Pitching Bluegrass to a Commercial Radio Station
Wayne Rice, KSON San Diego, CA

Everyone who loves bluegrass music agrees: there really needs to be more bluegrass music on the radio. Bluegrass on the radio is good for the fans it's good for the artists, it's good for the promoters and record companies-and it can also be good for radio.

So why isn't there more bluegrass music on the air? In particular, why isn' t there more bluegrass music on commercial radio? The bluegrass music industry is, after all, a commercial enterprise supporting a wide array of record companies, musical instrument makers, performing artists, talent buyers, managers and agents, and others who make a living from the business of bluegrass music. Further, bluegrass music-while it has its own stylistic distinctives-is closely related to country music, which has found a dominating presence on commercial radio. During the early years of country music, there were few metropolitan radio stations willing to take a chance on such a primitive, uncultured form of entertainment. For many years, much of the U.S. had to get its country music from high-powered radio stations located in Mexico or the deep South.

Today, of course, things are quite different. Country music is considered one of America's most successful radio formats, thanks largely to the efforts of a few people within the industry who took the initiative to convince media power-brokers that country music could be successful on radio and television. It didn't happen on its own, and neither will bluegrass music get much attention unless somebody makes a commitment to make it happen.

So how does one "pitch" bluegrass to commercial radio? The following guidelines and suggestions will help anyone who wants to get more bluegrass on the radio make it happen.

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• Self-confidence. Any type of selling requires a certain amount of self-confidence. You have to feel secure and sure of yourself, absolutely convinced that you will be successful. If you don't expect to get results, you probably won't.
  
  
• A positive attitude. A successful salesperson will always be positive. No matter what the criticism, no matter what the obstacles, it's important to let the person you are selling know that you are not discouraged. Remember that you have something positive to sell. Bluegrass music has tremendous upside potential. Emphasize the benefits. If you are pitching a country music station, don't criticize what they are doing, or complain about the "sorry state of country music" today. Instead, remain positive, complimentary and encouraging.
  
  
• Good communication skills. It almost goes without saying that a person who can speak well, listen well, and otherwise communicate effectively will get good results. No one wants to spend time with someone who is unable to express their ideas and thoughts clearly and coherently, or someone who obviously does not speak the same language they do. A good communicator is able to engage the other person in dialogue and treat him or her with dignity, respect and courtesy.
  
  
• A positive image. One of the obstacles facing anyone pitching bluegrass is the matter of image. Few people want to associated with someone or something with a negative image or one that is out of touch with mainstream culture. Successful salespeople often take great care with their appearance simply because they understand that potential customers more often than not respond favorably to people who project the look of success. If you want a radio station to believe that its own image will be enhanced by bluegrass music, you will want to project a positive image yourself. This of course is only effective if it is genuine.
  
  
• Knowledge. It goes without saying that a good salesperson will have extensive knowledge of the product he or she is selling, and will also learn as much as possible about the buyer. This will be discussed more later, but suffice it to say here that it is not only important that you know something about bluegrass music, but also about commercial radio.
  
  
• Resources. In order to "close the sale" with a radio station, you will need to be able to deliver the goods. Most program directors aren't interested in talking to people with good ideas. They want to deal with someone who has something tangible to offer them. In other words, when the program director of the radio station says, "No one here knows anything about bluegrass programming," you can say, "No problem. I can provide you with all you need." Good salesmen have something to sell.

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• An audience. You can deliver a significant number of people locally who will tune in faithfully to that radio station. If you are able to persuasively sell that audience to a radio station, you are more than halfway home. How many bluegrass fans are in your region? Can you identify them? Can you produce some numbers to prove that they exist? The IBMA has produced an very effective "Bluegrass: Pick It Up" brochure which uses national demographic research to identify a large national audience for bluegrass, but remember that local radio stations are also interested in local numbers. Can you produce a petition with hundreds (or even thousands) of signatures, or numbers of people who buy bluegrass concert tickets, or who belong to local bluegrass associations? If you can, you will have the kind of information you need to sell this audience to a radio station.
  
  
• Advertisers. Remember that this is commercial radio, and the only reason it exists is to deliver an audience to potential advertisers. You must persuade commercial radio that there are a significant number of advertisers who want to reach the bluegrass music audience. Again, the IBMA's "Bluegrass: Pick It Up" brochure does a good job of presenting bluegrass music fans as a prime market for everything from home improvement products to exercise equipment. But it will help if you can identify specific advertisers in your area who would be willing to buy time on a bluegrass radio show. If you can produce commitments from music stores, record shops, RV suppliers, festival promoters or other businesses in your area who want to buy advertising on a bluegrass show, you will certainly get the attention of commercial radio.
  
