Lorie HollabaughKenny Chesney, Luke Combs, Dan + Shay and Morgan Wallen are among the second round of performers announced for the upcoming 57th Annual CMA Awards on Nov. 8.
Other artists just announced to perform on the show include Kelsea Ballerini, Jordan Davis, Hardy, Alan Jackson, Cody Johnson, Post Malone, Mac McAnally, Ashley McBryde, The War And Treaty and the Zac Brown Band. The new slate of artists will join previously-announced performers Chris Stapleton, Lainey Wilson, Jelly Roll and more.
Female Vocalist and Album of the Year nominee Ballerini will perform “Leave Me Again” on the awards telecast, while reigning two-time Entertainer of the Year and four-time nominee this year Combs will take the stage to perform his new single “Where the Wild Things Are.”
This year’s Vocal Duo of the Year nominee Dan + Shay will share their current single, “Save Me The Trouble,” while three-time nominee Davis will perform “Next Thing You Know.” Male Vocalist of the Year nominee Johnson will perform his new love song, “The Painter,” and triple nominee McBryde will perform her warm single “Light On In the Kitchen.” The War And Treaty, who are first-time nominees this year for Vocal Duo of the Year, will perform their impassioned single “That’s How Love Is Made.”
Additional collaborations at this year’s show will include a tribute to recently passed songwriter, cultural force and CMA award winner Jimmy Buffett, featuring good friends Chesney and longtime Coral Reefer Band member McAnally, as well Jackson and 2023 Vocal Group of the Year nominee Zac Brown Band. Four-time nominee Hardy, three-time nominee this year Wallen and first-time CMA Awards performer Post Malone will deliver a medley of country classics, while Wallen will also take the stage with a surprise guest to perform a song from his Album of the Year-nominated project, One Thing At A Time.
Hosted by Luke Bryan and Peyton Manning, the CMA Awards broadcasts live from Bridgestone Arena in Nashville on Nov. 8 at 7 p.m. on ABC and is available next day on Hulu.
Save The Date: MusicRow Announces Date For 2024 Rising Women On The Row
/by LB CantrellMusicRow is proud to announce the date for its 11th annual Rising Women on the Row breakfast, honoring female executives in the music industry. Once again at The Omni Nashville Hotel, Rising Women on the Row will take place the morning of Tuesday, March 19, 2024.
MusicRow Owner & Publisher Sherod Robertson held the first-ever Rising Women on the Row in 2012. He was inspired to start the beloved event when thinking of his grandmother, and how she was never honored for her accomplishments and tenacious spirit. Since its inaugural year, MusicRow has recognized over 50 deserving executives as Rising Women on the Row.
Past honorees include—2023: Stacy Blythe, Martha Earls, Beth Hamilton, Jackie Jones, Brittany Schaffer, Anna Weisband; 2020/2022: Jen Conger, JoJamie Hahr, Mandy Morrison, Missy Roberts, Jennie Smythe, Stephanie Wright; 2019: Janine Ebach, Kelly Janson, Meredith Jones, Lenore Kinder, Sandi Spika Borchetta, Jennifer Turnbow; 2018: Faithe Dillman, Leslie DiPiero, Becky Gardenhire, Lynn Oliver-Cline, Annie Ortmeier, Janet Weir; 2017: Tatum Allsep, Virginia Bunetta, Kerri Edwards, Kella Farris, Laura Hutfless, Juli Newton-Griffith; 2016: Abbey Adams, Amanda Cates, Cris Lacy, Leslie Roberts, Risha Rodgers; 2015: Kele Currier, Tiffany Dunn, Dawn Gates, Jensen Sussman, Lou Taylor; 2014: Julie Boos, Caryl Atwood, Ebie McFarland, Alicia Pruitt, Kelly Rich; 2013: Cyndi Forman, Cindy Hunt, Beth Laird, Cindy Mabe, Brandi Simms; 2012: Shannan Hatch, Mary Hilliard Harrington, Heather McBee, Denise Stevens, Carla Wallace.
