2020-03-26 The Hollywood Reporter

THE HOLLYWOOD REPORTER 37 MARCH 26, 2020

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lot of shows. A lot of it was gut as

well. At CMT, we look at what’s

streaming. We look at Shazam.

We still go to shows and see

people live — from baby acts at

the Basement East, which thank

God is going to be rebuilt after the

tornado, to Bridgestone Arena.

Tell me a little bit about CMT’s

tornado recovery efforts.

Within 24 hours, we worked with

the NBC affiliate and the Red

Cross on the telethon. Artists

came together quickly, but I’m not

sure people understand the bil-

lions of dollars it’s going to take

to rebuild.

With the ViacomCBS merger, what’s

been the most noticeable change?

We heavily supported the

Grammys, which air on CBS. I

think if they can support what we

do and we can support what they

do, we’re one big happy family.

The next six months should be

really interesting. [ViacomCBS

CEO] Bob Bakish is a big country

fan. He comes to all our shows

and wants to stand in line to get

his tickets. We’re, like, “No, you’re

Bob Bakish.”

As for the Grammys, how is the

leadership tumult at the Recording

Academy affecting the industry?

I’ve been a part of the Academy

for over 20 years. They do so much

advocacy that maybe they’re not

given credit for. Do there need to

be changes? Yes. I’m hoping for

a quick resolution. I don’t want

to take away from any artist,

producer or engineer who’s won a

Grammy. It is the highest honor.

Interview edited for length

and clarity.

Some female artists were leaving

the format, Taylor Swift or whom-

ever, and there wasn’t enough

inventory to replenish them.

Labels weren’t signing enough

female artists. Publishers weren’t

signing female songwriters. It’s

this horrible ripple effect.

So what’s next?

This is the year of action, as far

as CMT is concerned. It’s about

bringing all the gatekeepers

together and working together.

If we could all move a little bit

this year, then we’ll see differ-

ent results at the end of 2020. We

have been looking at the same

miserable results year after year.

How has your job changed in your

near-decade with the network?

When I was in radio, we always

looked at sales, and we went to a

[upcoming] record, and they

immediately remind you why

you miss the Dixie Chicks. Their

voices matter, and I believe the

format has sorely missed them. I

know that radio stations are play-

ing the first single, “Gaslighter.”

We are playing the video. I will

do anything and everything for

the Dixie Chicks. No one has ever

replaced them or ever will. I’m

hoping this is the year of the Dixie

Chicks back in country.

CMT started the Equal Play initia-

tive to showcase more female

voices in country. Why is the indus-

try still so male-dominated?

Even in the ’90s, when people

thought it was the heyday with

Shania Twain, Reba McIntire

and Faith Hill, women were only

30 percent of the playlist. Now

we’re down to 10 or 11 percent.

“I have a button on

my desk that

says ‘NO,’ ” says Fram,

who finds herself

at live shows most

nights. “It’s very hard

for me to hit.” She

was photographed

March 9 in her office

in Nashville.

RÉSUMÉ

CURRENT TITLE

Senior vp music strategy,

CMT

PREVIOUS JOB

Program director

at New York’s

101.9 WRXP-FM

BIG HIT

The CMT Awards,

which reached nearly

3 million viewers on

premiere night in 2019

Fram keeps a

CMT Awards trophy

from each year

she’s run the show

since joining

the company in 2011.

10biz_CSfram_L [P]{Print}_53633979.indd 37 3/24/20 6:05 PM