2015 - The Recording Academy

Transcription

ADVOCACY
YEAR IN REVIEW 2015
®
Moving Music
Advocacy & Public Policy
Advancing the rights of music
creators through advocacy,
education and dialogue
529 14th Street NW, Ste 840
Washington, D.C. 20045
Phone | 202.662.1285
Email | [email protected]
www.grammy.com/advocacy
Follow us on
www.facebook.com/GRAMMYAdvocacy
www.twitter.com/@GRAMMYAdvocacy
Advocacy Year in Review | 2015
2
3
4
6
7
10
11
12
16
17
22
26
30
31
32
Moving Music
Neil Portnow, President/CEO
The Power Of Partnership
Daryl P. Friedman, Chief Industry, Government & Member Relations Officer
Welcome Back Congress
The Band Perry joins The Academy for musical briefing
Friendlier Skies For Musicians
Chief Industry, Government &
Member Relations Officer
Daryl P. Friedman
Senior Director, Advocacy & Public Policy
Todd Dupler
Manager, Advocacy Content & Communications
Janine Coveney
Executive Assistant
Lindsey Taylor
Administrative Assistant, Advocacy &
Membership
Lacy Cowden
ADVISORS
Legislative Consultant
Diane Blagman
Advocacy Committee
Brandon Bush, Co-Chair
Harvey Mason Jr., Co-Chair
Peter Asher
Ann Mincieli
Nile Rodgers
Dan Warner
John Poppo
Neil Portnow
Daryl P. Friedman
Ex-Officio
Register Of Copyrights Continues Roundtables
Maria Pallante travels to Chapters for copyright discussions
GRAMMY Creators Alliance Launches
Advocacy coalition of artists, creators announced on 57th GRAMMY telecast
Moving Music: Milestones In 2015
Todd Dupler, Senior Director, Advocacy & Public Policy
The Fair Play Fair Pay Act Of 2015
Landmark bill introduced just ahead of GRAMMYs on the Hill
2015 GRAMMYs On The Hill Awards
Luminaries gather to salute creator champions
2015 GRAMMYs On The Hill Advocacy Day
Recording Academy members stress fairness during advocacy day
2015 GRAMMYs In My District
Grassroots advocacy day’s sophomore year exceeds expectations
Congressional Copyright Review Goes On Tour
The Academy Files Comments With Justice Department
Janine Coveney
Todd Dupler
Design
Rikki
GRAMMY Week Advocacy
Special guests enliven advocacy, education briefings ahead of Music’s Biggest Night
House Judiciary Committee leaves Capitol Hill
Writers
Editor
Courtney
The FAA finalizes rules for flying with instruments
Kemp
Poulos Design
Pre-Press and Printing
Challenge Graphics
Tara Curtis
Editorial Assistance
Kiana Butler
Renée Fabian
Tim McPhate
Organization shares views on PRO consent decrees
Advocacy & Public Policy Office
Advancing the rights of music creators
COVER | Alicia Keys (center) is presented with The Recording Academy Artists’ Coalition Award by Neil Portnow and
first lady Michelle Obama at the 2015 GRAMMYs on the Hill Awards on April 15 | PHOTO: Paul Morigi/WireImage.com
The GRAMMY® Award design is a trademark and service mark registered with the United States Patent and Trademark Office and may not
be reproduced without permission.
The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording
Arts & Sciences®, The Recording Academy®, GRAMMYs®, GRAMMY Awards®, GRAMMY Hall Of Fame®, Latin Academy of Recording Arts
& Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY in the Schools®, and GRAMMY Foundation®.
© 2016 The Recording Academy. All rights reserved.
Printed on recycled paper
2
| Advocacy Year in Review | 2015
Moving Music
Neil Portnow
President/CEO
W
ithout question, music has the power to move us. But throughout 2015, music
itself moved.
How can that be? Looked at from a number of angles, we can see the movement.
And in many cases, the moving of music has been overdue.
Now that many of the music industry’s long-established operating practices are far less effective
and its aging business architecture has grown unstable, the financial security of music’s creative
inhabitants is threatened. Music is in dire need of brand new “housing.” Music must move out of its
old dwellings and into a contemporary high-tech space whose landlords treat its makers fairly. Our business must be
served by more efficient, more relevant policies that meet the parameters of a fast-paced digital age.
Compelled by these pressing concerns, The Recording Academy has played an integral role in moving both
discussions and actions forward on new policies to improve conditions for creators.
As a primary player in the discussions on Capitol Hill that resulted in the introduction of the Fair Play Fair Pay Act
Of 2015 just two days before GRAMMYs on the Hill, The Recording Academy moved music forward. By establishing
the GRAMMY Creators Alliance, giving our best and brightest an opportunity to influence policy that benefits creators
and artists at every level, The Recording Academy moved music forward.
Most impressively, The Recording Academy moved music by expanding the second annual GRAMMYs in My
District Lobby Day — registering 1,650 Academy members. The Oct. 14, 2015, event broke advocacy engagement
out of the confines of Washington, D.C., and brought it directly to hundreds of voting districts. This energized advocate pool made a mighty noise by visiting congressional offices in every corner of the country and generated more
than 1,000 tweets in a single day. This unprecedented event proved that The Recording Academy’s strength is
spread beyond the music meccas of Los Angeles, Nashville and New York, and that The Academy can move music
policy through innovative grassroots effort.
As the debate about music’s future focuses on copyright reform, that debate was physically moved into new
settings. The Academy carried over the listening tour begun in 2014 for Register of Copyrights Maria Pallante, during
which she has met face-to-face with creator members via a 2015 roundtable in Nashville, Tenn. As the House
Judiciary Committee continued its ongoing review of copyright, Chairman Bob Goodlatte (R-Va.) and Ranking
Member John Conyers Jr. (D-Mich.) announced the committee’s own multicity listening tour, meeting with creators in
Nashville, Tenn., Santa Clara, Calif., and Los Angeles by the close of 2015.
And now, thanks to the work of The Academy with other music advocacy groups, music can move through the air
with greater ease, as new guidelines were finalized by the Federal Aviation Administration for musicians flying with
their instruments.
Moving music to new heights of parity and fairness — as well as creative excellence — is a primary mission of The
Recording Academy. With the support of our members, strategic partners and from Congress, we will keep moving
music forward in 2016 and beyond.
Kind Regards,
Neil Portnow
The Power Of Partnership
Daryl P. Friedman
Chief Industry, Government & Member Relations Officer
I
’m not a fan of overused clichés, but the explosion of activism from The Recording Academy’s
members conjures up some old standbys: “synergies,” “convergence” and of course, “the whole
is greater than the sum of its parts.”
This year, The Academy took unprecedented action by aligning two distinct divisions in the
organization for one combined and ambitious mission. The Membership and Advocacy departments joined forces to maximize members’ impact on the fight for creators’ rights. I have the privilege of guiding the aligned departments, along with my colleagues Laura Segura Mueller (Senior
Managing Director, Membership & Industry Relations) and Todd Dupler (Senior Director, Advocacy
& Public Policy), so let me share with you, our members, what we hope to achieve.
First, by integrating members into everything we do in advocacy, we seek greater engagement. We’ll be able to provide more opportunities for you to take action, join your fellow creators
and speak directly to policymakers. We saw this occur with sold-out GRAMMYs on the Hill events
and record online activism. But one example proves more than any other that when called upon to
help your community, you answer the call. Thanks to the herculean effort of our Chapters by both
staff and advocacy team captains, GRAMMYs in My District grew at a remarkable rate from the
previous year. The program’s first-year participation was just more than 100 people. In 2015, our
second year, 1,650 of you raised your hands to advocate to your legislators.