Hardy Dominates His Own Lane, Shines During Three-Night Nashville Run
/by LB CantrellHardy performs at Nashville’s Municipal Auditorium. Photo: Ryan Smith
If you didn’t make it out to one of Hardy‘s shows during his three-night, sold-out stand at Nashville’s Municipal Auditorium over the weekend, you missed out.
The Big Loud Records/Big Loud Rock heavy-hitter showed his dominance in the space, bringing out fans in droves who can’t get enough of his redneck-country, grunge-rock fusion. So many fans came out, in fact, that Hardy’s weekend of consecutive sell-outs made him the artist with the second-most ticket sales in a single run at the Nashville Municipal Auditorium, right behind Elvis Presley. It also made Hardy the artist to play the most shows in a single weekend at the venue.
Opening for the country rocker was star Lainey Wilson and Sony Music Nashville newcomer Dylan Marlowe.
Hardy and Lainey Wilson perform at Nashville’s Municipal Auditorium. Photo: Ryan Smith
Marlowe kicked things off with a fun set that included his successful singles “Record High,” “Dirt Road When I Die,” “You See Mine” and more. The Georgia native moved about the stage with confidence and charisma as he looked out into the big Nashville crowd. Once his job was done, he smiled out at everyone and thanked them for getting there early to see him play.
Fans roared when the next act, the explosive Wilson, made her way to the stage. Her 45-minute set was full of exhibitions of her white-hot star power.
When singing “Atta Girl” from her award-winning 2022 album Bell Bottom Country, she smiled down at young girls in their flared britches with stars in their eyes. At one point, Wilson spoke to one lucky fan in the front, sharing with her affirmations to tell herself every day as she grows up.
Next, Wilson welcomed to the stage a friend of hers with “a heart of gold,” Jelly Roll. The Municipal Auditorium shook with excitement as the two BBR label-mates traded verses of their collaborative single “Save Me.”
Wilson glided through her set with ease, rousing fans with “Hillbilly Hippie,” “Hold My Halo” and “Smell Like Smoke,” and bringing the audience in close with hits “Things a Man Oughta Know” and “Watermelon Moonshine.” Before closing her set, Wilson gave a hair-raising performance of her most recent No. 1 “Heart Like a Truck.”
Hardy performs at Nashville’s Municipal Auditorium. Photo: Tanner Gallagher
With the audience primed for musical excellence, fans tore the roof off the building when Hardy’s 2023 album title track “The Mockingbird & The Crow” played. As with Hardy’s persona, the song—and album—is divided into country and rock stylings. For the song’s country opening verses, Hardy stayed out of sight. When the song got heavier, he appeared, causing every fan in the venue to hoop and holler.
He kept the energy high with standout rocking tracks “Kill Sh!t Till I Die” and “Jack,” before asking if the Thursday night (Oct. 26) crowd had to work in the morning. “I pray to God someone wakes up in their boots in the morning,” he said before playing his beloved “Boots.”
After thrilling OG Hardy fans with his 2018 “4X4,” he shared that when playing in Nashville, you’ve got to “do the Nashville thing,” and he invited Lauren Alain and Devin Dawson out to perform their No. 1 hit “One Beer.” Later on in the show, Hardy invited Marlowe back out to perform the hit song he co-penned for Jon Pardi, “Last Night Lonely,” in a writers’-round style moment.
Beyond the mastery he has of his own country-rock lane, Hardy’s star shines bright when he connects with his fans. Before playing “Screen,” a song with a double entendre about phone screens and door screens, he spoke about his battle with anxiety that caused him to cancel a few shows on “The Mockingbird & The Crow Tour.” While he shared that he was doing better, he let those in the crowd who may be living with mental health struggles know that he was right there with them.
Another special moment came with Hardy’s performance of “A Rock,” the title track to his 2020 album that zooms out on the meaning of life, with verses like “we’re all just living life on a rock.” While Hardy sang about growing up and meeting his wife, photos from his life flashed on the screens behind him. About the time he sang, “next thing you know you’re saving up for a rock,” a couple in the pit got engaged.
