Talent Agents: More Than A Bargain - Country Aircheck
September 19 2016, Issue 517 Talent Agents: More Than A Bargain Tom Cruise immortalized sports agents – if not talent agents of all kinds – when he garishly repeated his client’s demand to “Show me the money!” in Jerry Maguire 20 years ago. Securing premium compensation is a big part of the job for radio’s talent agents, though today there’s much more at play than money. Pulling back the curtain on one of the more mysterious aspects of the industry, Country Aircheck caught up with three leading agents to find out exactly what they do, how their profession has changed in recent years and Paul Anderson who should consider their services. Minding Your Business: Talent agents, simply, are in the business of you. “We manage our clients’ radio careers, find employment opportunities, negotiate their contracts and help build their brands,” The Weiss Agency’s Eric Weiss summarizes. “We make sure our clients are known by decision-makers throughout the industry, Glenn Goldstein increase their overall exposure and help them navigate the business side of radio so they can concentrate on the creative.” “What people sometimes forget is that it is a business,” adds Workhouse Media’s Paul Anderson. “If the talent is the CEO, we’re the chief operating officers. It’s not just an employer hiring the talent to do a job. And if you run your business that way, that’s likely how you’re going to be treated. (continued on page 9) Show Into The Big D: Cumulus’ America’s Morning Show visit Detroit to take in the Lions vs. Titans game and hang with WDRQ staffers. Pictured are (l-r) AMS’ Ty Bentli and Kelly Ford, the station’s Robby Bridges, AMS’ Chuck Wicks and ‘DRQ’s Renee Vitale. Game On No. 1 songs, multi-platinum albums, sold-out tours . and video game placement? Electronic Arts (EA) Worldwide Executive/Pres. Of Music Steve Schnur discusses how video games are widening artist exposure, breaking new artists and even breaking down genre walls. 2 0 1 6 Co u n t r y A i rc h e c k — A l l r i g h t s r e s e r v e d . S i g n u p f re e a t w w w. c o u n t r y a i rc h e c k . c o m . S e n d n e w s t o n e w s @ c o u n t r y a i rc h e c k . c o m
Page 3 September 19, 2016 Schnur has been with EA for 15 years (and is also a Sea Gayle Music writer), but before that he worked in programming in the early days of MTV and held promotion and A&R posts at labels including Elektra, Chrysalis, Capitol and Arista/Nashville. While gaming soundtracks have typically been rock and hip hop-heavy, Schnur has wanted to give country a bigger placement for years. “I love country music,” he says. “It’s in my blood, so it’s a personal thing for me. Many people outside of country think of it as being a female 35 format, when in fact, it’s absolutely opposite. I find it to be young, hip and edgy – Steve Schnur and that parallels the gaming audience. It’s very different than when Pam Tillis and Alan Jackson ruled the airwaves. The last time I went to a Brantley Gilbert or Florida Georgia Line show, I guarantee you the large majority of that audience have picked up an Xbox or PS4 in their recent past.” Among EA’s titles are Madden NFL, Fifa and The Sims. Madden NFL 17 launched Aug. 23 and its soundtrack included Blake Shelton’s “Straight Outta Cold Beer,” Brantley Gilbert’s “It’s About To Get Dirty,” Jason Aldean’s “Lights Come On,” High Valley’s “Young Forever” and Cale Dodds’ “Acting Our Age” – alongside titles by Lil Wayne, Fitz and the Tantrums and Flo Rida. [Listen here.] Joy Stick: “I’m going to tell you what I’m not looking for,” says Schnur of potential pitches. “I’m not looking for songs about gaming. If I had a dime for every major hip hop or rock or sometimes country artist who has pitched me songs about PS4 buttons, I’d have a lot of dimes. [And] it’s not necessarily fast tempo. It can be mid-tempo, but has to deliver an emotional feeling. You’re getting ready to go on the field and take on the Rams and Patriots. So it has to feel like it’s something that could end up in an NFL trailer or a film about football. “I’m also looking for songs that are new and fresh,” he adds. “And with the audience we can deliver – which is estimated to be over a billion impressions for every song in a Fifa or Madden game – that certainly helps build a significant familiarity.” Schnur says many times he’s witnessed the effects of including a rock or hip hop song in Madden six months before its radio add date. “By the time KROQ/Los Angeles got it, the PD would call me and say, ‘It’s testing 90% familiar and we haven’t even played it yet.’ So we can be great partners with radio in that regard, because like it or not, people who listen to the radio are also playing video games.” Electronics Express: In the country realm, Schnur says former Clemson University footballer Lee Brice and Brantley Gilbert are perfect examples of artists who dream of Madden stardom. “Lee’s played Madden forever,” he says. “That was one of his goals. And Brantley and his band play it. He hears those songs every day. The second Madden 17 came out, I got a call from Jason Aldean’s manager saying, ‘Hey, can you please send games for the guys on the bus? They all want to hear the song in the game.’ What a huge compliment, that it means so much to an artist to be in it. Artists are the closest connection to their own fans. They know that’s what their fans do – they play video games.” The reach goes beyond sports. Schnur recounts a story about Lady Antebellum being featured in The Sims, a game in which the characters have their own language. “When ‘Need You Now’ first came out, Lady Antebellum re-recorded it in Simlish,” he says. “They’ve come up to me several times since over the years, saying people still request, ‘Can you sing it in Simlish this time?’” Schnur starts programming songs for his games well over a year in advance, looking at a thousands songs before narrowing down to the final 40 or 50. “We really want something that ends up on the radio,” he says, “something that ends up winning awards, something mainstream.” And many times, something country. “I don’t program country for the sake of it being country,” he says. “I program the songs I think are going to matter in the year ahead. Or at the very least, can matter if we give them the right avenue of exposure. We have to feel in our gut that it’s a song that will stick with that gamer for a long time. “If you mention the genre of country to people who like rock and hip hop, they turn their nose up,” he adds. “But if you put a Brantley Gilbert song next to a hip hop song in Madden, all of a sudden it becomes cool. And they forget there’s a genre attached to it. That’s what I hope to do here. I hope to break a few artists and pull down more of those barriers.” –Wendy Newcomer Chart Chat Congrats to Dierks Bentley, Royce Risser, Bobby Young, David Friedman and the whole Capitol crew on scoring this week’s No. 1 with “Different For Girls.” The song, which also features Elle King, has recently been certified Gold by the RIAA. And kudos to Young and the team on notching 51 adds for Jon Pardi’s “Dirt On My Boots,” topping this week’s board. Dierks Bentley News & Notes R&J Broadcasting has agreed to buy eight stations from Red Rock, including Classic Country KKIN/Aitkin, MN and KSDM/ International Falls, MN. The deal is pending FCC approval. 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
September 19, 2016 MY TUNES: MUSIC THAT SHAPED MY LIFE Warner Bros./WAR’s The Last Bandoleros discuss their most influential music: 1. Texas Tornados: (Jerry Fuentes) Their accordion player, Flaco Jiménez, played on our album and played with Diego’s dad (Emilio) for years. They are The Last the root of what we’re doing. Bandoleros 2. Tom Petty: (Diego Navaira) Petty’s production inspired how Jerry produced “Where Do You Go.” (Derek James) And his songwriting is gorgeous. 3. The Beatles: (DJ) We’re all lead singers and love vocal harmonies. They’re a huge inspiration. (DN) You don’t even need a description for this one. The Beatles, period. 