Gerry Wood, Former Billboard Editor-in-Chief and Longtime Country Music Journalist, Dies at 87

AI Chat - Image Generator:

Veteran music journalist Gerry Wood died on Saturday (May 3) in Inverness, Fla. He was 87.

Wood was Billboard’s Nashville bureau chief and country editor in 1980 when he was promoted to editor-in-chief of the magazine, resulting in a transfer to the publication’s New York headquarters. He served in that capacity through 1983, when he left Billboard, only to return in 1986 as general manager/Nashville, a position he held into 1991.

Related

Wood’s elevation to editor-in-chief coincided with the explosion of country music in the late 1970s and early ‘80s, when Kenny Rogers, Willie Nelson and Alabama were among the top-selling acts in any genre and the film Urban Cowboy became a pop-culture phenomenon. Wood was there before, during and after the explosion, charting every bit of it. He could probably relate to the lyrics of a Barbara Mandrell hit in 1981: “I Was Country When Country Wasn’t Cool.”

Ken Schlager, former Billboard managing editor, paid tribute to Wood on Facebook: “When I joined Billboard as managing editor in November 1985 one of the first tasks was finding a new Nashville bureau chief. Our publisher, Sam Holdsworth (R.I.P.), had asked Gerry, who was no longer associated with Billboard, to check out the candidates that had emerged and scout for others. After several weeks, Gerry reported back that he, in fact, was the best candidate. It seemed like a whole lotta hubris, but it turned out he was right. That’s how Gerry ended up back at Billboard.

“Some weeks later, when I made my first trip to Nashville, Gerry, now bureau chief, greeted me with a gift basket in my hotel room filled with GooGoo Clusters, Moon Pies, and airplane bottles of Jack Daniel’s.

“Gerry was a sweet guy. Smart, hard-working, knowledgeable and well-connected. I’m sorry to hear of his passing.”

Related

Born Gerald Edmund Wood in Lewiston, Maine, on April 7, 1938, Wood began his career in radio. He was a news and sports reporter and DJ at WSON in Henderson, Ky., and at WVJS in Owensboro, Ky. He also served as news reporter and DJ at WAKY in Louisville, Ky.

Wood graduated from the University of Kentucky in 1960 and went on to earn a master’s degree from Vanderbilt University in Nashville in 1965. He later worked in public relations at Vanderbilt (1966-69).

While attending Vanderbilt and after, Wood served as news reporter and DJ at WKDA in Nashville (1964-66). After working in public relations at Vanderbilt (1966-69), he shifted to working on Music Row, where he worked in public relations at ASCAP (1969-75), rising to associate director. Wood began his first stint at Billboard in 1975.

Wood left Billboard in 1983 when the editorial leadership was reorganized under group publisher Jerry Hobbs. He moved back to Music City to become editor-in-chief at Nashville magazine (1983-84) and a special correspondent for People magazine (1984). Like many others before and since, Wood returned to Billboard for a second tour of duty, rejoining the staff in 1986 as general manager/Nashville. In that capacity, he directed and coordinated editorial, chart and sales activities in the country sector. He held that position through 1990.

Related

On local TV, Wood became known as “The Gamboling Gourmet” on WTVF-TV. He also worked under that identity for Nashville magazine. As a freelance journalist, Wood wrote for Country Weekly and many other publications. He was also a regular reviewer on the TNN cable channel in the mid-1980s.

Wood won a Journalistic Achievement Award from SESAC in 1981. He was a board member of the Nashville Entertainment Association and a member of the Country Music Association, the Gospel Music Association, the Recording Academy, the Nashville Songwriters Association International, and Sigma Delta Chi.

Wood was also a published author. Ain’t God Good (1975) and Let the Hammer Down (1978) were collaborations with country comedian Jerry Clower. Other titles included The Grand Ole Opry Presents the Year in Country Music (1997) and Tales From Country Music (2003).

Outside of his career, Wood was a travel enthusiast. Late in life, he moved to Florida and wrote books and articles for local publications on the Gulf Coast.

Related

“I was just laughing with Ed [Morris] yesterday as we were reminiscing about our days at Billboard with Gerry at the helm of the Nashville bureau,” says Debbie Holley, who worked under Wood in the country department at Billboard in the 1980s.

“Ed and I never knew where he would be calling in his column from, to whichever one of us was willing to take it over the phone by dictation. If he wasn’t on a plane or boat, he was calling from a train making his way across the country!

“Ed and I truly loved Gerry Wood! If free-flowing, imaginative, intuitive, and emotional thought are characteristics associated with the right brain, his right hemisphere must have been double in size. Gerry Wood definitely encompassed and underscored ‘creative.’ He was full of original ideas, artistic works and new possibilities. He was unconventional and impractical at times, but that always led to even more interesting projects. He was more than willing to share the spotlight and pushed everyone around him to ‘be your best self,’ ‘try things without fear of judgment,’ and ‘go for it, or you’ll always wonder!’

“I’m sad that he has left us, but I bet there are a couple of one-way streets called ‘Music Row’ just inside ‘Heaven’s Gates!’ And, I bet Gerry Wood is right there with all of the songwriters, music publishers and record label execs on ’16th (and 17th) Avenue!’”