Hardy performs at Nashville’s Municipal Auditorium. Photo: Tanner Gallagher
Hardy kept it on an emotional note for the next song, the beloved “Give Heaven Some Hell,” which brought hands to the hearts of concert-goers and arms around their loved ones’ shoulders. After he was done, he shared that the song died at No. 7 on the charts because some radio stations thought it was sacrilegious. “I’ve written 17 No. 1s. I think I know what a radio song is,” he said, before thrilling the crowd with his irreverent “Radio Song.”
One of the night’s most impactful moments came when Wilson reappeared on stage to sing the double-Platinum hit “Wait In The Truck,” which is nominated for Song, Single, Music Video and Musical Event of the Year at next week’s CMA Awards.
After the half-way mark, Hardy kept the crowd buzzing with beloved tunes like “Red,” “Unapologetically Country As Hell” and his Blake Shelton cut “God’s Country.” He left the stage for a bit only to be brought back out with the crowd’s relentless “Hardy! Hardy! Hardy!”
Before calling it a night, Hardy blitzed us with “Truck Bed,” “Rednecker” and the ultimate cheery on top, “Sold Out.”
“The Mockingbird & The Crow Tour” picks back up in Green Bay, Wisconsin on Nov. 30.
Lipscomb Hosts Dolly Parton Gala
/by Robert K OermannDolly Parton and Lipscomb President Candice McQueen cut the ribbon to the Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
“It’s hard to be a diamond in a rhinestone world,” said Dolly Parton on Friday evening (Oct. 27) at Lipscomb University.
She was quoting a line from her 1984 chart-topping song “Tennessee Homesick Blues” as she pondered her love of sparkly, dress-up glamor. “I love to shine,” she added. “It makes me feel lighter and more exciting.”
The occasion was the gala VIP party celebrating the opening of “Dolly Parton and the Makers,” an exhibit of her glittering, iconic costumes. The evening was also the launch party of her new book, Behind the Seams: My Life in Rhinestones.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
“Whew! That’s a lot of livin,’” she commented about the various outfits on display. “I’m amazed at how much I’ve done, I really am….Each of my dresses has a story…..We all have these pictures where we look at what we were wearing and say, ‘What was I thinking?’”
The superstar has been wearing custom-sewn creations since her earliest days on Music Row. When she signed with RCA Records in 1967, label boss Chet Atkins suggested that she stop wearing wigs and flashy outfits. Parton recalled him saying, “Dolly, you need to tone it down — you look a little trashy. Nobody’s going to take you seriously as a songwriter or a singer.” She replied, “They will if I’m good enough.”
Instead of toning it down, she became even more flamboyant. After she made it big, Atkins cracked, “Aren’t you glad you took my advice?”
“I think it’s important that people wear what they’re comfortable in,” she told the gala crowd. “Be yourself. That’s what I’ve done my whole life.”
Pink butterflies and pink landscape spotlights greeted attendees as they ascended the steps to the university’s library building. Next to the building’s exterior doors was an oversized neon “Dolly and the Makers” sign for selfies. Inside, the entrance to the exhibit was flanked by Dolly-inspired dresses created by Lipscomb’s Fashion Design majors.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
A blow-up of the book’s jacket contained holes on either side of Dolly’s portrait so that attendees can take snapshots of it with their heads surrounded by painted flower petals. This is located next to a 45-foot walkway featured a pink wall containing a timeline placing pictures of the various costumes in chronological order. The ceiling was festooned with golden butterfly decorations.
Inside the art gallery are 25 gowns in glass cases, a wardrobe-creation station with sample fabrics, a lighted makeup station (with a bottle of her Scent From Above perfume for spritzing), a video featuring the clothes’ various designers talking about their work and assorted displays of jewelry, wigs, hats and high-heeled shoes.
The exhibit is called “The Makers” because it spotlights “lots of creativity from a lot of people,” as Parton put it. Next to the displays are bios of more than a dozen designers who have created looks for her.
Places for photo ops are scattered throughout. One spot contains giant pink angel wings that attendees can pose with. Another is a mini stage with a life-sized cardboard likeness of Dolly to pose with. Still another is a wall of pink feathers topped by her logo in white neon, also designed for posing.