  
• Image. Every radio station is concerned about "positioning" in the marketplace. Some country stations appeal to the younger crowd ("Hot New Country") and others reach out to a more mature or traditional audience ("Country Favorites"). You will want to make sure that the radio station you are targeting understands that bluegrass music will enhance rather than weaken their image or position in the market. To the radio station seeking a younger audience, you can emphasize the youth movement in bluegrass music, its affinity to jazz and its appeal to those who gravitate towards "alternative music." And to the traditional radio station, you can emphasize bluegrass music's ties with the roots of country music and the Grand Old Opry. Remember that most program directors will be ignorant or misinformed about bluegrass music's image and will need to be convinced otherwise. This can be a daunting task and one that you will need to prepare for carefully. Obviously, you'll have more success if you target a radio station that is compatible with bluegrass music's image.
  
  
• A solution. It would be safe to say that as bluegrass music gains a wider audience, with more exposure on TNN, CMT, and other media (as it is), more and more country radio stations will be hearing from bluegrass fans asking them to play their favorite artists. Chances are good that they are already hearing from quite a few, and the vast majority of country radio stations don't know what to do with those calls. After all, DJ's and program directors don't want to alienate people by telling listeners, "Sorry, we don't play that stuff!" This is a problem you can solve for them. By programming two or three hours of bluegrass on the weekends, a radio station can make all those calls stop and they can make a lot of listeners happy. It's a definite win-win situation. In reality, that's why this writer's bluegrass show has remained on the air for 22 years in San Diego on KSON, the top country radio station in Southern California. Smart radio stations find a way to make their listeners happy, and that's exactly what KSON has done by providing a weekend bluegrass show and a weekend "oldies" show. This allows the station to stick to its regular format the rest of the week and to deflect requests for bluegrass and oldies to the weekend DJ'

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• Begin by sending a letter of introduction, and a presentation folder with some preliminary information for him or her to review. This should be done, of course, as professionally as possible. Your letter should be business-like, preferably on letterhead that communicates a business-like image. If you use an old typewriter on notebook paper, it is unlikely that it will be read, let alone get a favorable response. Don't say too much in the letter, but be up front with your purpose for writing. Simply introduce yourself and indicate your desire to meet at some later date for the purpose of discussing a proposal that you would like to make to the radio station concerning bluegrass music. Let him or her know that you will follow up your letter with a phone call to set up an appointment.
  
  
• If you send a presentation folder with your letter, be sure to prepare it as professionally as possible. Don't put more into it than a reasonable person can read in about five minutes. Include just enough material to make a positive impression, create interest and provide some basic information about bluegrass music's growing popularity. Remember that the more you can "mainstream" bluegrass music to a country radio person, the more likely you will be to strike a positive chord. If you can include articles from industry media (Billboard, the Gavin Report, etc.) or connect bluegrass with names like Vince Gill, Ricky Skaggs, Alison Krauss, Jerry Garcia, or other popular artists who perform or identify with bluegrass music, you'll probably get to second base. Again, assume that they don't know too much about bluegrass music. You want to give them just enough information to feel informed and ready to hear more.
  
  
• Call and make an appointment. Again, if you get rejected or find it hard to "get through," keep trying. Ask for just a small amount of time-fifteen minutes or so. You'll be more likely to get an appointment if you can guarantee that you won't take up too much of his or her time.
  
  
• Take care to make a good first impression. As the old saying goes, "you never get a second chance to make a good first impression." When you meet with the program director, present yourself as professionally as possible. If they wear business attire to work, do the same. If you manage to make a lunch appointment, pick up the check. If you meet in his office, wait until he offers you a seat before you sit down. Don't ask to visit the control room of the radio station (where the DJ is on the air.) If you are offered a tour of the radio station, accept graciously, but don't act like someone who has never been in a radio station before.
  
  
• Remember to keep your presentation positive and enthusiastic. Enthusiasm is always contagious. Never criticize what the station is doing now. Program directors are human and they don't like being put on the defensive. And be sure to listen when they talk. Don't monopolize the conversation, and don't discount their objections or misgivings. Instead, engage them in a serious discussion of the issues and thank them for taking time to consider your proposal.
  
