That Valentine’s Day event marked one of several visits Wilson made to the capital city to advocate for the Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society Act
Isbell describes Wilson as a savvy political conversationalist. She talked about civil rights with Booker and sang for Coons, but no matter what, she found ways to relate the conversation back to the importance of signing the CLASSICS Act. “She would take where they started the conversation and bring it on home to why what she did as an artist had value, and why she needed their support now,” Isbell says. “She’d look you in the eyes, and your only response was ‘Yes ma’am.
Wilson’s advocacy expanded to protect the legacies of catalog artists in other ways. Last year, she started a campaign to get a commemorative postage stamp for her fellow Supremes founding member Florence Ballard; the USPS was reportedly considering that proposal. And for nearly 20 years, Wilson was very active in pushing forward the Truth in Music Advertising Act, legislation that cracks down on imposters posing as legacy artists and groups for performances.
Every few weeks, she’d email or call Joel Flatow, RIAA’s senior vice president of artist and industry relations, to see what she could get involved with, and as Universal Music Enterprises president and CEO Bruce Resnikoff says, she’d bring up policy efforts in most of their conversations after they finished talking about music plans. on her policy work says she was singularly focused on getting her job done and helping get policies over the finish line to support legacy artists.
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