In attendance were Iisha Lemming, Riley Reed Hanratty, Christian Fletcher and the star’s archivist Rebecca Seaver, all members of the star’s creative team. Lemming is now serving as a visiting faculty member at Lipscomb, mentoring young designers.
“Dolly Parton and the Makers” particularly emphasizes the gowns designed by Steve Summers, her creative director. Like the star, he is an up-by-his-bootstraps success story whose visions for Parton and inventive flair rose him through the ranks of her organization. Summers said he estimates that his team creates 300 dresses a year for the superstar.
Her favorite outfit is the white gown she wore singing “He’s Alive” on the 1989 CMA Awards. The book contains a photo of her in it with arms outstretched, creating a “wing” effect because of its draped upper sleeves.
Seaver curated and preserved the hundreds of gowns pictured in color in the book, which Dolly wrote with award-winning author Holly George-Warren, also in attendance. Most of the exhibit copy came from the chapters in Behind the Seams.
Dolly Parton & The Makers: My Life In Rhinestones fashion exhibition. Photo: Kristi Jones
The event began with greetings from Mayor Freddie O’Connell, who talked about how his daughters learned to love reading via Dolly’s Imagination Library program. To date, it has distributed more than 200 million free books to children.
Lipscomb president Candace McQueen described Parton as “the most beloved figure in the entertainment industry.” McQueen added, “Her courageous fashion sense has left an indelible mark on the world of style.”
Following Parton’s remarks, Matthew Inman of Crown Ten Speed Press surprised the star by announcing that the book will debut at No. 4 on next week’s New York Times Book Review chart. Inman’s imprint is a division of Penguin Random House, which is Parton’s partner in her Imagination Library.
The Lipscomb University Chorale offered a lovely a cappella arrangement of Parton’s 1977 song “Light of a Clear Blue Morning.” Parton and McQueen took giant shears to cut the ribbon, officially opening “Dolly Parton and the Makers.” Joining McQueen at the gala were Lipscomb deans Beth Morrow and Mike Fernandez, among many other faculty members.
Dozens of Lipscomb Fashion students were also in attendance, all attired in elegant gowns and sporting new coiffures. Dolly Parton wore a steel-toned gown festooned with little metal spikes. The black-and-silver creation was accented by mesh sleeves. Nestled in her cascading wig was a small tiara also bristling with tiny spikes. It is one of her rock-themed outfits created for Rockstar, her next album.
“Dolly Parton and the Makers” will be on display at Lipscomb until Dec. 9. Tickets must be purchased in advance online and cost $25, which includes a guided, 45-minute tour. Hours are Tuesday-Saturday, 10 a.m. to 6 p.m. Behind the Seams: My Life in Rhinestones is available at bookstores everywhere and in the gallery’s gift shop. The coffee-table tome retails for $50.
Industry Ink: Elizabeth Matthews, Luke Laird, Tony Esterly, More
/by Lorie HollabaughASCAP’s Elizabeth Matthews Honored With Sona Warrior Award
Pictured (L-R): ASCAP’s Paul Williams, SONA’s Michelle Lewis and ASCAP’s Elizabeth
Matthews. Photo: Lester Cohen
Elizabeth Matthews, ASCAP CEO and champion for the rights of music creators, was honored on Sunday (Oct. 29) at the annual Songwriters of North America (SONA) Warrior Awards Gala in West Hollywood, California.
The SONA Warrior Awards recognize the talent and hard work of individuals known for their high-profile accomplishments within the music industry, and honors their tireless efforts advocating for songwriters’ rights.
During the event, ASCAP Chairman of the Board & President Paul Williams and songwriters/producers Jimmy Jam and Terry Lewis lauded Matthews’ achievements, and hit songwriter MoZella performed “Wrecking Ball.” Video tributes to Matthews featured music industry giants Stephen Schwartz, Ne-Yo, Marcus Miller, Desmond Child, John Platt and Ashley Gorley, among others.