  
• Arm yourself with facts, figures and other evidence to back up your presentation. Again, do your homework and put together everything you need to make a convincing proposal. Bring with you additional articles, magazines, newsletters from local bluegrass associations, signed petitions, letters of recommendation, advertisers who are ready to support bluegrass-the more the better. You may want to compile this material into a notebook that you can leave. But remember that facts and figures don't sell, you do.
  
  
• Make your proposal practical and tangible. Again, don't just tell them they need to start playing bluegrass on their radio station. You can show them what other radio stations in other markets are doing-with weekend bluegrass shows, or late night bluegrass programming, or using syndicated bluegrass programs that are available on a free "barter" basis. If you know someone (yourself?) who is available, willing and experienced enough to host a bluegrass show, bring an air-check tape or a resume. Offer free advertising for the radio show in the local bluegrass newsletters and from the stage of bluegrass concerts and festivals. You want to make an offer that is realistic and do-able with a minimum of effort on the radio station' s part.
  
  
• Don't expect an answer right away, and don't push for one. You may get an decision, but don't expect it. If you do get a negative response, listen carefully to what the "no" means. The door may not be completely closed. Ask if you can meet again at some later date, or if there is additional information that you can provide that might help them to make an informed decision. You may want to suggest doing something on a trial basis-just for a few weeks during the summer (when festival promoters are buying advertising time), or airing the IBMA awards show, or trying an early Sunday morning bluegrass gospel music show, or other options.

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• Local Bluegrass Associations. If there is a local bluegrass club or fan base with the ability to produce signed petitions, lists of names, a letter-writing campaign, or support for a bluegrass radio program, get them behind you.
  
  
• Local Bluegrass Concert/Festival Promoters. These people have a vested interest in a bluegrass radio program to help promote their events. Get commitments from them to buy some advertising, or to give the radio station visibility at their events.
  
  
• The "Bluegrass: Pick It Up" Brochure from IBMA. This promotional piece is professionally done and includes much of the information you need to encourage commercial radio to try bluegrass music. These brochures are available from the IBMA office.
  
  
• Blue Hot! IBMA Publication. This is another promotional piece designed specifically for the retail record industry. It includes the top 30 charts from Bluegrass Unlimited (radio air play) and from Bluegrass Now (sales).
  
  
• Syndicated Bluegrass Programs. There are quite a few syndicated bluegrass shows which are available to radio stations, usually on a free (barter) basis. "Barter" means that these programs carry their own advertising, and allow space for local advertising as well. See APPENDIX B for a list of bluegrass radio syndicators.
  
  
• Bluegrass Magazines. If you have copies of magazines like Bluegrass Unlimited and Bluegrass Now to show to program directors, this will impress upon them the large fan base that bluegrass music has. These magazines also carry listings of radio stations around the country that are playing bluegrass music, as well as current charts on the most popular bluegrass music.
  
  
• Record Companies. Record companies also have a vested interest in radio. Most of the major labels in bluegrass will supply you with sample product, catalogs and other promotional items for the purpose of making an effective presentation. See APPENDIX A for a partial list of record companies producing bluegrass music.
  
  
• Local and National Press Coverage. If you can get copies of recent articles about bluegrass that have appeared in the national and local media, these can be very effective promotional pieces that can be included in your presentation.
  
  
• The IBMA Radio List. The IBMA can provide you with a list of all the radio stations in the U.S. that are currently programming bluegrass music. Many of them are commercial stations in other markets. Program directors are often reluctant to take a chance on something that isn't working anywhere else. If you can show that bluegrass radio is getting good results elsewhere, your chances for success are enhanced.
  
  
• Prime Cuts of Bluegrass. This service provides radio stations with a sampling of selected "singles" from newly-recorded bluegrass albums, primarily from the smaller labels or major labels which do not ordinarily provide service to bluegrass radio programmers. Address: KBC Music, 3408 215th Ave., Keokuk, IA 52632.
  
  
• Bluegrass Bios. This is a book which provides biographical information on all the artists who record bluegrass music as well as programming ideas for bluegrass radio programmers. It helps DJ's to sound more informed on the radio and may be useful for a radio station or air personality without much bluegrass knowledge or experience. For information on this resource, contact Bluegrass Specialties, P.O. Box 420, Lakeside, CA 92040.