Second, with our membership team more fully integrated into our advocacy efforts, new educational opportunities were created for our members. Chapters held GRAMMY Town Halls. The
Producers & Engineers Wing’s GRAMMY Week event served as the launching pad for the AMP
Act. Our member website, GRAMMYPro.com, highlighted advocacy blogs and hosted tools to
engage with Congress. Finally, we’ve developed ways to get more frequent input from our members, input that serves as
our most important guidepost. At Chapter events, online and through intimate forums such as our
new Managers Think Tank, Academy members help inform our strategy and positions. A National
Advocacy Committee of elected Trustees — who are also songwriters, performers and studio professionals — uses the input to craft our official positions. Prominent Academy members even join
us in our public filings to government agencies, as you will read in these pages. By joining the forces
of Membership and Advocacy, we can have an ongoing dialogue so our initiatives reflect the needs
of working creators.
In the months since The Academy formalized this restructure, we’ve already seen tremendous
results. We hope you have, too. By acknowledging that our 25,000 members are also 25,000 advocates, we created a powerful force in advocacy in 2015. And, if you’ll forgive one more cliché, the
best is yet to come.
Sincerely,
Daryl P. Friedman
|
Advocacy Year in Review
|
2015
The Band Perry
Joins The
Recording Academy
To Welcome Back
Congress
Event with Recording Arts &
Sciences Congressional Caucus
draws lawmakers, staff
Benny Krown
4
Rep. John Boehner (R-Ohio) greets the Band Perry’s Neil Perry, as fellow
band members Kimberly and Reid Perry look on. The group embarked on
one-on-one meetings with lawmakers facilitated by The Recording Academy’s
Advocacy & Public Policy office after their performance and briefing at the
Capitol Visitor Center
Jan. 13, 2015 • Capitol Visitor Center
Washington, D.C.
O
n Jan. 13, 2015, the Advocacy & Public Policy Department hosted GRAMMY winners the Band Perry for a full
day of activities on Capitol Hill that shone a spotlight on
The Academy’s advocacy efforts and reached dozens
of members of Congress. The day had several major components,
including a live performance and briefing in the auditorium at the Capitol
Benny Krown
Visitor Center that drew dozens of Congress members and their staff.
Paul Morigi/WireImage.com
During a brief meeting, the Band Perry greets two of Capitol Hill’s
staunchest creator rights advocates, who both offered opening remarks
at the Welcome Back Congress event. (from left) Reid Perry, Rep. Marsha
Blackburn (R-Tenn.), Kimberly Perry, Rep. Jerrold Nadler (D-N.Y.), and
Neil Perry
Reid Perry, Rep. Kevin McCarthy (R-Calif.), Kimberly Perry, Neil Perry, Reps.
Nancy Pelosi (D-Calif.) and Steny Hoyer (D-Md.), and The Academy’s Daryl P.
Friedman, onstage at the close of the Welcome Back Congress event
The Band Perry perform a song from their second album, Pioneer, before
an audience of Congress members and staff. Less than a month later, at the
57th GRAMMY Awards, the Band Perry would receive their first GRAMMY
Award in the Best Country Duo/Group Performance category for their
Glen Campbell tribute recording of “Gentle On My Mind”
5
Benny Krown
Benny Krown
Several members of Congress join the Band Perry onstage at the Capitol Visitor Center. Pictured from left are Reps. Blake Farenthold (R-Texas), Hakeem Jeffries (D-N.Y.),
David Cicilline (D-R.I.), Phil Roe (R-Tenn.), Bill Johnson (R-Ohio), Billy Long (R-Mo.), Lois Frankel (D-Fla.), Gregg Harper (R-Miss.), Doug Collins (R-Ga.), Judy Chu (D-Calif.);
Neil Perry, Kimberly Perry, Reid Perry; and Reps. Marsha Blackburn (R-Tenn.), Jerrold Nadler (D-N.Y.), Raul Labrador (R-Idaho), Gene Green (D-Texas), John Moolenaar
(R-Mich.), Don Beyer (D-Va.), and Tom Marino (R-Penn.)
The Band Perry gives Rep. Steny Hoyer (D-Md.) a
chuckle during a meeting before their performance.
House Democratic Whip Hoyer is co-chair of the
Recording Arts & Sciences Congressional Caucus,
which co-presented the event. (From left) Neil Perry,
Kimberly Perry and Hoyer
House Majority Leader Kevin McCarthy (R-Calif.) takes time to meet with
Band Perry in his Washington, D.C., office
the
Benny Krown
Benny Krown
The members of the Band Perry listen to Democratic Leader Nancy Pelosi (D-Calif.)
during their brief meeting. Pelosi spoke onstage at the Welcome Back Congress
event. She rushed to the Capitol Visitor Center from a meeting with President
Barack Obama to encourage other lawmakers to support music creator legislation
In between songs, Kimberly Perry discusses
the Band Perry’s creative process and fair
compensation for creators
Reps. Tom Marino (R-Penn.) and Bob Goodlatte
(R-Va.) speak with Neil, Kimberly and Reid Perry
after the Welcome Back Congress event. Goodlatte
is the Chair of the House Judiciary Committee, of
which Marino is a member
|
|
2015
The Academy
Helps Achieve
Regulations
For Flying
With
Instruments
T
he year 2015 began with a victory for The Recording Academy, the American
Federation of Musicians and other trade groups representing working musicians. With the U.S. Department of Transportation having issued new regulations for flying with musical instruments in accordance with the FAA
Modernization And Reform Act Of 2012, musicians received a welcome measure of
assurance regarding their air travel plans.
The Recording Academy and other stakeholders began the campaign several
years ago to have Congress address this issue (see Advocacy Blog post “They
Tried To Make Me Check My Tuba, I Said No, No, No”). Following our efforts during the 2011 GRAMMYs on the Hill Advocacy Day, Congress passed the FAA
Modernization And Reform Act Of 2012. Lobbying efforts continued, requesting the
Department Of Transportation formally implement the law until the order was finalized on December 30, 2014.
Effective March 6, 2015, for travelers using any domestic carrier, the new FAA rules
provide for the safe transport of musical instruments by air.
Three primary accommodations for travelers with instruments are designated.
Small instruments as
carry-on luggage
This means your instrument — such as a
guitar, violin or trumpet — should be packed
securely in a carrying case and be small enough
to stow in the overhead compartment or under
your seat like any other carry-on. As long as the
instrument fits, the airline must accept it and
cannot charge additional fees simply because
you have a musical instrument.
Large instruments as
in-cabin cargo
For an instrument that may be too large to
stow in the overhead bin but too valuable or delicate to check with the rest of baggage, travelers
may purchase a second seat to stow the instrument as in-cabin cargo. This is an acceptable option as long as the instrument is in a
carrying case and can be safely secured to a standard airline seat. However, if an airline
does not already have a program that provides for the purchase of a separate ticket for
cargo, the airline does not have to specifically accommodate a musical instrument.
Courtesy of The Recording Academy
6
Large instruments as checked luggage
Academy Trustee Dan Warner
is ready for air travel with his
guitar and
FAA guidelines
If an instrument is too large to carry on or occupy its own seat, an airline must accept
the instrument as checked luggage as long as it complies with federal size and weight
guidelines. Specifically, the sum of the length, width and height of the instrument (including the case) cannot exceed 150 inches and the weight cannot exceed 165 pounds. If
the instrument exceeds these measurements, the airline may still accept it, but the airline is not required to do so and the instrument may be subject to additional fees.
The standardization of rules for flying with instruments is a great step forward for all
working musicians.
To get your toolkit for flying, visit http://grm.my/TravelReg
7
GRAMMY Week Advocacy Briefings
Educate Visitors
Special guests, music pros share expertise ahead of Music’s Biggest Night
T
he Recording Academy’s Advocacy & Public Policy team traveled to Los Angeles for GRAMMY
Week in February 2015, and invited members of Congress and their staff to a series of briefings to
focus attention on the need to improve legislation benefitting music creators. Highlights included
an Advocacy presentation at the Producers & Engineers Wing event honoring Nile Rodgers on
Feb. 3, where the AMP Act legislation was announced; the Entertainment Law Initiative Luncheon on Feb.
6, featuring remarks by Rep. Jerrold Nadler (D-N.Y.); a congressional briefing and behind-the-scenes look at
the GRAMMY Awards preparations at Staples Center and an intimate afternoon briefing at a local Los
Angeles recording studio with singer/songwriter Graham Nash on Feb. 7.