4. Emilio Navaira: (DN) For sure. He’s my dad. 5. George Strait: (JF) That’s the kind of country we first got introduced to. We always refer back to it. (Diego) And because he’s from Texas. Highly regarded music you’ve never heard: (DN) I’ve never heard a Drake record. (JF) And I’ve never heard a Kendrick Lamar one. (DJ) I’ve heard the name ‘Yanni’ but I’ve never dove into his catalog. “Important” music you just don’t get: (DN) Jazz. It’s too many notes. I actually played in jazz band in high school and my instructor would always say, “You’re not going anywhere if you don’t know how to read music.” I think that’s what turned me off. (JF) There’s some rap artists I don’t get. But there’s a lot I do get. An album you’ve played non-stop: (DN) Aubrie Sellers’ New City Blues. I listen to that a lot. (JF) Dawes for me. There are gems on every single one of their records. (DJ) Tom Petty’s Wildflowers. That album never gets old to me. An obscure or non-country song everyone should listen to right now: (DN) “Guacamole” by Texas Tornados. (JF) It’s food innuendo. It’s so great! Music you’d rather not admit to enjoying: (DN) I feel like if you like it, like it for what it is. I don’t like that question! UPDATE Q Media Properties will buy two stations, including Country WCMP/Pine City, MN, from Red Rock. Kensington Digital Media has agreed to purchase WHIN-AM & translator W264CR/Gallatin, TN from WHIN, Inc. for 325,000. Page 5 Songwriter JT Harding has signed a worldwide co-publishing deal with Warner/Chappell and This Music. The inaugural Ray Stevens Charity Golf Tournament will be held Oct. 7-8 at Temple Hills Country Club in Franklin, TN. GIFT (Giving In Faith Together), Augie’s Quest and the ClubCorp Employee Partners Care Foundation will benefit. Blake Shelton will headline the 2017 Carolina Kickoff Concert at East Carolina University in Greenville, NC. Details here. The Country Music Hall of Fame And Museum will celebrate the opening of Charlie Daniels: Million Mile Reflections with a performance by Daniels Oct. 29. Watch it live here. Gary Morris has signed with Webster Public Relations. CMA presented Gord Bamford with the Jeff Walker Global Artist Award and Paul McGuire with the International Country Broadcaster Award at last week’s CCMA Gala Dinner and Awards in London, Ontario. T. Graham Brown, Danny Shirley (Confederate Railroad), Exile, Jimmy Fortune, Lorrie Morgan, T.G. Sheppard and John Anderson are featured in round two of Duke FM’s Video Vault series. Watch here. Seek & Employ Available Jobs Here’s a list of job seekers and open gigs. Not listed? Send info here and we’ll include you in a future update. Cumulus’ WMDH/Muncie, IN is searching for a PD/afternoon personality. Apply here. Renda’s WGNE/Jacksonville has an APD/MD/midday opening. Materials to OM Chuck Beck here. Townsqaure/Yakima, WA has an opening for an OM. Apply here. Cumulus/Lexington has an opening for PD of Country combo WLXX & WVLK. Apply here. Midlands’ WWNQ/Columbia, SC has on-air openings for all dayparts. Airchecks and resumes to Managing Partner/ Programming & Operations Keith Clark here. RWPC, Inc. Co-President and consultant Scott Huskey has a client opening for a first-time PD. Materials here. Townsquare’s WOKQ/Portsmouth, NH has an opening for an air talent. Airchecks and resumes to OM JC Coffey here. Mornings are open at an unidentified Country station in the Southeast. The company is replacing “a CMA-award-winning morning show,” the hosts of which are retiring after more than 20 years. Airchecks, resumes and salary requirements here. AJG’s WKKW/Morgantown, WV has an opening for a 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