“To be recognized by SONA means the world to me. I know that songwriters are the true musical warriors–unbelievably brave and remaining strong in the face of uncertainty every day as new technology challenges their livelihoods. Yet, songwriters are still able to remain vulnerable and go deep creatively, opening their hearts to write the music that we all love. I am constantly inspired by songwriters and it has been an honor of a lifetime to work for and alongside music creators,” stated Matthews.
Luke Laird Featured In CMHOF’s ‘Poets & Prophets’ Series
CMHOF’s Dave Paulson & Luke Laird. Photo: Courtesy of the Country Music Hall of Fame and Museum
The Country Music Hall of Fame and Museum featured songwriter Luke Laird in its in-depth interview series “Poets and Prophets,” which focuses on songwriters who have made significant contributions to country music.
The program was hosted by Museum Writer-Editor Dave Paulson in the museum’s Ford Theater and included vintage photos, audio and film clips from Laird’s career. Laird has written more than 20 No. 1s since 2007. His hits include Eric Church’s “Drink in My Hand,” Sara Evans’ “A Little Bit Stronger,” Little Big Town’s “Pontoon” and Blake Shelton and Trace Adkins’ “Hillbilly Bone.”
As a producer, Laird has worked with Brett Eldredge, Mickey Guyton, Thomas Rhett and others as well as co-produced Kacey Musgraves’ albums Same Trailer Different Park , which won a Grammy for Best Country Album, and Pageant Material, contributing six songs that he co-wrote to each album. He also co-wrote the Grammy-winning song “Space Cowboy” on Musgraves’ third major-label album, Golden Hour. Laird’s other accolades include six CMA Triple Play Awards and the ACM’s Songwriter of the Year award.
The program was filmed and will premiere at a later date as part of the museum’s “Live at the Hall” digital program series, available to stream on the museum’s website.
Tony Esterly Inks With Prescription Songs
Tony Esterly
Tony Esterly has signed with Prescription Songs.
The songwriter, producer, mixer and multi-instrumentalist shares his time between L.A. and Nashville. He has worked with Sia, BTS, Mae Muller, Andra Day, Ashe, NCT 127, Kirby, Raekwon, Yo Gotti, Between Friends, Gavin Haley, Izzy Bizu and The Struts, among others.
Esterly is credited across genres with an emphasis on pop, hip-hop, R&B and alternative. In addition to his production and writing credits, his songs have had commercial placements with Allstate, Aleve, Apple, Audi, Columbia, GAP, Maybelline, McDonalds, Motorola, NordicTrack, Samsung, Tuft + Needle, Uber and Yuengling as well as countless film and TV placements. He is also a music publisher and his company Pray For My Haters currently publishes multiple emerging producer-songwriters.
SongwritingWith:Soldiers Receives NAMM Foundation Grant
SongwritingWith:Soldiers has been named a NAMM Foundation grant recipient.
The organization was selected as one of 24 music organizations to receive a grant to fund vital programs that provide access to music-making opportunities across a variety of different communities and demographics. As one of the recipients, SongwritingWith:Soldiers will utilize the resource to support the organization’s meaningful work with veterans. Since 1994, the annual grant program has donated more than $18 million to domestic and international music education programs, scientific research, advocacy and public service programs related to music-making.
“Programs supported by The NAMM Foundation, including a grant to SongwritingWith:Soldiers, advance music learning for people of all ages and abilities,” says Mary Luehrsen, Executive Director, The NAMM Foundation. “Together, we advance a more musical world based on a shared belief that music is a force for good and connections in our world.”
Thomas Rhett, Dierks Bentley, More To Play New Texas Festival
/by Lorie HollabaughThomas Rhett, Dierks Bentley and Billy Strings have been tapped to headline the inaugural Big As Texas Festival outside of Houston at the Montgomery County Fairgrounds May 10-12, 2024.
Other major performers on tap for the new Lone Star festival include Warren Zeiders, Dwight Yoakam, Los Lobos, Tracy Byrd, Clay Walker, Maddie & Tae, Breland, Anne Wilson, Drake Milligan Morgan Wade, Midland, Jamestown Revival, Amanda Shires, Buffalo Nichols, Braxton Keith and more.