AMP Act Introduced At P&E Wing Eighth Annual
GRAMMY Week Event
Feb. 3, 2015 • The Village in Los Angeles
4The Academy’s Daryl
Michael Buckner/WireImage.com
P. Friedman, Maureen
Droney and Neil Portnow;
SoundExchange’s Michael
Huppe; and GRAMMY winner
and P&E Wing honoree
Nile Rodgers celebrate the
announcement of the AMP Act
GRAMMY-winning producer and Academy Trustee
Peter Asher, The Village CEO Jeff Greenberg and
GRAMMY-winning songwriter Diane Warren attend
the Eighth Annual GRAMMY week event
8
|
|
2015
ELI Luncheon Features Pro-Creator Remarks By New York Congressman
Feb. 6, 2015 • Fairmont Hotel in Santa Monica, Calif.
4Rep. Jerrold Nadler (D-N.Y.), Ranking Member of the House
Judiciary Subcommittee on Courts, Intellectual Property and
Entertainment
Law Initiative Luncheon. During his remarks, Nadler challenged
the Internet, delivers the keynote speech at the
the room full of attorneys and executives from diverse segments
of the music community to work together to advance meaningful
music licensing legislation.
He received a standing ovation
Member Briefing: “Behind The Scenes At The GRAMMYs”
Jerod Harris/WireImage.com
Feb. 7, 2015 • Staples Center In Los Angeles
Attendees gather at the close of the behind-the-scenes congressional briefing. (from left) Rep. Louie Gohmert (R-Texas); Diane Blagman; Mike Platt, chief of staff
Rep. Marsha Blackburn (R-Tenn.); Sarah Ramig, staff member for Sen. Bob Corker (R-Tenn.); Sheila Jackson Lee (D-Texas); John Lipsey of Sen. Corker’s office;
Hakeem Jeffries (D-N.Y.); Kevin McDonald of the office of Sen. Patrick Leahy (D-Vt.); Jeffries staffer Kirsten Donaldson; The Academy’s Todd Dupler; and Jennifer
Choudhry from the office of Rep. Doug Collins (R-Ga.)
members of Congress, their staff, and
Academy guests climb aboard a production
truck for a special behind-the-scenes
GRAMMY briefing
Congress members and staff hear from
Pauley Perrette of “NCIS.”
Included are Sheila Jackson Lee (D-Texas), Louie
Gohmert (R-Texas), and Hakeem Jeffries (D-N.Y.),
songwriter and actress
among others
for
Reps. Sheila Jackson Lee (D-Texas) and
Hakeem Jeffries (D-N.Y.) listen as GRAMMYwinning producer Hank Neuberger describes the
production facilities and process
9
Congressional Briefing: “Inside The Studio”
Feb. 7, 2015 • The Village in Los Angeles
GRAMMY winner Elton John surprises members of Congress when he stops by The
Village studios in Los Angeles during The Academy’s congressional briefing. (from left)
Reps. Marsha Blackburn (R-Tenn.), Joseph Crowley (D-N.Y.), Debbie Wasserman Schultz
(D-Fla.), John, and Linda Sanchez (D-Calif.)
3Graham Nash (center), greets Reps. Louie Gohmert (R-Texas) and
Marsha Blackburn (R-Tenn.)
Ian Rayder
Members of Congress confer with singer/songwriter Graham
Nash of GRAMMY-winning rock group Crosby, Stills & Nash (left),
including Hakeem Jeffries (D-N.Y), Joseph Crowley (D-N.Y.), Debbie
Wasserman Schultz (D-Fla.), and Linda Sanchez (D-Calif.)
The inside the studio congressional briefing wraps up for the afternoon. (front row, from left) Reps. Sheila Jackson Lee (D-Texas); Linda Sanchez (D-Calif.),
Darrell Issa (R-Calif.), Debbie Wasserman Schultz (D-Fla.), Graham Nash, Louie Gohmert (R-Texas), Marsha Blackburn (R-Tenn.), and The Village CEO Jeff
Greenberg. (back row) The Academy’s Todd Dupler and Maureen Droney, engineer Kevin Madigan, Reps. Hakeem Jeffries (D-N.Y.) and Joseph Crowley (D-N.Y.)
|
|
2015
Register Of Copyrights Continues
Roundtables With GRAMMY Chapters
Creators tour coincides with federal copyright reviews
I
5The Recording Academy’s Advocacy & Public Policy team
Academy members supporting
U.S. Copyright Office leadership.
(from left) Jacqueline Charlesworth, Associate Register of
Copyrights; Maria Pallante, Register of Copyrights; and The
Academy’s Daryl P. Friedman and Todd Dupler
presents hundreds of letters from
copyright reform to the
6
The Register of Copyrights visits with members of the
Nashville Chapter on June 24. (from left) Matt Maher, Better
Than Ezra’s Kevin Griffin, Brandon Heath, The Academy’s Laura
Segura Mueller, Maria Pallante, Band of Horses’ Bill Reynolds,
guest, John McBride, Martina McBride, The Academy’s Todd
Dupler, Chapter Executive Director Alicia Warwick, Trustee Jeff
Balding and Chapter President Shannon Sanders
n 2015 The Recording Academy continued to facilitate face-to-face meetings
between U.S. Register of Copyrights Maria Pallante and Recording Academy
Chapters. Beginning in 2014 as an answer to Pallante’s expressed desire to
get out of Washington, D.C. to speak to music makers, the 2015 creators tour
took Pallante to Nashville on June 26, where the discussion was led by
Chapter President Shannon Sanders, Academy Trustee Jeff Balding, and
Board members Martina McBride and Kevin Griffin. Pallante shared her outlook for copyright reform in Congress and continued to express her appreciation to The Academy for providing the forum for her to dialogue directly with
working music creators. The Academy was especially gratified to read the
Copyright Office study “Copyright And The Music Marketplace,” released in
February 2015. The music study reflects many of the recommendations made
by The Recording Academy on behalf of the songwriters, performers and studio professionals it represents.
The U.S. Register of Copyrights’ creators tour also coincided with the House
Judiciary Committee’s ongoing review of copyright law and the functions of the
U.S. Copyright Office. As the primary witness at the Committee’s April 29, 2015,
hearing on copyright, held just two weeks after GRAMMYs on the Hill, Pallante
hailed the Fair Play Fair Pay Act as “an excellent legislative framework” for
addressing music reform and called attention to its proposed performance right
for terrestrial radio, saying, “It’s indefensible as a matter of law and embarrassing as a matter of policy” that terrestrial radio does not pay creators when their
songs are played. The Register also called special attention to her meetings
with Recording Academy members through The Academy’s creator roundtables, labeling the events as “inspiring” in terms of understanding the scope and
application of copyright in the real world.
Frederick Breedon/WireImage.com
Courtesy of The Library of Congress
10
11
GRAMMY Creators Alliance
Launched At GRAMMY Awards
Historic collective amplifies voices of creators in music activism
D
uring the 57th Annual GRAMMY Awards on Feb. 8, 2015, which was broadcast to an audience of more than 25 million on CBS, Neil Portnow, President/CEO of The Recording
Academy, was joined onstage by GRAMMY winners Jennifer Hudson and Ryan Tedder to
make a landmark announcement: the launch of the GRAMMY Creators Alliance. This new
collective allows creators to have a voice in issues crucial to their livelihoods. By facilitating a positive
dialogue about fairness to help today’s singers, songwriters, producers, musicians, and engineers,
the Alliance will also help ensure fair pay for future generations of creators across all platforms.
The founding GRAMMY Creators Alliance members are Kenneth “Babyface” Edmonds,
Hudson, Jimmy Jam, Alicia Keys, Lady Antebellum, Adam Levine, and Tedder, among others.
The launch of the GRAMMY Creators Alliance has been well timed, as music activism
became more prominent in recent years, with several artists standing up and speaking out
against the devaluation of music by some distribution platforms, antiquated music law and
other unfair practices.
The Recording Academy later announced the formation of the Managers Think Tank, an
advisory arm of the Alliance. This group of music industry professionals — who manage
songwriters, performers and producers — will observe and analyze the marketplace,
identifying new issues on behalf of their clients, and helping to advise policymakers on
how best to attain equitable conditions for creators.