Page 7 September 19, 2016 morning host. Materials here. Consultant Joel Raab is looking for morning talent for future openings with new client stations in large, medium and small markets. Airchecks and resumes to him here. Cox’s KCYY/San Antonio has an opening in afternoons. Three years of experience is required. Apply here. Beasley’s WQYK/Tampa has an opening for a morning host. Airchecks and resumes to OM/PD Tee Gentry here. Curtis’ WQDR/Raleigh has an opening for a Dir./Promotions. Materials including a cover letter and salary history to Dir./Human Resources Nancy Ginger here. iHeartMedia’s WEBG/Chicago has an opening in afternoons. Three years on-air experience and a four-year college degree is required. Apply here. Adams’ WKHI/Salisbury, MD has an opening for a PD/air personality. Five years experience with at least two in Country programming is required. Airchecks and resumes here. Cumulus’ KPLX/Dallas has a morning host opening. Materials to PD Mac Daniels here. CBS Radio’s KILT/Houston is searching for an evening talent. A minimum of two years experience is required along with “the swagger to be Houston’s only local Country night show.” Apply here. Cumulus/Columbia, MO has an opening for an OM. The cluster includes Country KBBM (Nash FM). Materials to VP/MM Phil Lewis here. Cumulus’ KATM/Modesto, CA has an opening for a PD. OM Richard Perry is accepting airchecks and resumes here. Valory has an opening for a Southeast Dir./Marketing & Promotion. Materials to SVP/Promotion George Briner here. Cherry Creek/Helena, MT has an opening for an OM and PD/morning host for Country KBLL. Airchecks and resumes to Group PD Mark Elliott here. Neuhoff’s WFMB/Springfield, IL has an opening for a morning co-host (CAT 7/28). Airchecks and resumes to PD Dave Marsh here. Cumulus/Grand Rapids is searching for a cluster OM and Country WTNR (Nash FM) PD (CAT 7/22). Three years of cluster management experience is required; airchecks, resumes and ratings history here. Blakeney WBBN/Laurel, MS has an opening for morning cohost. Resume and MP3 aircheck here. Forever WFGS/Murray, KY is searching for a PD. “We need a strong leader who can continue to grow the Froggy brand across all platforms,” says Dir./Programming Jared Mims. Materials to him here. Cumulus’ WFMS/Indianapolis is still searching for a «live and local» midday personality. Airchecks and resumes to OM/ PD Stephen Giuttari here. Consultant Phil Hunt has openings for experienced PDs for future openings at client stations. Materials here. Cumulus’ WKHX/Atlanta is searching for an experienced Executive Morning Show Producer for the station’s Cadillac & Dallas. View an in-depth job description and apply here. CBS Radio KMLE/Phoenix has an opening in mornings, joining existing team Chris & Nina. Submit a resume and video here. Searching Dale O’Brian Former Cumulus WLXX & WVLK/Lexington PD dalevaught@windstream.net Wayne Manning Former Cold River Regional (801)361-2993 imaviator@yahoo.com 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
September 19, 2016 Doug Montgomery Former iHeartMedia/Grand Rapids SVP/Programming, Premium Choice PD and iHeartCountry Brand Coord. dougmontgomery@icloud.com Kristen Kee Former Sony/Nashville Mgr./Marketing kristen.kee@gmail.com Hannah Martin Former ACM Lifting Lives Manager hnmartin21@gmail.com Tonya Campos Former Mt. Wilson KKGO/Los Angeles PD t.campos@sbcglobal.net Dean Warfield Former WSM-AM/Nashville PD deanwarfield@comcast.net Kassidy Stewart Former Hart Media/Bullseye Dir./Promotions & Content kassidy@goncc.com Larry “Big Red” Stevens Former KGRT/Las Cruces, NM PD/morning host breakfastwithbigred@gmail.com Kelley Cash Former KVOO/Tulsa personality kelleycashradio@gmail.com Brian Hatfield Former KYGO/Denver APD/MD brianhat@aol.com Rick Kennis Former WGTY/York, PA Dir./Promotions rick@rickkennis.com Talent Agents More Than A Bargain (continued from page 1) But if you run your business like a rock star, and you’ve got the goods and work ethic to back it up, then you’re going to have a great career.” Let’s Make A Deal: Part of being a rock star, some would argue, is putting together a rock star deal. That’s not for the faint of heart, and one of the reasons many agents – including the ones featured here – have backgrounds in law. Contractual non-competes, services and morals clauses, and termination terms are all potential pitfalls for the unprepared. “Many of the people who are talented on air are not business people,” notes Goldstein Management Group’s Glenn Goldstein. “And certainly very few are adept at contracts. Sometimes they say, ‘Hey, I had it all reviewed by my local lawyer.’ Which is fine if the local lawyer understands broadcasting and how terms of art are actually used.” Compensation presents its own questions. “I concentrate on negotiation and getting people what they’re worth,” Goldstein continues. “And that’s very hard, but critical. What do you make? And what happens if you’re successful? What do you make then? How much of the salary is in the base? How much is in the bonuses? What about severance?” Great talents, Goldstein argues, are rarely great negotiators. “It’s very hard to go one on one with your boss – very hard to dig in,” he continues. “It’s a different skillset than being on the air or out at an event meeting listeners. And that’s why all kinds of artists – recording artists, actors and authors – are represented.” All For The Best: Anderson’s company takes a broad approach to talent representation, employing a variety of metrics to identify not just talents and career opportunities, but career paths. “We work first from a position of what the talent’s brand is and what the lanes of opportunity are moving forward,” he explains. “We do their deals, but generally have more of a managerial and brand- Page 9 management philosophy. We may be the only talent rep firm with a full-time analyst with a mathematics background and a full-time media strategist. We think of our talent as our partners and we think of the broadcast companies as our partners.” Comprehensive approaches are partially a result of the evolved radio landscape. “Talents are now expected to contribute more than just a great program,” Weiss says. “They’re expected to play a key creative role in coming up with sponsor-friendly ideas and endorsements adept at keeping advertisers coming back to their station. They›re expected to do more appearances, and use social media, podcasting and other platforms to promote their programs and the station in general.» Today›s best job opportunities are limited, in other words, and multi-dimensional talent with smart, goal-oriented plans have the advantage. Unfortunately the evolved landscape often means fewer representation opportunities for rookie and midlevel talent. Where Anderson once dealt with personalities of multiple skill levels, today he primarily works with top-tier, long-established talent. “I don’t think it’s a secret that the bench in this business is thin today,” he says. “They’re out there, but the reality is consolidation and the related pressure points have forced companies to optimize the talent they have. That’s not to say anyone’s giving up on the bench, but with Eric Weiss responsibilities piling up on programmers, many don’t have the luxury of spending the time it takes to develop new talent. That’s just the reality of where we are.” Push Back: The good news is managers today are more open to dealing with agents than in days past. “Enlightened management understands talent deserves to have representation if they’re far enough along in their career,” Goldstein says. “And they also understand that really good representation is a partnership. They know we’re partners with these guys and we all want these careers to flourish.” When management does push back, it usually has to do with operational priorities or cost. “If the employer has the leverage to say no, then the talent probably isn’t No. 1,” Goldstein observes. “If the talent is No. 1 and the employer says no, then the talent should really take stock of what it means to be on top.” Otherwise, managers are acutely aware that dealing directly with talent will save money. “They know they will do better against their own talent and get a cheaper deal than they will against a seasoned professional,” Goldstein continues. “It’s really that simple.” Sign Me Up: Who should consider representation? “Each individual situation is different,” Weiss offers. “When you have developed a strong story with revenue, ratings or social reach, it may be time for representation. If you