OTR Newsletter

Public Funding Crisis

Perhaps not since County Records released West Virginia Senator Robert Byrd's fiddle album in the mid-1970s (Mountain Fiddler; County 769) has Congress had such an effect on old-time music. This time, though, the effect is more than just a curiosity. The 104th Congress’ " Contract with America" has launched an all-out assault on public broadcasting and the arts, the noncommercial entities that are the most attentive to our traditional artforms. Defunding of the Corporation for Public Broadcasting (CPB) and the National Endowment for the Arts (NEA) has caused the stations and arts organizations who receive federal funds to reassess which programs they will continue to promote and perpetuate.

The funding picture is this: The US House of Representatives has voted to rescind the CPB's existing three-year funding package by at least $47 million (15%) in 1996 and $94 million (30%) in 1997. The handwriting is on the wall. The federal government wants out of the business of broadcasting as soon as possible. The same holds true with the NEA. The House has voted to rescind at least $5 million in NEA's single year 1995 appropriation.

"Rescission" means cuts in already appropriated funding. Any future funding depends on separate, new authorization. Reauthorization must happen before any future funding is appropriated. The reason funding has not yet been totally zeroed-out, is that citizens have spoken in great numbers in favor of funding for the NEA and CPB. At the time of this writing (late March, '95), the Senate stands ready to take up the rescission bill passed by the House. Meanwhile, the House looks at a second round of further rescissions. Reauthorization has not even yet been scheduled. The debate, and the whole process of rescission and future funding will carry through September 1995.

In the meantime, anything can happen. The reasons are at the same time financial (It's the budget stupid!) and political. Old-time music and the folk arts represent the safe, the non-threatening, the mission-based components of the arts and public broadcasting programs. Congress does not differentiate between the traditional arts and avant garde art forms. They want all funded programs to "privatize" and suddenly flourish on their own commercial merit.

Under certain conditions, some of our funding could be saved. Of the $5 million rescission planned for the NEA, $4 million in program funds are to be eliminated, including all fellowship grants except for the National Heritage Fellowship awards to folk artists. The Congressional leadership has suggested retaining CPB funds just for rural and minority stations, claiming those to be the least able to find new private funding resources.

Public broadcasting, however, is a system, not a loose assemblage of producers, networks and stations: rural, urban, minority, majority. The funding cuts will harm different stations in different ways, but those that have to reduce services as a result will eventually affect system-wide life and well-being. Public station formats will continue to streamline to all-classical, all jazz all-talk formats. Since many folk and old-time music programs are produced by volunteers, these volunteers and locally produced programs should become all the more important to stations - but only if station managers and program consultants continue to keep folk and old-time music programs on the air.

As stations lose their CPB funding, many will cut the expensive national programs such as National Public Radio (NPR) mainstays, "Morning Edition" and "All Things Considered." When these programs are dropped by enough stations, the cost to those remaining becomes more imposing. When the nationwide audience for NPR news dwindles, the program becomes less attractive to national underwriters. As goes the station, so goes NPR, and the national programming which is responsible for so much of the local station success in fund-raising and underwriting support.

It appears inevitable that the funding is on it's way out. At this point what we are doing is simply trying to buy more time; enough time to hold on to government funding until we can make an adequate transition. Concurrent with a phase-in of cuts however, has to be a careful and responsible look by Congress at how IRS and FCC regulations can be changed to open new private income streams, while not compromising the non-commercial missions, looks, and sounds of these organizations.

The integrity of these public institutions cannot not be compromised by some notion of "privatization." Public radio cannot let itself sell commercials to make money, even if commercial broadcasters would agree to that sort of FCC deregulation. Public radio cannot drive its programming by its attractiveness to advertisers, but must continue to distinguish itself by its value to a diverse and democratic population. Broadcast frequencies are valuable commodities to today's few-but-powerful telecommunications giants. But the public frequencies are not for sale. Set aside by the FCC in the lower portion of the FM band, these frequencies are licensed to non-profit educational organizations to operate as public trusts. These stations have no assets beyond the intangible value of their important public services. How can an industry that has no tangible assets be sold, commercialized, or privatized?

What you can do is write your Representative and Senators generally to show support, and write, fax, e-mail, or call again when the important committee and floor votes come up. They have and will continue to come up. You can keep up with the Congressional timetable by listening to, or calling your local public radio station and local arts organizations.

It is important to remember the two part process: 1) rescission of existing funds; then 2) the important reauthorization of these programs for future funding. Reinforce your concerns for gradual, careful phase-in of cuts, so that your stations and organizations can adapt. If the arts and public broadcasting are important to you, they cannot be immediately zeroed-out. Incumbent upon Congress is the responsible decision on what money to spend and what money to take away. You have the ability to influence those decisions. Personal contact from home district constituents, especially for members of the large freshman class, means a lot more than contact from paid corporate lobbyists!

As the power shift can be felt from all across the board, on federal, state, and local levels, it seems that grass-roots community organization is the only way to adapt, and maintain the values and priorities communities hold in common. Support your arts organizations and radio stations, and tell them that you value the traditional folk arts and music they play, and the music and dance events they promote. Play benefits for your museums and local arts councils. Offer your services for auctions or fundraisers, where you play a concert or provide a dance and donate your fee to the radio station. Donate CDs and cassettes, then go a step further: make a personal appearance so you can provide the testimonial necessary for your product to leverage contributions. The time is at hand. We must take the personal responsibility to strengthen and drive the community organizations that make a difference for artists and help to keep our artforms alive.