Since its creation, Alliance members have drawn more attention to key advocacy
issues. Keys was honored for her dedication at the 2015 GRAMMYs on the Hill
Awards on April 15 in Washington, D.C. On the eve of The Recording Academy’s
successful GRAMMYs in My District initiative in October, Steven Tyler penned a
widely read editorial for The Huffington Post that raised awareness of the need for
copyright protection. And in December, Tedder was a cosigner on The Academy’s
comments to the Department of Justice (see page 31).
For more information on the GRAMMY Creators Alliance, visit
www.grammy.com/Alliance and follow @GRAMMYAdvocacy on Twitter.
5GRAMMY Creators Alliance founding members: (top row, l-r) Alicia Keys,
Ryan Tedder, Adam Levine, Deadmau5, and Jennifer Hudson; (bottom row, l-r)
Kenneth “Babyface” Edmonds, Lady Antebellum, Jimmy Jam, and Steven Tyler
12
|
|
2015
Moving Music:
Milestones In 2015
Todd Dupler
Senior Director, Advocacy & Public Policy
I
n 2015 music moved in unprecedented ways in Washington, D.C., reaching new
milestones of progress for creators. As the House Judiciary Committee continued
its long-term review of copyright law, Congress increasingly focused on fair compensation for music makers, while federal agencies looked at myriad issues affecting the daily lives of music creators. The Recording Academy’s advocacy efforts
served as the catalyst for much of the achieved progress.
Moving The Spotlight To Studio Professionals
In February 2015, the Producers & Engineers Wing’s annual GRAMMY Week event
served as the launching point for the Allocation For Music Producers Act (H.R. 1457).
Despite their indispensable role in the creation of sound recordings, music producers
have never been mentioned in copyright law. The AMP Act would, for the first time
ever, add producers to U.S. copyright law and codify into law the producer’s right to
collect royalties they are due. Under the AMP Act, studio professionals would be
entitled to receive payments through SoundExchange, the nonprofit organization
responsible for collecting and distributing digital performance royalties for performers
and musicians.
Since 1995, performers have had a statutory right to 45 percent of performance
royalties collected from noninteractive, digital music services. Subject to their contract
with an artist, producers often collect royalties from that 45 percent because they are
not included in the 1995 law for a statutory right. A producer’s contract commonly
takes the form of a “letter of direction” in which the artist “directs” some of their royalties to the producer. SoundExchange voluntarily accepts letters of direction and provides direct payment of digital performance royalties to producers and engineers.
The AMP Act would formalize SoundExchange’s voluntary policy in law and require
SoundExchange, upon direction by the featured artist, to provide direct payment of
royalties owed to producers and engineers. For sound recordings made before 1995,
the AMP Act would establish a procedure for producers and engineers to seek permission from featured artists or their heirs to receive appropriate royalty payments. The
AMP Act would provide a consistent, permanent process by which studio professionals will receive the royalties they deserve for the contributions they make to music.
The bill was officially introduced on March 19 by Reps. Joseph Crowley (D-N.Y.) and
Tom Rooney (R-Fla.), and was showcased the same day at a panel sponsored by The
Recording Academy’s Advocacy & Public Policy department at South by Southwest in
Austin, Texas. Featuring GRAMMY-nominated producer Alex Da Kid, the panel
explored the topic of royalties for music producers and engaged the audience in realtime advocacy to support the AMP Act using The Academy’s online action tools.
4Alex Da Kid, The Academy’s Daryl
Friedman, former Academy Chair
Christine Albert, John Alagia, and
Ray Benson pose before the GRAMMY
Producers On the Record panel
discussion at South by Southwest on
March 19, 2015, in Austin, Texas
Music Moves Top Copyright Official
The spotlight of GRAMMY Week also served as an ideal time for
the U.S. Copyright Office to release their highly anticipated music
licensing study. The detailed study reflects many of The Recording
Academy’s own recommendations to help guide music reform and
address the needs of music creators. Specifically, the report embraces
the principles of the AMP Act and proposes a uniform market-based
rate standard for all government royalty rates, federalization of pre1972 recordings and a public performance right for sound recordings
on terrestrial radio. In addition, the study agreed with several of The
Academy’s recommendations for improving the licensing process for
songwriters, including bundling public performance and mechanical
rights for songwriters to streamline licensing. The report also echoes
The Academy’s comments that transparency for music creators
should be addressed in any update to music licensing.
Perhaps most importantly, the Copyright Office report embraces
The Academy’s firm position that music licensing reform requires a
comprehensive legislative solution. The report states “the [Copyright]
Office has underscored the need for a comprehensive approach to
copyright review and revision generally. This is especially true in the
case of music licensing — the problems in the music marketplace
need to be evaluated as a whole, rather than as isolated or individual
concerns of particular stakeholders.”
On April 29, 2015, when U.S. Register of Copyrights Maria Pallante
testified before the House Judiciary Committee in the final copyright
law hearing of its two-year series, she urged Congress to act swiftly
on music licensing reform. Pallante also singled out The Recording
Academy for praise, noting that her series of creator roundtables at
various Academy Chapters had been “the most inspiring part” of
copyright review for her. The roundtables, which began in 2014, were
The Recording Academy’s response to Pallante’s expressed desire to
meet firsthand with music creators about their concerns.
GRAMMYs On The Hill Moves Major
Music Legislation
Also in April, GRAMMYs on the Hill, The Academy’s signature
advocacy event in Washington, D.C., provided another stimulus for
Sasha Haagensen/WireImage.com
13
legislative progress. In New York, just two days before hundreds of
music creators blanketed Capitol Hill, Reps. Jerrold Nadler (D-N.Y.)
and Marsha Blackburn (R-Tenn.) announced the introduction of the
Fair Play Fair Pay Act Of 2015 (details on page 16). The timing of the
bill’s introduction was no coincidence: It was designed to benefit
from the unparalleled ability of GRAMMYs on the Hill to reach members of Congress.
The Fair Play Fair Pay Act addresses a number of issues to ensure
fair compensation for artists and performers. Notably, it marks the first
time in six years that legislation has been formally introduced to fix the
terrestrial radio loophole that prevents artists from getting paid when
their music is used by broadcasters. While newer digital radio platforms are required to license sound recordings and pay for their use,
the terrestrial radio format is still stuck in the past in how it pays artists
and producers. This loophole, which dates back decades, makes the
multibillion dollar broadcast radio industry the only industry in America
that can exploit someone else’s intellectual property without permission and without compensation. To add further insult to injury, the lack
of a performance right puts the United States out of step with the rest
of the world. The United States is one of just a handful of industrialized
countries that don’t require terrestrial radio to compensate music creators. As a result, American artists annually lose tens of millions of
dollars in foreign royalties that are collected overseas but never paid
because the United States does not reciprocate for foreign artists.
Extending the performance right to AM/FM radio is always met with
stiff resistance from the big broadcasters and their army of Washington
lobbyists, but the Fair Play Fair Pay Act removes their favorite political
argument. For years, major radio corporations have gone to Capitol Hill
hiding behind small local broadcasters, claiming that compensating artists for their music would put local stations out of business. The Fair
Play Fair Pay Act puts the focus squarely on “big radio” by allowing
small broadcasters, public and noncommercial stations to pay a low,
flat fee to license the music they use. A radio station with less than $1
million in annual revenue would only pay $500 a year, while public and
noncommercial stations would pay $100 a year to license music.
The Fair Play Fair Pay Act also takes other steps to harmonize
and rationalize music licensing for all radio platforms. Currently, each
radio platform is treated differently under the law. While AM/FM
|
|
2015
Kevin Winter/WireImage.com
14
Neil Portnow, with
Jennifer Hudson and Ryan
Tedder, announces the
GRAMMY Creators Alliance
during the 57th Annual
GRAMMY Awards
radio pays nothing for sound recordings, satellite radio and cable
radio platforms pay royalties below fair market value. Internet radio
companies pay royalties at a rate that is supposed to mimic or
approximate rates established in the free market under what is
called the “willing buyer, willing seller” standard. The Fair Play Fair
Pay Act would bring all radio platforms, regardless of the technology used, under the “willing buyer, willing seller” standard so artists are paid fair market value for their work. The bill also ensures
legacy artists are paid for sound recordings created before 1972,
and it also includes the AMP Act. By bringing all of these issues
under one bill, the Fair Play Fair Pay Act advances a holistic
approach to music licensing reform.
small amounts of ivory. On July 25, 2015, President Obama
announced new regulations to restrict the domestic ivory trade.
