FIREAID SETS SUPERSTAR LINEUP, EXPANDS TO FORUM
Everybody who's anybody will be performing. (1/16a)
SPOTIFY CANCELS GRAMMY-WEEK EVENTS, DONATES TO FIREAID, MUSICARES, MORE
Yet another shoe drops. (1/16a)
PERSHING SQUARE PUSHES TO SET UP U.S. LISTING FOR UMG
Ackman won't take no for an answer. (1/16a)
ACADEMY TELESCOPES GRAMMY WEEK EVENTS
The show must go on, with modifications. (1/15a)
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NOW WHAT?
We have no fucking idea.
COUNTRY'S NEWEST DISRUPTOR
Three chords and some truth you may not be ready for.
AI IS ALREADY EATING YOUR LUNCH
The kids can tell the difference... for now.
WHO'S BUYING THE DRINKS?
That's what we'd like to know.
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VP Promotion, Black River Entertainment
After working in Country radio for 10 years, Wilson went to work for RCA Nashville, first in Dallas and then in Music City. He was with RCA 18 years in all, the last 12 as VP Promotion. During that time, Wilson was on the ground floor with Clint Black, Martina McBride and Sara Evans, while piloting hit records from Ronnie Milsap, Alabama, The Oak Ridge Boys, Don Williams, Keith Whitley and others. He’s been at Black River just under three years, working with artists like Craig Morgan and Kelsea Ballerini, who’s on her third single, “Peter Pan,” after her first two went #1.
What’s the hardest add you’ve ever tried to close at the Country format?
Steve Vaus’ “We Must Take America Back.” Although I closed a few adds, we did not find success on that one.
Why do you feel country artists’ relationships with radio are so much stronger than at any other format?
Several reasons: The artists really work at it, staying in touch with programmers on a regular basis—not just when they have a new single coming out but throughout the year at shows, conventions, personal events on both sides and more. Also, most country artists are great with the fans, interacting with them all the time and doing meet-and-greets backstage with listeners as well as inviting radio up on their bus when they’re in the market.