The Big As Texas Festival 2024 will host more than 50,000 attendees who will enjoy over 26 hours of live music from the 35 artists billed for this year’s three-day event, spread across more than 75 acres of rolling Texas plains. Three-day GA passes are on sale now at BigAsTexasFest.com.
“We are stepping out in grand fashion for our inaugural year, and I couldn’t be more excited about the stellar music lineup we have curated for next May. It’s ultimately meant to be representative of the many facets of country and Americana music because we like to think there is something for everyone at Big As Texas Fest,” says Big As Texas’s Co-Executive Producer and Talent Buyer, Steve Said.
The three-day festival will be hosted outdoors in one of the fastest-growing counties in the country—Montgomery County—which also happens to be facing an unprecedented epidemic with rapidly rising rates of suicides. Due to these alarming statistics, organizers have decided to donate 10% of net ticket proceeds from each individual ticket sold to nonprofit organizations that promote suicide death prevention both in Montgomery County and across Texas.
Weekly Register: Morgan Wallen Reclaims Top Slot On Country Albums Chart
/by Liza AndersonMorgan Wallen. Photo: David Lehr
Morgan Wallen‘s One Thing At A Time reclaims the No. 1 slot on the country albums chart this week with 69K in total consumption (1.8K album only/86 million song streams), according to Luminate data.
Zach Bryan‘s self-titled album shifts down to No. 2 with 51K (4.9K album only/60 million song streams), while Wallen’s Dangerous: The Double Album stays at No. 3 with 36K (368 album only/46 million song streams). Taylor Swift‘s Speak Now (Taylor’s Version) takes No. 4 again with 31K (7.2K album only/31 million song streams), and Bryan’s American Heartbreak holds No. 5 with 29K (1.4K album only/36 million song streams).
The top five on the country streaming songs chart is stationary this week.
Bryan and Kacey Musgraves‘ “I Remember Everything” maintains its No. 1 status with 19 million streams, adding to 217 million ATD. Wallen’s “Last Night” continues at No. 2 with 14 million new streams, adding to 998 million ATD, with Bryan’s “Something In The Orange” following at No. 3 with 12 million streams, adding to a billion ATD. Wallen’s “Thinkin’ Bout Me” rests at No. 4 with 11 million new streams, adding to 439 million ATD, and Luke Combs‘ cover of “Fast Car” sits at No. 5 with 9.4 million streams, adding to 481 million ATD.
Matt Jenkins Extends Global Deal With Warner Chappell Music & Madfun Entertainment
/by Lorie HollabaughMatt Jenkins. Photo: Courtesy of WCM
Matt Jenkins has extended his global publishing deal with Warner Chappell Music (WCM) and Madfun Entertainment. WCM is also acquiring Jenkins’ music catalog as part of the deal.
A native Texan, Jenkins has penned multiple hits, including the Platinum track “Happy Anywhere” (Blake Shelton and Gwen Stefani), and the triple-Platinum single “Buy Dirt” (Jordan Davis ft. Luke Bryan), which took home Song of the Year at the 2022 CMA Awards and Nashville Songwriter Awards.
In 2017, Jenkins received a CMA Triple Play Award for penning three No. 1 songs within a 12-month period: “Confession” (Florida Georgia Line), “Setting The World on Fire” (Kenny Chesney ft. P!nk) and “Song For Another Time” (Old Dominion). His other chart-topping hits include “Do I Make You Wanna” (Billy Currington), “Where It’s At” (Dustin Lynch) and “Cop Car” (Keith Urban). His songs have also appeared on ABC’s Nashville, and he’s collaborated with artists including Sam Hunt, Cole Swindell, Brett Young and Eli Young Band, among others.
“Matt has proven to be a songwriter who knows how to fish in the deep waters,” says Ben Vaughn, President & CEO, Warner Chappell Music Nashville. “He’s a respected songwriter across so many meaningful songs in country music. We’re excited to continue with him on his journey.”
“Working with Matt Jenkins is both fun and inspiring. He is such a great human and a lyrical poet. He knows how to craft the cool and commercial song, almost better than anyone I know,” adds Alicia Pruitt, Founder, Madfun Entertainment.