As a result of The Academy’s efforts, the new rules include
important accommodations for these existing musical instruments. Specifically, they would reverse a restriction on travel with
musical instruments containing ivory and provide certain limited
opportunities for ongoing domestic commerce in such musical
instruments. In announcing the proposed rules, USFWS stated
that it “consulted extensively with groups that may be impacted
by new trade controls for ivory, including professional musicians”
and said the proposal “recognizes that legal trade in these items
does not contribute to the current poaching crisis.”
New Travel Rules Keep Music Moving
Congress Moves Music Into Schools
Travel is a necessity for music creators who bring their music to
audiences across the country and around the world. In March 2015
new regulations by the U.S. Department of Transportation took
effect to make it easier for musicians to travel with their instruments
(see details on page 6). Later in the summer, the Obama administration made additional, important accommodations to assist musicians traveling overseas.
Additionally, President Barack Obama and his administration
have responded forcefully to combat the poaching of African elephants and the trafficking of ivory, which has become a global
crisis and tragedy. Beginning in February 2014, when new restrictions were announced that affected musical instruments, The
Academy and its partners in the broader music community have
worked diligently to educate the administration, and in particular
the U.S. Fish and Wildlife Service, regarding the unintended
impact the restrictions could have on working musicians who possess pre-existing, legally crafted musical instruments containing
In the latter part of 2015, The Recording Academy, in collaboration with other members of the Music Education Policy
Roundtable and the Arts Education Working Group, saw music
move into our schools in a rare bipartisan way as Congress
passed a sweeping new bill to reform K–12 education, the first
of its kind in 14 years. The reauthorization of the Elementary And
Secondary Education Act, titled the Every Student Succeeds
Act, includes both music and the arts in the definition of a “wellrounded education,” meaning music and arts programs will be
eligible for critical Title I federal funding. On Dec. 10 President
Obama signed the bill into law. Applauding the bill’s signing,
Academy President/CEO Neil Portnow stated, “We know that
integrated music education during formative years makes a significant difference in helping students learn in all areas of study
and creates a strong foundation for future generations of music
creators and music industry professionals.”
15
“Through the strength of our membership, GRAMMYs in My District
demonstrated that music creators live everywhere.”
The Texas Chapter visits with the
State Capitol in Austin
on Feb. 25, 2015. (front row, l-r) Former
Recording Academy Chair Christine
Albert, Texas governor Greg Abbott,
and Recording Academy Lifetime
Achievement Award recipient Flaco
Jiménez. (back row, l-r) Texas Chapter
Advocacy Chair Tamera Bennett, Texas
Chapter President Carlos Alvarez,
Texas Chapter Senior Executive Director
Theresa Jenkins, and Todd Dupler, Senior
Director, Advocacy & Public Policy
GRAMMY winner Gary Clark Jr.
shows his support of GRAMMYs in
My District at the Austin City Limits
Festival on Oct. 11, 2015
Songwriters Move To Protect
Creative Freedom
In November 2015 The Recording Academy continued its commitment to move the U.S. Department of Justice to update and reform the
consent decrees that govern ASCAP and BMI so songwriters can
secure fair compensation for their work. ASCAP and BMI, two of the
performing rights organizations relied upon by songwriters and composers to collect royalties for public performances, are restricted by
consent decrees issued by the DOJ that date back to 1941. These
outdated decrees have failed to keep pace with changes in technology
and the music marketplace and constrain the PROs from securing fair
market pay. In 2014 the DOJ initiated a review of the consent decrees,
recognizing that reform may be appropriate. But in 2015, the agency
suggested changes to the consent decrees that would actually do more
harm to songwriters. On Nov. 16 The Recording Academy — joined by
an all-star collection of songwriters, including Evan “Kidd” Bogart,
GRAMMY Creators Alliance member Ryan Tedder and Academy
Trustee Harvey Mason Jr. — filed comments with the Department of
Justice to illustrate how the proposed changes would limit the creative
freedom of songwriters to collaborate. (Read more details about the
filing on page 31.)
GRAMMYs In My District Moves
Music Everywhere
On top of the many successes achieved in Washington, perhaps
the biggest advocacy success of 2015 took place outside of our
nation’s capital. Music moved out of Washington in unprecedented
ways on Oct.16, 2015, with GRAMMYs in My District. In only its second year, more than 1,650 members of The Recording Academy —
reaching nearly 350 congressional districts — registered to participate
in this one-of-a-kind grassroots advocacy initiative. Through the
Courtesy of the Recording Academy
8
Courtesy of the Recording Academy
governor at the
strength of our membership, GRAMMYs in My District demonstrated
that music creators live everywhere and are passionate about the
message of enacting music reform to provide fair compensation for all
music makers — songwriters, performers and studio professionals.
LOCAL & STATE ADVOCACY CONTINUES THROUGH
THE CHAPTERS
GRAMMYs in My District was a shining example of what the
Academy’s 12 Chapters can do to engage members in advocacy on
a grand scale in one day. But the Chapters stayed involved in advocacy throughout the entire year. Town Halls were held in Los Angeles,
New York, and San Francisco to educate members about the issues
affecting them in Washington and to inspire them to get involved. The
Atlanta Chapter used its summer celebration to conduct outreach to
local lawmakers and promote advocacy. Our Chapters in Tennessee
and Florida supported state coalitions aiming to protect fans from
predatory ticketing practices. The Los Angeles and San Francisco
Chapters pressed the California governor to strengthen the tax credit
for music production related to film and television in the state.
Members of the Philadelphia Chapter testified before their city council
to promote the local music industry. And in Texas, members gathered
at the state Capitol to impress the value of the state’s music industry
on state legislators and the new governor.
Because of the passion and commitment of our members, The
Recording Academy moved music to new heights in the public policy
arena. When music makers unite to make their voices heard, policymakers listen and the results are clear. While tremendous progress
has been made, much work remains. As music creators continue to
raise their voices together on important issues, we will accomplish
great things in 2016.
|
16
|
2015
Fair Play Fair Pay Act Introduced In Time
For GRAMMYs on The Hill
Multipart bill addresses various creator issues
April 13, 2015 • New York
Courtesy musicFIRST
O
5
Rep. Jerrold Nadler (D-N.Y.) gets a visit from
GRAMMY winner Sheila E., who thanks him for his
support of music legislation
4Neil Portnow
Margarita Corporan/WireImage.com
celebrates the
2015 introduction
of the Fair Play
Fair Pay Act with
bill co-sponsors,
Reps. Marsha
Blackburn and
Jerrold Nadler
4Ted Kalo,
of the musicFIRST
Coalition, greets
GRAMMY-winning
composer and
singer
Cyndi Lauper
executive director
n April 13, just two days before GRAMMYs on the Hill, Recording Academy
President/CEO Neil Portnow joined an unprecedented gathering of music creators alongside Reps. Jerrold Nadler (D-N.Y.) and Marsha Blackburn (R-Tenn.)
to announce the introduction of the Fair Play Fair Pay Act Of 2015. Among
the music luminaries on hand for the New York introduction were Ben Allison, Jonatha
Brooke, Rosanne Cash, Elvis Costello, Marshall Crenshaw, Jack DeJohnette, Abdul
“Duke” Fakir of the Four Tops, Gloria Gaynor, Nona Hendryx of LaBelle, Cyndi Lauper, Ray
Parker Jr., Martha Reeves, Ronnie Spector, Martha Wash, and Cassandra Wilson. Also
present were representatives from SoundExchange, SAG-AFTRA, the Content Creators
Coalition, the Americana Music Association, and partners in the musicFirst Coalition.