Related

Ed Morris, who was Billboard’s country music editor from 1990-95, tells Billboard, “Gerry hired me in 1981 as he was leaving Nashville for New York to take the chief editor job. Having heard I was an atheist, he found it enormously amusing to name me gospel editor, thereby making me hostage to the Righteous for the next two years. Gerry lived to be entertained—by both by personalities and circumstances—and I never once saw him less than buoyant.”

Wood also had a good sense of humor about himself. At one Billboard staff conference, a staff member, Jean Williams, wasn’t able to be present, but sent in taped remarks. At one point she said, “Gerry Wood had a good idea. I think it was about a year ago.”

William paused just a little too long between those two sentences, creating the impression that good ideas from Wood were a rarity. Everyone in the room laughed at the unintended slight. No one laughed harder than Gerry.

SoundCloud Says Users’ Music Isn’t Being Used for AI Training Following Backlash

AI Chat - Image Generator:

On Friday (May 9), SoundCloud encountered user backlash after AI music expert and founder of Fairly Trained, Ed Newton-Rex, posted on X that SoundCloud’s terms of service quietly changed in February 2024 to allow the platform the ability to “inform, train, develop or serve as input” to AI models. Over the weekend, SoundCloud clarified via a statement, originally sent to The Verge and also obtained by Billboard, that reads in part: “SoundCloud has never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes.”

Related

The streaming service adds that this change was made last year “to clarify how content may interact with AI technologies within SoundCloud’s own platform,” including AI-powered personalized recommendation tools, streaming fraud detection, and more, and it apparently did not mean that SoundCloud was allowing external AI companies to train on its users’ songs.

Over the years, SoundCloud has announced various partnerships with AI companies, including its acquisition of Singapore-based AI music curation company Musiio in 2022. SoundCloud’s statement added, “Tools like Musiio are strictly used to power artist discovery and content organization, not to train generative AI models.” SoundCloud also has integrations in place with AI firms like Tuney, Voice-Swap, Fadr, Soundful, Tuttii, AIBeatz, TwoShot, Starmony and ACE Studio, and it has teamed up with content identification companies Pex and Audible Magic to ensure these integrations provide rights holders with proper credit and compensation.

The company doesn’t totally rule out the possibility that users’ works will be used for AI training in the future, but says “no such use has taken place to date,” adding that “SoundCloud will introduce robust internal permissioning controls to govern any potential future use. Should we ever consider using user content to train generative AI models, we would introduce clear opt-out mechanisms in advance—at a minimum—and remain committed to transparency with our creator community.”

Read the full statement from SoundCloud below.

“SoundCloud has always been and will remain artist-first. Our focus is on empowering artists with control, clarity, and meaningful opportunities to grow. We believe AI, when developed responsibly, can expand creative potential—especially when guided by principles of consent, attribution, and fair compensation.

SoundCloud has never used artist content to train AI models, nor do we develop AI tools or allow third parties to scrape or use SoundCloud content from our platform for AI training purposes. In fact, we implemented technical safeguards, including a “no AI” tag on our site to explicitly prohibit unauthorized use.

The February 2024 update to our Terms of Service was intended to clarify how content may interact with AI technologies within SoundCloud’s own platform. Use cases include personalized recommendations, content organization, fraud detection, and improvements to content identification with the help of AI Technologies.

Any future application of AI at SoundCloud will be designed to support human artists, enhancing the tools, capabilities, reach and opportunities available to them on our platform. Examples include improving music recommendations, generating playlists, organizing content, and detecting fraudulent activity. These efforts are aligned with existing licensing agreements and ethical standards. Tools like Musiio are strictly used to power artist discovery and content organization, not to train generative AI models.

We understand the concerns raised and remain committed to open dialogue. Artists will continue to have control over their work, and we’ll keep our community informed every step of the way as we explore innovation and apply AI technologies responsibly, especially as legal and commercial frameworks continue to evolve.”

D4vd & ZHU Entertain Fans & Competitors at Fortnite Pro-Am Tournament & Billboard After Party: See Photos

AI Chat - Image Generator:

Twenty of Fortnite’s top professional players teamed up with 20 of the biggest content creators for a six-round tournament at the Fortnite Championship Series (FNCS) Pro-Am on Saturday in Los Angeles. The 20 duos squared off for a share of $500,000 up for grabs. An average of more than 480,000 fans watched as pro player Peterbot and content creator Aussie Antics rose to victory, taking home the FNCS Pro-Am trophy and $25,000 each.

Hitmaker and Fortnite superfan D4vd was on site to help hype up the crowd in the Galen Center at the University of Southern California. He made a surprise appearance at the announcer’s desk during the event’s halftime. The singer/songwriter even livestreamed the tournament from his official Twitch channel.

After the 40 competitors greeted some lucky fans in attendance, they headed to the official Fortnite After Party powered by Billboard. Guests enjoyed pizza while sipping on cocktails inspired by Fortnite. They could choose from a bourbon-based Victory Crown or Slurp Juice, which celebrated Fortnite’s latest reload map, Slurp Rush! made with tequila.

