Some of our readers might belong to the Folk Alliance listserv. If so, you have probably been subjected to a deluge of postings this week as the story unfolds.

A bit of background for those of you who are not Folk Alliance members. The Folk Alliance (officially the North American Folk Music and Dance Alliance) began in 1989 when 125 individuals from all parts of the United States and Canada met at a retreat in Malibu, California. Invited by Clark and Elaine Weissman of the California Traditional Music Society, the guests included representatives from major folk festivals, small folk societies, and other individuals whose business serviced the “folk” community. For many, it was the first time they met face to face. The results from that initial meeting would eventually effect the way “business” is conducted in our genre. Annual conferences began in 1990 and have grown to where nearly 2000 people get together each year to learn, discuss and do business. Regional conferences have also cropped up, the most successful is arguably the NERFA – the Northeast Regional Folk Alliance.

The Folk Alliance has approximately 2400 members. They are represented by a 15 member board of directors who are voted in by the members of the Folk Alliance. The board is a “group of persons vested with the responsibility for management of the business and affairs” of the the Folk Alliance. The board of directors hires an Executive Director to ” maintain the offices and manage the administrative affairs” of the Folk Alliance(The quotes are from the by-laws of the Folk Alliance, which can be found here .)

Personally, I was leery about the Folk Alliance during those early years. As a radio host, I saw little benefit to traveling to another city to hear artists that send me their CD’s anyway. I thought there were only a handful of radio shows like mine, so what could I possibly gain? Folk music is grass roots – why does it need an organization to take care of business?

Let me say publicly, I was wrong. After attending my first NERFA conference in the late ’90s, I realized how many artists were out there that did NOT know about me either! Was I that stupid to think that having a radio show would automatically have ALL artists sending me their recordings? Did I have any clue as to the incredible amount of talent out there? More importantly, I realized that there were dozens of radio shows like mine, and many that had longer histories and were influencing their region in ways that I could not even imagine.

Because of the Folk Alliance, I went from being a disc jocky to become a program host. Spinning records was not enough to help perpetuate music that I love – there was a larger community at work that was now sharing a great wealth of information. I hope that my radio programs have become more interesting and informative because of what I’ve learned from the Folk Alliance.

When I started my job as booker for the Hurdy Gurdy, I realized again just how important the Folk Alliance has become. The opportunity to watch performers showcase their talents in front of a live audience has been instrumental in helping me make decisions on who to book, and also to offer an opportunity to present “new” names to our audience. Little Toby Walker’s recent appearance at the Hurdy Gurdy is an example. Before he went onstage I asked the audience how many had heard of him. Two people raised their hands. By the time he finished his set he won everyone in that room. Toby is the tip of the iceberg. There are so many great artists out there and I hope to bring a number of them to the Hurdy Gurdy in the future. The Folk Alliance is truly having an effect on the folk music scene.

While finances and scheduling have kept me from attending all the North American conferences, I do go to NERFA each year and the contacts I have made at the Folk Alliance and NERFA have been instrumental. The Folk Alliance and NERFA have become “booster shots” to remind me of the beauty of the genre and the community.

So, it saddens me to read some of the comments and stories that have circulated this week. It appears that a recent audit showed some concern about financial reporting. The details have not been made public due to legal reasons (according to the board), what transpired was a change in the structure of the Executive Director’s job description.

On November 6, 2006 the board sent a letter to Louis Meyer, the current Executive Director of the Folk Alliance. The letter noted that due to auditor disclosure and recommendations, the board had decided to create a new position of Chief Operating Officer who would handle “administrative, management, staff and fiscal functions”. Another position would be a program director who would oversee “conference and member programs, marketing and public relations”. The program director would report to the COO. In the letter, the board acknowleged the significant contributions that Louis has made to the Folk Alliance and offered him the program director position while retaining the official title of Executive Director. Louis was given four days to consider and sign a letter of intent. Louis accepted the new role and continues to serve.

This information was not communicated to the general membership. Anne Saunders, Falcon Ridge Productions and the Falcon Ridge Folk Festival, sent out an e-mail to the Folk Alliance listserv on Friday December 15th. Her note shows frustation that the board had not yet communicated these events to the membership, and an election for new board members was about to take place.

Her note inspired a flurry of e-mails from the membership and board members. (If you have an afternoon to kill, you can read them at http://www.folkserv.net/pipermail/folk-alliance/ .) Some of the notes show anger and frustation. A lack of confidence in the board was expressed in some letters. A group of members collectively signed a letter requesting more information and changes to rectify the situation.

Most disturbing was a resignation from Mark Moss. The events and innuendo gave Mark time to consider, and he decided that he could no longer effectively serve as a member of the board of directors. Mark was instrumental in the original meeting that helped organize the Folk Alliance, and he has served the FA in various ways over the years.

I know many of the people involved on both sides of this issue. Mark Moss has always been an inspiration to me. His dedication to folk music should be evident to all. His vision gave Sing Out! magazine new life, returning it to its proper status. He has made inroads to meeting demands of the new age we live in. Folk music is in good hands as long as Mark Moss is involved. Biff Kennedy is a great promoter of folk music and my dealings with him have always been a pleasure. When I see a package coming in with his name on it, I know that the artist is worth listening to. Biff has great taste and everyone I know speaks highly of his integrity and dedication. While I don’t know the other board members as well, I can say that I have a great deal of respect for each of them and I am very confident that their hard work and intent has always been for the benefit of the organization.

The members who have raised complaints, or questions, with the board are also highly respected. I can see their dedication and I realize that their issues are raised out of concern for the betterment of the members and the perpetuation of the Folk Alliance.

Without all the facts, it is hard to decide who is right and who is wrong. The various e-mails from both sides of the issue speak with a passion that is reserved for highly motivated and committed individuals. EVERYONE wants to see what is best the Folk Alliance and for perpetuating the music that we love.

I always feel that full disclosure is the best direction, but I also understand that there are personnel and privacy issues that may prevent that. A board of directors is given the trust of membership to insure all rules and regulations are followed. If we can’t trust the board and the regulations that elect the board, then perhaps we should reconsider being a member of the organization. However, we have alternatives. In this case, when you are not comfortable with someone on the board you can express your displeasure and vote accordingly. IF the events warrant, you can request change.

While I am not happy that this information was not communicated earlier, I have to believe that the board acted in the best interests of the membership – until proven otherwise. I believe in the process and the organization. People make mistakes, people correct them. I have always been impressed by the honesty and passion of the members of the Folk Alliance. I am still proud to be a member.

There are other “issues” at the Folk Alliance. An organization that serves a diverse consituency in two countries will have their hands full. The needs of a performer differ from the needs of a large festival organizer which differs from the needs of someone presenting a house concerts which differs from my needs as a radio host. They try to help all of us. Let’s hope that they can concentrate on their vision statement in 2007 and not worry about personnel and accounting concerns.