The Fair Play Fair Pay Act (H.R. 1733) addresses a number of music issues as
a step toward the kind of comprehensive reform The Academy has long sought. In
particular, the bill would:
•Establish a terrestrial performance right so that AM/FM radio competes on equal footing with its Internet and satellite competitors
• Create platform parity so that all forms of radio, regardless of the technology they use,
pay fair market value for music under the “willing buyer/willing seller” standard
• Protect small radio stations by capping royalties for stations with less than $1 million
in annual revenue at $500 per year (and at $100 a year for non-commercial stations)
• Secure royalties for recordings made prior to 1972
• Protect songwriter royalties
•Incorporate the recent AMP Act to provide payments for producers
Three days after the introduction, Recording Academy members participated in
GRAMMYs on the Hill Advocacy Day, fanning out across Capitol Hill for meetings with
lawmakers, asking them to add their support to the Fair Play Fair Pay Act.
On April 30 Academy Trustee Sheila E. made a special trip to Capitol Hill to meet with
Nadler to thank him for the Fair Play Fair Pay Act and to help launch a grassroots campaign
of additional music creators who have signed a statement in support of the legislation. An array of music
professionals, artists and
creators join musicFirst
Coalition partners —
The Recording
Academy — for the
Fair Play Fair Pay Act
announcement by Reps.
Jerrold Nadler and
Marsha Blackburn
including
17
2015
GRAMMYs
on the Hill
AWA R D S
APRIL 15, 2015 • Washington, D.C.
3
GRAMMYs on the
Hill 2014 honorees
democratic leader
Nancy Pelosi (D-Calif.)
and House Majority
Leader Kevin McCarthy
(R-Calif.); 2015
GRAMMYs on the Hill
honorees Jerrold
Nadler (D-N.Y.) and
Alicia Keys; and The
Academy’s Neil Portnow
and Daryl P. Friedman
GRAMMY Winner
Alicia Keys and
Reps. Goodlatte,
Nadler Feted
Creators, lawmakers celebrate
moving music policy forward
T
he 2015 presentation of GRAMMYs on the Hill on April 15 in Washington,
D.C., benefited from the synergy of recently proposed legislation such
as the Fair Play Fair Pay Act, heightened attendance among Academy
members and lawmakers, and a surprise White House presenter
whose appearance dropped mouths in the packed Hamilton Live theater.
Singer/songwriter Alicia Keys, a 15-time GRAMMY winner and founding member of the newly launched GRAMMY Creators Alliance, was presented with the
Recording Artists’ Coalition Award by none other than first lady — and surprise
guest — Michelle Obama. House Judiciary Chairman Bob Goodlatte (R-Va.) and
Ranking Member of the House Judiciary Subcommittee on Courts, Intellectual
Property and the Internet Jerrold Nadler (D-N.Y.) were also honored for their ongoing support of music creators. GRAMMY Foundation and MusiCares Vice President
Scott Goldman and Rep. Mimi Walters (R-Calif.) presented Northwood High
School in Irvine, Calif., with a GRAMMY Signature Schools award.
Highlights of the evening included performances by Robert Earl Keen, Angela
Hunte, Ledisi, and American Authors, along with a musical demonstration on sidemen featuring GRAMMY-winning saxophonist Kirk Whalum and Academy Trustees
Brandon Bush, Tammy Hurt, Michael Romanowski, and Dan Warner.
|
18
|
2015
2015
GRAMMYs
on the Hill
AWA R D S
Democratic leader Nancy Pelosi (D-Calif.)
2015 GRAMMYs on the Hill
honoree Alicia Keys on the red carpet
joins hands with
4
Honoree Jerrold
Nadler (D-N.Y.) (center)
shows off his 2015
GRAMMYs on the Hill
Pat Collins, vice chair
award statuette flanked
and senior advisor for
by presenters, rocker
SESAC, gives opening
Eddie Money (left)
and producer Rodney
Jerkins (right)
remarks at the awards
dinner, where
SESAC was
American Authors’ Zac Barnett performs on guitar with several
Congress, including (left to right) Reps. Judy Chu
(D-Calif.), Rick Nolan (D-Minn.), Ann McLane Kuster (D-N.H.), Billy
Long (R-Mo.), Ted Deutch (D-Fla.), Joseph Crowley (D-N.Y.), Lois
Frankel (D-Fla.), and Michelle Lujan Grisham (D-N.M.)
members of
Leigh Vogel/WireImage.com
the main sponsor
Presenters Hunter Hayes (left) and former Academy Chair Christine Albert with 2015
Bob Goodlatte (R-Va.), chairman of the House Judiciary Committee
honoree
19
The Academy’s
Neil Portnow and
first Lady Michelle
Obama flank honoree
Alicia Keys during the
presentation of her
Recording Artists’
Coalition Award
GRAMMY Foundation Vice
President Scott Goldman and
Rep. Mimi Walters (R-Calif.)
present GRAMMY Signature
Schools award to student Claire
Paladichuk and music program
director Zach Halop of Northwood
High School in Irvine, Calif.
Singer/songwriter
Robert Earl Keen
offers an a capella
“The
Star-Spangled
Banner” at the
GRAMMYs on
the Hill Awards
rendition of
ceremony opening
4
Rep. Joseph Crowley
(D-N.Y.) (center) plays his guitar
during a demonstration of the
importance of musical sidemen
with help from Academy
Trustees Michael Romanowski
(left) and Dan Warner (right)
during the awards
|
|
2015
20
3Academy Trustee
and National Advocacy
Committee co-chair
Brandon Bush shares
his views as a musician
during a musical
demonstration
6Hunter Hayes discusses his anti-bullying campaign
before performing a tune at the piano as a segue into the
GRAMMY Foundation’s Signature Schools presentation
Singer/songwriter Ledisi
Alicia
Keys during the awards celebration
performs in tribute to honoree
GRAMMY-winning saxophonist Kirk Whalum
Motown and
Whitney Houston hits during the musical sidemen
demonstration, with Academy Trustee Michael
Romanowski backing on bass
performs well-known horn lines from
4Academy trustee
Dan Warner rocks
out on guitar during
the
2015 GRAMMYs
Hill musical
on the
sidemen demonstration
Academy Trustee Tammy Hurt speaks about the
role of instrumentation in the recording process and
demonstrates her skills as a professional drummer during
the
GRAMMYs on the Hill presentation
21
4Singer/songwriter
2015
Angela Hunte
“Empire
State Of Mind,” the
GRAMMY-winning
song she co-wrote
with Alicia Keys
performs
GRAMMYs
on the Hill
AWA R D S
Rep. Ted Deutch
(D-Fla.) center
takes a selfie
American
Authors’ Zac
Barnett during
with
the celebration
Rep. Joseph
Crowley (D-N.Y.)
as
looks on
Alicia Keys can’t help
but sing along to her
GRAMMY-winning song
“Empire State Of Mind”
while Rep. Kevin McCarthy
(R-Calif.) captures the
moment on his cellphone
Obama presents
GRAMMY Creators
Alliance founding
member Alicia Keys with
the Recording Artists’
Coalition Award
American Authors’ James Adam Shelley on banjo and Zac Barnett on
“Best Day Of My Life” with
several members of Congress, including Reps. Jerrold Nadler (D-N.Y.),
Kevin McCarthy (R-Calif.), Sheila Jackson Lee (D-Texas), Steny Hoyer
(R-Md.), Michael McCaul (R-Texas), and Brenda Lawrence (D-Mich.)
guitar lead a sing-along session of their song
6First Lady Michelle
Alicia Keys embraces Angela Hunte.
Keys and Hunte — together with Alexander
Shuckburgh, Janet Sewell and Jay Z —
earned a 2010 GRAMMY for Best Rap Song
for “Empire State Of Mind”
|
|
2015
2015
GRAMMYs
on the Hill
A d v o c aCy
D ay
APRIL 16, 2015 • Washington, D.C.