It wouldn’t be a Billboard party if it didn’t feature some unforgettable music. Sarah Benyo got the party started with a set that spanned multiple genres of dance music. She set the tone of the evening before Top Dance Albums chart-topper ZHU took over the decks with an exclusive set filled with hit after hit featuring live vocals.

Check out highlights from the Fortnite Championship Pro-Am and Fortnite and Billboard’s Official After Party in the photos below.

Latto Announces New Single ‘Somebody’

AI Chat - Image Generator:

Latto really needs “Somebody,” and she announced on Monday (May 12) that she’s dropping her new single with that name on Friday.

“Greetings from Jamaica,” she wrote on Instagram under the island-inspired artwork. She first teased the single on X back in March with a one-minute clip of her playing it in the car. “I’m on a beach, my hair blowing in the wind. I’m sippin’ a piña colada in a G-string bikini,” she says while licking her lips. She posted a slowed-down version of that snippet in her latest IG announcement.

Related

“Somebody” will mark Latto’s first solo single release of 2025, and it will arrive four months after she dropped the “Blick Sum” remix featuring fellow ATL rapper Playboi Carti. “Blick Sum” was originally featured on her third studio album Sugar Honey Iced Tea, which she released last August via Streamcut and RCA Records. The 17-track project included the hit single “Big Mama,” which was nominated for a best melodic rap performance at the 2025 Grammys, and reached No. 15 on the Billboard 200 and earned Latto her first No. 1 on Top Rap Albums.

Next month, Latto will embark on the mini Big Mama Takes Europe tour, featuring festival stops at DLT Malta in St. Paul’s Bay, Malta, Tinderbox in Odense, Denmark, Yardland Festival in Paris, France and Les Ardentes in Liège, Belgium, as well as shows in London, Berlin and Amsterdam.

See Latto’s “Somebody” single announcement below, and pre-save it here.

5 Electronic Artists You Can’t Miss at Lightning in a Bottle 2025

AI Chat - Image Generator:

If you’ve ever been to Lightning in a Bottle, you know it’s just as much a festival as it is an adult playground disguised as one. The team behind Do LaB continues to treat staging like sorcery.

The genius of their curation lies not just in their genre-spanning lineups, but in their understanding that context transforms sound. Watching a DJ spin beneath intricate geometric structures as desert winds carry notes across the water creates memories that streaming services could never replicate.

Lightning in a Bottle will once again guide attendees through its whimsical core stages, Lightning, Woogie and Thunder, onwards to its community-driven programming at The Stacks, The Junkyard and The Grand Artique. Each environment features its own unique aesthetic, vision and sound.

This year’s lineup is a genre-fluid dream, dipping into indietronica, skittering across UKG and plunging headfirst into dubstep swamps and house grooves. Read on to discover a handful of performances you simply cannot miss in 2025.

Lightning in a Bottle returns over Memorial Day Weekend from May 21-25, 2025. Tickets are on sale via the festival’s website.

Tape B

Tape B, who was recently named to the EDM.com Class of 2025, is one today’s most sought-after dubstep and bass music producers. Nostalgia is his love language, threading hip-hop throwbacks with growling beats while dusty vinyl crackles ripple through with analog warmth.

View the original article to see embedded media.

Girl Math

Girl Math is the formidable duo of Nala and VNSSA, who joined forces to infuse a punk edge into their hip-shaking house beats. The former brings Riot grrrl-influenced vocals to the table while the latter smashes it with metal-infused drums.

“I thought being a drummer in a metal band was the coolest thing you could ever do prior to being a DJ,” Nala told EDM.com in a late-2024 interview. “So I was like, we need to incorporate this history on both sides and turn this into something that’s rowdy and fun and chaotic.”

View the original article to see embedded media.

Claude VonStroke

Dirtybird founder Claude VonStroke recently took flight on a comeback tour following a two-year hiatus that saw him sell his prized record label. After dropping a stunning EP, he’s now heading to Lightning in a Bottle for the tour’s first festival performance, which is officially billed as “The Return of Claude VonStroke.”

View the original article to see embedded media.

Sultan + Shepard

Few duos in electronic music have stood the test of time quite like Sultan + Shepard, whose emotionally charged sound blends textured synths with pulsating rhythms. Whether they’re producing generational progressive house anthems like “Walls” or aching deep house tracks like “Under The Surface,” they thread nostalgia and wonder through every release.

View the original article to see embedded media.

Mary Droppinz

Mary Droppinz’s music is a kaleidoscope of genre-defying sounds, fusing house, breakbeat, dubstep and drum & bass under one electrifying umbrella. She’s also known to bring unbridled energy to the stage, and with upcoming performances at Lollapalooza, Red Rocks and many more, she’s rising at a breakneck pace.

View the original article to see embedded media.

The 2025 lineup of Lightning in a Bottle features John Summit, Four Tet, Jamie xx, Subtronics, Khruangbin and many more.

Follow Lightning in a Bottle:

X: x.com/LIBfestival
Instagram: instagram.com/libfestival
TikTok: tiktok.com/@libfestival
Facebook: facebook.com/LIBfestival