Recordings Sought for CD

The deadline for submissions is August 15,1995. Selected artists will be contacted by OTR. Tapes and CDs cannot be returned.

Please send recordings to project coordinator and committee chair:

Susan Madden
P.O. Box 28322
Seattle,WA 98118

Syndicated Programs Available

Texas Country Roots is a radio series devoted to the origins and evolution of country music in the Lone Star State, produced by Texas Folklife Resources of Austin, Texas. It consists of thirteen eight-minute documentary segments covering such subjects as cowboy singers, fiddlers, western swing traditions, the impact of ethnic music on early country music, and honky-tonk heroes Ernest Tubb, Floyd Tilman and Hank Thompson. Musical performances are integrated with interviews of musicians, scholars, and other authorities. For more information, contact Texas Folklife Resources; P.O. Box 49824; Austin, TX 78765; phone (512) 320-0022.

Folk Masters includes a variety of musical traditions in its 1995 series including Appalachian, Celtic, Blues, Creole, Native American, Cuban, and much more. Artists include Sheila Kay Adams, Wooten Family, Benton Flippen and the Smokey Valley Boys, Georgia Sea Island Singers, and others. For information contact Trish Shuman, Director Media Relations; Wolf Trap Foundation; 1624 Trap Road; Vienna, VA 22182; phone (703) 255-1916.

OTR Folk Alliance Session Productive

• Rounder Records gave OTR the official go-ahead to produce Old-Time Music On The Air; Volume 2. This will be a follow up to Volume 1, which OTR produced for Rounder in 1994. Volume 2 is scheduled for release in conjunction with the second Old-Time Music and Radio Conference (June 4-6, 1996). A committee was formed, coordinated by OTR Steering Committee member, Susan Madden, and submissions are being accepted. (See notice above)

• The idea of a live performance music tour was discussed in connection with the 1996 release of Old-Time Music on the Air; Volume 2. A committee was formed, and several possible approaches mentioned.

• A number of West Coast participants commented on the importance of maintaining a broad geographic focus within OTR and its activities. They noted the predominance of Southeastern musicians on the Rounder CD Volume 1 (see above) and expressed a wish that Volume 2 be more inclusive. They welcomed the addition of Seattle-area radio programmer, Susan Madden to the OTR Steering Committee.

• Several ways were discussed to more fully utilize the Internet list initiated by Steve Goldfield. It was recommended that radio programmers with e-mail capabilities consider posting playlists electronically to .

• Integrating old-time music programming with bluegrass and other compatible forms of folk music was discussed at length. It was recommended that articles be written and submitted to bluegrass and public radio publications regarding this topic. These articles are in process.

• It was suggested that OTR approach commercial airlines about the possibility of their using Old-Time Music on the Air: Volume 1 for in-flight audio.

Another OTR ?!?

Fans of this type of "OTR" may also wish to contact the North American Radio Archives (NARA) for membership information. Contact Janis DeMoss; 134 Vincewood Drive; Nicholasville KY 40356.

County Names Top Picks for 1994

Best Old-Time Music Recording (New)

1. Cliff Perry & Laurel Bliss, "Old Pal" (TM-0707)
2. The Wildcats, "On Our Knees" (Yodel-05)
3. Boiled Buzzards ,"Early Bird Special" (BUZ-1004)
4. Dan Gellert & Brad Leftwich, "A Moment In Time" (MAR-9038)
5. Kirk Sutphin, "Fiddlin' Around" (FC-023)

Best Old-Time Music Recording (Reissue)

1. Doc Watson & Clarence Ashley, "The Original 1960-62 Recordings" (S/F-40029/30)
2. John Morgan Salyer, "Home Recordings 1941-42" (AC-003)
3. Doc Watson Family, "Songs From the Southern Mountains" (SH-3829)
4. Carter Family, "My Clinch Mountain Home" (ROU-1065)

This list reflects the judgement of Dave Freeman and others at County Sales, and is reprinted here for your information. Contact County Sales at P.O. Box 191; Floyd, VA 24091; phone (703)745-2001.

Community Microphone Letters to OTR

.. As a DJ, I get many promotional copies from companies and single release artists, but my second biggest source is buying promotional copies at used CD stores. I have mixed feelings about purchasing any promotional copy, but I do because I put them to the use intended. It does kind of irk me that folks who sell promotional copies can sometimes get them when I can't.

I take the time to constantly write to keep up and the time to produce topical programs that add extra dimension to recordings. I mix old and new, and the result fits very well. I want to keep as much variety as possible. I don't always get to play all I want as much as I want, but I cover a lot. When "folk crooks" (people who unscrupulously obtain promotional copies of recordings) rob my music by robbing the companies and artists who make the music possible - and usually with very thin profit margins - I get ticked off. They ruin it for folks like me (fewer than you suspect) and steal from people I like. Might I suggest:

1. Get a station cross reference and check it. I like things sent to me (personally) just to make sure, but call the station (in my case WRDV-FM, phone 215-674 8002) and make sure the request is from a real DJ;

2. Code promotional copies. On the bottom of the back, or even inside the booklet, take the time to pen a code, or even, for example, "WRDV- I will be glad to fink out any promos that show up where they shouldn't be, and I'm sure other real folk DJs will do the same;

3. Ask your artists to refer requests for promos back to you "for inventory purposes."

Protect yourself and your artists and ask the real folk DJs to do a little more!

Tor Jonassen, WRDV-FM Lafayette Hill, PA