Strong Turnout For 10th Annual
GRAMMYs On The Hill Advocacy Day
GRAMMY advocates visit more than 80 congressional offices
N
early 200 music advocates traveled from across the country for the 10th anniversary of GRAMMYs on the Hill
Advocacy Day on April 16 in Washington, D.C. Under the theme “Music Creators United,” the event kicked off at the
Hyatt Regency on Capitol Hill with a session for advocates featuring remarks by Sen. Elizabeth Warren (D-Mass.), a
briefing by Capitol Hill regulars and a performance by GRAMMY winner Ray Parker Jr. Afterward, advocate groups
collectively visited more than 80 congressional offices throughout the day to lobby for fairness for the music community and ask
for support of the Fair Play Fair Pay Act and the AMP Act. The day also featured a luncheon address by House Homeland
Security Chairman Michael McCaul (R-Texas), and wrapped with a group photo on the steps of the Capitol.
22
Participants gather in front of the Capitol for a group picture to commemorate the 10th anniversary of GRAMMYs on the
Hill Advocacy Day. All 12 of The Recording Academy’s Chapters were represented among the registrants
23
n
1 (l-r) George J. Flanigen IV, Chair Emeritus
The Recording Academy, and Academy
President/CEO Neil Portnow are among The
Academy advocates present for a meeting with
Democratic Leader Nancy Pelosi (D-Calif.).
The congresswoman was an honoree at the
2014 GRAMMYs on the Hill Awards
of
2 Getting ready for a day of Capitol Hill
n
lobbying during a morning briefing at the Hyatt
Regency are Recording Academy Trustees Gino
Robair and Michael Romanowski, San Francisco
Board Advisor Ledisi Young, and San Francisco
Chapter Executive Director Michael Winger
3 Attendees at the morning briefing
n
Capitol Hill experience of
Diane Blagman, Senior Director of
Governmental Affairs, Greenberg Traurig;
former Sen. Tim Hutchinson (R-Ark.); and
former Rep. Albert Wynn (D-Md.)
benefit from the
n
4 The Academy’s Neil Portnow and Majority
Leader Kevin McCarthy (R-Calif.)
3
2
4
n
5 Academy executives and members meet with Sen. Patrick
Leahy (D-Vt.) ahead of the Advocacy Day luncheon. (Back
Wayne Zahner, Chief Financial Officer, The
Recording Academy; Diane Blagman, senior director of
governmental affairs, Greenberg Traurig; Los Angeles
Chapter Board member Rodney Jerkins; Joshua Enriquez of
Jerkins’ Evolve Music Group; San Francisco Board Advisor
Ledisi Young; Recording Academy Chair John Poppo; and
Los Angeles Chapter member Chuck Ortner. (Front row,
l-r) Christine Albert, former Recording Academy Chair;
Leahy; Neil Portnow, President/CEO of The Recording
Academy; and Academy Chair Emeritus George J. Flanigen IV
row, l-r)
5
1
panelists
24
|
|
2015
n
1 GRAMMY winner and former Los
Angeles Chapter Board Member Ray
Parker Jr. says hello to The Academy’s
Neil Portnow as GRAMMYs on the Hill
Advocacy Day gets underway
2 It looks like a top-level summit when
n
Rep. Steny Hoyer (D-Md.) makes a point to
Recording Academy President/CEO Neil
Portnow during a GRAMMYs on the Hill
Advocacy Day meeting to discuss fairness
for music creators
1
2
3
n
3 GRAMMY advocates meet with Rep. Darrell Issa
(R-Calif.) to discuss fairness for music creators. (Seated,
from left) GRAMMY winner Kirk Whalum; The Recording
Academy’s Daryl P. Friedman; New York Chapter Trustee
Jennifer Blakeman; Eddie Money’s wife Laurie Mahoney; music
executive Jerry Blair; Issa; and recording artist Eddie Money
4 Todd Dupler, The Recording Academy’s Senior
n
Director of Advocacy & Public Policy, shares guidelines
for a successful lobbying day with GRAMMYs on the Hill
participants during the morning briefing
5 A GRAMMYs on the Hill Advocacy Day morning briefing
n
brings together (from left)
Wendi Cherry, Executive
Director of The Recording Academy’s Washington, D.C.
Chapter; Philadelphia Chapter Board member Ivan Barias;
San Francisco Board Advisor Ledisi Young; and Philadelphia
Chapter Board members Sarah Dash and Ted Reid
All photos on this page by Paul Morigi/WireImage.com
4
5
25
2015
GRAMMYs
on the Hill
A d v o c aCy D ay
6 Sen. Elizabeth Warren (D-Mass.) receives
n
her GRAMMY nominee medallion from
Recording Academy President/CEO Neil
Portnow at the close of her keynote remarks
at the GRAMMYs on the Hill Advocacy
Day morning briefing. Warren received a
nomination in the Best Spoken Word Album
category for 2014 for her audio recording
of her memoir, A Fighting Chance
6
n
7 Singer/songwriter/guitarist Ray Parker
Jr. (second from right) rallies GRAMMYs
on the Hill Advocacy Day participants with
a new version of his GRAMMY-winning hit
“Ghostbusters” with help from (l-r) Florida
Chapter Governor Leesa Richards, Florida
Chapter member Nicole Henry, Los Angeles
Chapter member Amy Keys, Academy
Trustee Mindi Abair, and Chicago Chapter
Governor Kem
8 As Advocacy Day closes on the steps of
n
Capitol, singer and San Francisco Board
Advisor Ledisi Young and saxophonist and
Los Angeles Chapter Trustee Mindi Abair
can’t resist indulging in a selfie
the
7
8
n
9 Rock singer/songwriter Eddie
Money (left) shakes hands with jazz/
gospel saxophonist Kirk Whalum in
front of (seated) Rep. John Conyers
Jr. (D-Mich.), while Conyers’ staff
director Perry Appelbaum and The
Academy’s Daryl P. Friedman look on
n
10 Rep. Sheila Jackson Lee (D-Texas)
GRAMMY-winning saxophonist/
Kirk Whalum during one
of the lawmaker’s meetings with
Recording Academy advocates on
Capitol Hill
greets
composer
All photos on this page by Paul Morigi/WireImage.com
9
10
26
|
|
2015
GRAMMYs In My District 2015
Second Annual Advocacy Day an unprecedented success
Oct. 14, 2015 • U.S.A.
Ed Rode/WireImage.com
Nashville Chapter Town Hall • The Barn Studio
Rep. Marsha Blackburn (R-Tenn.) joins members of The Academy’s Nashville Chapter during a GRAMMYs in My District Town Hall meeting. (from left) Jacquire King,
Courtney White, Keith Thomas, Nashville Chapter Executive Director Alicia Warwick, Steve Emley, Craig Campbell, Brett James, Blackburn, Nashville Chapter President
Shannon Sanders, Julian King, and Nashville Director of Member Services Leah LaRocco
Rep. Marsha
Blackburn (R-Tenn.), one
of the co-sponsors of
the Fair Play Fair Pay
Act Of 2015, speaks with
Academy advocates
Craig Campbell,
Chapter President
Shannon Sanders, and
Steve Emley confer
during the GRAMMYs in
My District meeting
8 Nashville Chapter
members
27
A
fter a successful launch in 2014, The Recording Academy’s
second annual GRAMMYs in My District Day on Oct. 14,
2015, more than exceded expectations with an unprecedented number of member registrations and meetings across
the country. With more than 1,650 registrations, GRAMMYs in My District
Day 2015 saw Academy members meet with congressional representatives in their home districts in a variety of settings, from individual meetings at representatives’ offices to large town hall-style group meetings
held at local recording studios. To mark the occasion, Daryl P. Friedman, The Recording Academy’s
Chief Government, Industry & Member Relations Officer, made an appeal
to Congress to make needed changes to laws impacting creators in an
editorial in Washington, D.C., news outlet Roll Call.
The Academy’s one-day advocacy event also drew coverage from a
wide range of media outlets, including those that reported on GRAMMY
Creators Alliance co-founder Steven Tyler’s Huffington Post op-ed on
music advocacy issues. Coverage for the unique grassroots advocacy campaign appeared via SongwritingAndMusicBusiness.com,
RockFeed.net and NME, among others. Washington trade group the
Copyright Alliance featured GRAMMYs in My District in its weekly
copyright news roundup, while popular Portland, Ore.-based radio
program “The Future Of What” devoted a show to the event.