are truly dominating a large or major market, if negotiating or reviewing contracts is not your strong suit or you don’t want to put yourself in an adversarial situation with your boss or company, it may be time to consider some form of representation.” “Not every talent is for us [or] needs an agent,” Anderson adds. “Either they’re not ready or it doesn’t make sense for our business, but we always try to be helpful and give people advice at the very least.” As for cost, “Managers or agents generally charge 10% of the talent’s pay,” Anderson says. “That’s pretty typical, whether you’re Brad Pitt or a major radio talent. Generally it’s a percentage of everything, but there are some things we choose not to commission, philosophically, that other agents may.” Despite radio’s changing landscape, Weiss sees a bright future for the industry’s best talent. “Radio personalities tend to be quicker on their feet and more agile than television personalities,” he says. “They’re the most creative group of people to represent. And as a rule, a great radio personality can have a much longer successful run than in other media.” Reach The Weiss Agency here, Workhouse Media here and Goldstein Management Group here. –Russ Penuell 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
September 19, 2016 LW TW Artist/Title (Label) Chart Page 1 Total Points /- Points Total Plays /- Plays Audience /- Aud Stations ADDS 2 1 DIERKS BENTLEY f/E. KING/Different For Girls (Capitol) 29740 3962 8644 1263 58.177 6.604 159 0 1 2 KELSEA BALLERINI/Peter Pan (Black River) 26557 -4640 7685 -1355 51.763 -9.844 159 0 4 3 JUSTIN MOORE/You Look Like I Need A Drink (Valory) 23757 135 7178 117 46.077 0.333 159 0 7 4 BILLY CURRINGTON/It Don't Hurt Like It Used To (Mercury) 22635 2677 6624 749 45.128 5.908 158 0 5 5 WILLIAM MICHAeL MORGAN/I Met A Girl (Warner Bros./WMN) 22559 1748 6854 634 2.764 159 1 6 6 TUCKeR BeATHARD/Rock On (BMLG/Dot) 22137 1808 6584 494 43.656 4.068 155 2 9 7 KeNNy CHeSNey f/P!NK/Setting The. (Blue Chair/Columbia) 21368 1685 6185 520 44.138 3.144 159 1 11 8 LOCASH/I Know Somebody (Reviver) 21122 2182 6221 644 41.427 3.233 158 0 12 9 LUKE BRYAN/Move (Capitol) 19303 2181 5431 585 39.584 4.372 159 0 10 10 BLAKe SHeLTON/She's Got A Way With. (Warner Bros./WMN) 18501 -551 5422 -180 35.697 -0.572 156 1 13 11 COLE SWINDELL/Middle Of A Memory (Warner Bros./WMN) 18075 1476 5042 376 36.883 2.989 157 0 14 12 BRETT YOUNG/Sleep Without You (BMLGR) 16357 474 4584 161 31.951 0.962 156 1 15 13 JASON ALDEAN/A Little More Summertime (Broken Bow) 15866 1074 4546 259 32.072 2.348 159 1 3 14 JAKE OWEN/American Country Love Song (RCA) 15007 -9157 4608 -2581 30.746 -17.187 159 0 17 15 MIRANDA LAMBERT/Vice (RCA) 13614 239 3895 125 27.263 -0.696 155 0 18 16 BIG & RICH f/TIM MCGRAW/Lovin' Lately (B&R/New Revolution) 13556 193 4128 68 25.555 0.512 154 1 19 17 DRAKe WHITe/Livin' The Dream (Dot) 12543 382 3452 106 22.456 0.673 157 0 21 18 OLD DOMINION/Song For Another Time (RCA) 12414 777 3618 268 23.552 2.262 157 4 20 19 TIM MCGRAW/How I'll Always Be (Big Machine) 12389 732 3599 218 24.637 1.299 157 0 16 20 ZAC BROWN BAND/Castaway (SG/Varvatos/Dot) 11694 -2868 3425 -882 23.515 -5.514 155 0 22 21 MAREN MORRIS/80s Mercedes (Columbia) 11233 511 3164 131 21.085 1.435 158 1 23 22 GRANGeR SMITH/If The Boot Fits (Wheelhouse) 10453 257 3075 74 18.074 0.837 157 1 25 23 FLORIDA GEORGIA LINE f/T. MCGRAW/May We All (BMLGR) 10232 2030 3016 638 20.229 4.076 152 6 24 24 BRETT ELDREDGE/Wanna Be That Song (Atlantic/WMN) 9230 454 2672 192 16.918 1.857 148 2 27 25 KeITH URBAN/Blue Ain't Your Color (Capitol) 8817 1496 2404 455 17.883 2.719 154 10 43.29 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
September 19, 2016 LW TW Artist/Title (Label) Chart Page 3 Total Points /- Points Total Plays /- Plays Audience /- Aud Stations ADDS 26 26 BROTHeRS OSBORNe/21 Summer (EMI Nashville) 7782 36 2373 13 12.617 1.237 154 3 28 27 CHRIS STAPLeTON/Parachute (Mercury) 7514 886 2270 236 10.977 1.487 151 3 29 28 LAUREN ALAINA/Road Less Traveled (19/Interscope/Mercury) 6311 706 2024 244 10.883 0.852 111 9 30 29 JERROD NIEMANN & LEE BRICE/A Little More Love (Curb) 5856 358 1683 121 8.265 0.265 133 7 31 30 HIGH vALLey/Make You Mine (Atlantic/WEA) 5837 567 1688 180 8.894 1.232 127 3 39 31 CARRIE UNDERWOOD/Dirty Laundry (19/Arista) 5506 1930 1545 595 10.014 3.831 138 34 32 32 CHRIS yOUNG f/V. GILL/Sober Saturday Night (RCA) 5049 -45 1446 23 8.721 -0.251 133 9 34 33 CHRIS JANSON/Holdin' Her (Warner Bros./WAR) 4699 280 1472 90 6.66 0.58 126 5 36 34 DUSTIN LyNCH/Seein' Red (Broken Bow) 4372 301 1253 96 5.664 0.429 122 8 35 35 LANCO/Long Live Tonight (Arista) 4327 123 1074 19 6.328 0.472 109 5 37 36 JOSH TURNeR/Hometown Girl (MCA) 4263 234 1296 94 6.28 0.404 121 2 38 37 MICHAeL RAy/Think A Little Less (Atlantic/WEA) 4123 207 1194 39 6.768 0.429 100 2 33 38 THOMAS RHeTT/Vacation (Valory) 3949 -954 1123 -306 6.602 -1.439 116 0 BRANTLEY GILBERT/The Weekend (Valory) 3686 594 1055 173 5.454 0.492 103 12 40 40 RUNAWAY JUNE/Lipstick (Wheelhouse) 3613 157 1044 46 4.656 0.273 105 3 46 41 eRIC CHURCH f/R. GIDDENS/Kill A Word (EMI Nashville) 3591 971 1160 299 5.721 1.717 104 9 42 42 TReNT HARMON/There's A Girl (Dot/Big Machine) 3539 317 1019 138 6.441 0.478 101 3 41 43 THe BAND PeRRy/Comeback Kid (Mercury) 3242 -56 926 6 5.12 -0.464 103 2 44 44 CRAIG CAMPBELL/Outskirts Of Heaven (Red Bow) 3173 150 1077 47 4.615 0.263 103 2 45 45 EASTON CORBIN/Are You With Me (Mercury) 2894 -27 887 9 3.47 0.095 100 2 47 46 DARIUS RUCKER/If I Told You (Capitol) 2664 145 876 61 2.648 0.192 102 3 48 47 ELI YOUNG BAND/Saltwater Gospel (Valory) 2485 306 644 62 3.866 0.486 72 2 49 48 PARMALEE/Roots (Stoney Creek) 2239 122 719 41 2.649 0.074 83 1 50 49 DYLAN SCOTT/My Girl (Curb) 2218 117 563 34 2.583 0.207 67 3 RAELYNN/Love Triangle (Warner Bros./WMN) 2021 108 619 40 1.902 0.186 67 2 Debut 50 2016 Countr y Aircheck — All r ights reser ved. Sign up free at w w w.countr yaircheck .com. S end news to news@countr yaircheck .com
September 19, 2016 Country Aircheck Add Leaders Chart Page 4 Activator Top Point Gainers Adds JON PARDI/Dirt On My Boots (Capitol) 51 KeNNy CHeSNey f/P!NK/Setting. (Blue Chair/Columbia) 1202 CARRIE UNDERWOOD/Dirty Laundry (19/Arista) 34 KeITH URBAN/Blue Ain't Your Color (Capitol) 1045 JORDAN RAGER/Now That I Know Your Name (Broken Bow) 22 DAVID NAIL f/BROS.OSBORNE/Good At Tonight (MCA) 15 WILLIAM MICHAeL MORGAN/I Met. (Warner Bros./WMN) 1032 BRANTLEY GILBERT/The Weekend (Valory) 12 VARIOUS ARTISTS/Forever Country (CMA/MCA) 11 KeITH URBAN/Blue Ain't Your Color (Capitol) 10 LUKE BRYAN/Move (Capitol) 953 VARIOUS ARTISTS/Forever Country (CMA/MCA) 877 BILLY CURRINGTON/It Don't Hurt Like It Used To (Mercury) 871 TUCKeR BeATHARD/Rock On (BMLG/Dot) 808 BRANDY CLARK/Love Can Go To Hell (Warner Bros./WMN) 9 CHRIS yOUNG f/V. GILL/Sober Saturday Night (RCA) 9 FLORIDA GEORGIA LINE/T. MCGRAW/May We All (BMLGR) 807 eRIC CHURCH f/R. GIDDENS/Kill A Word (EMI Nashville) 9 CARRIE UNDERWOOD/Dirty Laundry (19/Arista) 550 LAUREN ALAINA/Road Less Traveled (19/Interscope/Mercury) 9 LAUREN ALAINA/Road Less Traveled (19/Interscope/Mercury) 476 Country Aircheck Top Point Gainers Activator Top Spin Gainers DIERKS BENTLEY f/E. KING/Different For Girls (Capitol) 3962 BILLY CURRINGTON/It Don't Hurt Like It Used To (Mercury) 2677 LOCASH/I Know Somebody (Reviver) 2182 LUKE BRYAN/Move (Capitol) 2181 FLORIDA GEORGIA LINE f/T. MCGRAW/May We All (BMLGR) 2030 CARRIE UNDERWOOD/Dirty Laundry (19/Arista) 1930 TUCKeR BeATHARD/Rock On (BMLG/Dot) WILLIAM MICHAeL MORGAN/I Met A. (Warner Bros./WMN) KeNNy CHeSNey f/P!NK/Setting The. (Blue Chair/Columbia) 272 KeITH URBAN/Blue Ain't Your Color (Capitol) 223 LUKE BRYAN/Move (Capitol) 221 WILLIAM MICHAeL MORGAN/I Met A. (Warner Bros./WMN) 219 BILLY CURRINGTON/It Don't Hurt Like It Used To (Mercury) 197 TUCKeR BeATHARD/Rock On (BMLG/Dot) 188 1808 VARIOUS ARTISTS/Forever Country (CMA/MCA) 185 1748 FLORIDA GEORGIA LINE f/T. MCGRAW/May We All (BMLGR) 159 KeNNy CHeSNey f/P!NK/Setting The. (Blue Chair/Columbia) 1685 COLE SWINDELL/Middle Of A Memory (Warner Bros./WMN) 118 VARIOUS ARTISTS/Forever Country (CMA/MCA) 1602 DIERKS BENTLEY f/E. KING/Different For Girls (Capitol) 109 Country Aircheck Top Spin Gainers DIERKS BENTLEY f/E. KING/Different For Girls (Capitol) Country Aircheck Top Recurrents 1263 Points SAM HUNT/Make You Miss Me (MCA) 18225 BILLY CURRINGTON/It Don't Hurt Like It Used To (Mercury) 749 JASON ALDEAN/Lights Come On (Broken Bow) 12162 LOCASH/I Know Somebody (Reviver) 644 FLORIDA GEORGIA LINE/H.O.L.Y. (BMLGR) 11341 FLORIDA GEORGIA LINE f/T. MCGRAW/May We All (BMLGR) 638 KeITH URBAN/Wasted Time (Capitol) 10686 WILLIAM MICHAeL MORGAN/I Met A. (Warner Bros./WMN) 634 DAN SHAy/From The Ground Up (Warner Bros./WAR) 10485 CARRIE UNDERWOOD/Dirty Laundry (19/Arista) 595 THOMAS RHeTT/T-Shirt (Valory) 10463 LUKE BRYAN/Move (Capitol) 585 CARRIE UNDERWOOD/Church Bells (19/Arista) 10409 KeNNy CHeSNey f/P!NK/Setting The. (Blue Chair/Columbia) 520 eRIC CHURCH/Record Year (EMI Nashville) 9159 TUCKeR BeATHARD/Rock On (BMLG/Dot) 494 DIERKS BENTLEY/Somewhere On A Beach (C
Talent Agents: More Than A Bargain Tom Cruise immortalized sports agents - if not talent agents of all kinds - when he garishly repeated his client's demand to "Show me the money!" in Jerry Maguire 20 years ago. Securing premium compensation is a big part of the job for radio's talent agents, though
Insurance agents TOTAL INSURANCE AGENTS IN VIETNAMESE MARKET 6/2016 Until the end of June 2016, total insurance agents increased by 29.5% compared with same period last year to 437,738 agents. Prudential took the lead with 181,808 agents, followed by Bao Viet life with 94,129 agents and Dai-ichi Life with 53,811 agents. e. The number of new .
The current state of knowledge about Talent Management 1 1a. The Context: Short history, speedy growth but absence of knowledge 1 1b. Why has management of talent become so important? 1 1c. Talent Management in the NHS 1 1d. Talent Management in recession or times of retrenchment 2 1e. What is Talent Management? 2 1f.
4 Talent, Technology and HR Predictions for 2019 (Josh Bersin) 5 Linkedin Trends Report 2019 Consider talent family Having a sustainable talent supply strategy is a core competitive advantage, and employers need to ap-proach their talent strategies in the same way as they treat their product strategies. Especially for contin-
superior talent and growing talent are completely different. This important discovery led to various talent management systems. Gradually, it was found that talent is rare, inimitable, and difficult to grow (Lewis & Heckman, 2006). Therefore, similar to the other fixed and liquid assets, talent became a type of asset possessed by organizations.
Russia, China and India are exploding and emerging with greater number of young talents. This issue also worsen by the deteriorating world recession and irregular recovery of economy that . Talent development is acknowledged as an important component of GTM and talent management apart talent retention and talent attraction (Scullion and .
TALENT MANAGEMENT VI 7 Talent management practices applied BY talented people 157 1 Talent at the heart of human capital 159 2 The pivotal talents that underlie strategy 161 3 Key decisions in talent management 163 4 The next stages: stars and black holes 167 1 Should we tell people that they are talented? 168 2 The forgotten face of talent 169 3 Talented people as team players 170
2.2 Talent attraction: approaching talent via multiple channels Concerning talent attraction, this is a challenge reported by a significantly high proportion of organisations across Asia (81%). Most respondents attributed their talent attraction challenge to the fact that they compete for the same talent with other organisations (88%).
High-Level Summary of Business Changes ECB-UNRESTRICTED . Version: 0.7 Page 10 of 19 Date: 22/06/2017 . The advantage of this model is the wide range of flexibility that it offers to cover the different needs of the participants. It allows credit institutions with no direct access to settlement services to manage their minimum reserve obligations with their Central Bank from one Main Cash .