In addition, Academy members posted editorials in local media:
Florida Chapter Governor Regina Kelland penned a letter to the editor
in the Tampa Bay Times; San Francisco Chapter Governor David
Glasser wrote to the Denver Post; Michael Freeman, a GRAMMYwinning producer and engineer and a past President, Trustee and
Governor of the Chicago Chapter, in The Daily Herald; and Gregory
Blodie Davis, a New Orleans-based performer and composer, in The
New Orleans Advocate.
Mike Coppola/WireImage.com
New York Chapter Town Hall • Jungle City Studios
The Academy’s New York Chapter Executive Director
Nick Cucci, New York Chapter Vice President Ben Allison,
Rep. Jerrold Nadler (D-N.Y.), New York Chapter Secretary
Judy Tint, singer/songwriter Tom Chapin, and TV writer/
producer Norman Lear
Members of the New York Chapter discuss the need for music legislation reforms
with Rep. Jerrold Nadler (D-N.Y.) (left)
Ben Allison, Tom Chapin, and Judy Tint perform for
GRAMMY advocates and Rep. Jerrold Nadler (D-N.Y) during
the New York Chapter’s GRAMMYs in My District town hall
28
|
|
2015
GRAMMYs in My District 2015
Recording Academy members across the country
raise the banner for music creators
Minnesota
Washington
Oregon
Chicago
San Francisco
Colorado
New Mexico
Nevada
OKlahoma
Los Angeles
California
Texas
29
GRAMMYs in My District Day, Oct. 14, 2015, saw members of The Recording Academy from
hundreds of voting districts meet with their congressional representatives to ask for support of
pro-creator legislation. They also took to social media to document their visits. The following
photos are a sampling of the many they posted using #GiMD.
New York
Michigan
Rhode Island
Pennsylvania
New Jersey
Illinois
Maryland
Philadelphia
Memphis
Washington, D.C.
Tennessee
Georgia
Atlanta
FLORIDA
30
|
|
2015
House Judiciary Committee Announces
Copyright Listening Tour
courtesy of The Recording Academy
O
The Recording
Academy’s Todd
Dupler joins
songwriter/producer
Matt Serletic during
a House Judiciary
Committee’s tour
stop at UCLA in
Los Angeles
(l-r) Reps.
Blake Farenthold
(R-Texas), Darrell
Issa (R-Calif.), Bob
Goodlatte (R-Va.),
and Jerrold Nadler
(D-N.Y.) listen to the
discussion during
UCLA copyright
roundtable
courtesy of UCLA Government Relations
the
n Sept. 10, 2015, House Judiciary Committee Chairman Bob Goodlatte (R-Va.) and
Ranking Member John Conyers Jr. (D-Mich.)
announced that the House Judiciary Committee would launch a national “listening tour” as part of
the committee’s comprehensive copyright review. The committee’s decision to take the copyright conversation out of Washington, D.C., echoes the U.S. Register
of Copyrights Maria Pallante’s series of creator roundtables facilitated by The Recording Academy. During her
copyright review hearing testimony on April 29, Pallante
told the House Judiciary Committee that the meetings
with Academy creators in various cities were “inspiring.”
The House Judiciary Committee kicked off its tour with
a Sept. 29 meeting in Nashville, Tenn. It followed with
West Coast roundtables on Nov. 9 and Nov. 10. The former roundtable was held at Santa Clara University and
included cellist and past GRAMMYs on the Hill participant
Zoë Keating. Participants in the Nov. 10 roundtable at UCLA
included GRAMMY-winning songwriter/producer Matt
Serletic and entertainment attorney Dina LaPolt. During
the session, Goodlatte questioned Salem Communications VP/GM Terry Fahy on the issue of terrestrial radio
performance rights. When Fahy argued that streaming
rates are too high for radio to make new investments,
Goodlatte responded by highlighting that radio already
pays nothing for terrestrial radio broadcasts and asked
if broadcasters would be willing to make a deal to finally
resolve the issue. Goodlatte was joined by Reps. Darrell
Issa (R-Calif.) and Jerrold Nadler (D-N.Y.) in challenging
the broadcast radio rep. Other topics discussed at the roundtables included the
DMCA safe-harbor provisions, ad-supported and searchsupported piracy, and reform of the U.S. Copyright Office. The House Judiciary Committee first launched its
extensive review of copyright back in 2013, a process
that has included a number of hearings on various
aspects of the law. The Recording Academy has observed
and participated in the process, with GRAMMY-winning
composer Maria Schneider providing testimony on the
notice-and-takedown process in March 2014, and
Recording Academy President/CEO Neil Portnow testifying on music licensing in June 2014.
31
The Recording Academy
Files Further Comments On
Consent Decrees
Frazier Harrison/Getty Images
Luke Laird
Ricky Reed
Kevin Winter/WireImage.com
Harvey Mason Jr.
courtesy of Maureen “Mozella” McDonald
Greg Kurstin
n Nov. 20, 2015, The Recording Academy filed comments with the
U.S. Department of Justice as the department continues to consider modifications to the ASCAP and BMI consent decrees. In this,
the second set of comments filed since the DOJ launched its
review, The Academy responded specifically to the question of partial or fractional licensing by performing rights organizations.
The filing makes clear The Recording Academy does not support the granting
of 100 percent licenses for works created through collaboration, rather than the
current practice of fractional licensing. Requiring performing rights organizations
to license an entire work, even when the PRO only holds partial rights to the
work, means that a songwriter’s work could be licensed by another PRO with
whom the songwriter has no relationship. This would have a negative impact on
the creative process, whereby songwriters would have to consider the PRO
affiliation of a potential songwriting partner before agreeing to work together.
This in turn would inhibit the creative process.
The Recording Academy’s filing was further distinguished by bearing the signatures of several prominent songwriters, including Evan Bogart, Jason Evigan,
Wayne Hector, Rodney “Darkchild” Jerkins, Emanuel Kiriakou, Savan Kotecha,
Greg Kurstin, Luke Laird, Harvey Mason Jr., Maureen “Mozella” McDonald,
Ricky Reed, and Ryan Tedder. These creators can personally attest to how the
ability to collaborate with whomever they choose will be curtailed should the
DOJ grant 100 percent fractional licensing.
The Department of Justice is expected to conclude its two-year review of the
PRO consent decrees in 2016.
Rodney “Darkchild” Jerkins
courtesy of Luke Laird
courtesy of Greg Kurstin
Savan Kotecha
courtesy of Ricky Reed
Emanuel Kiriakou
Wayne Hector
Jason Evigan
courtesy of Savan Kotecha
courtesy of Emanuel Kiriakou
Evan Bogart
O
courtesy of Wayne Hector
courtesy of Jason Evigan
courtesy of Jerome DuChange
The Academy advises DOJ against 100 percent licenses
Maureen “Mozella” McDonald
Ryan Tedder
32
|
|
2015
The Recording Academy’s
Advocacy & Public Policy Office
I
n 1998 The Recording Academy established an office in the nation’s capital, seeking to amplify the
voice of music creators in national policy matters. Today, called the “supersized musicians lobby” by
Congressional Quarterly, The Academy’s Advocacy & Public Policy office in Washington, D.C.,
is the leading representative of the collective world of recording professionals — artists, songwriters,
producers, and engineers — through its GRAMMYs on the Hill initiatives. From Washington state to
Washington, D.C., the Advocacy & Public Policy office partners with The Academy’s 12 Chapters to
advocate for the local music community. The Recording Academy achieves its policy goals through
advocacy, education and dialogue. Programs include:
ADVOCACY
•GRAMMYs on the Hill Awards and Advocacy Day bring hundreds of music creators to Capitol Hill for an awards
ceremony honoring artists and legislators who have improved the environment for music, followed by a grassroots
lobby day during which Academy members meet with their members of Congress.
•In 2014 GRAMMYs in My District was launched to bring music creator advocates to local offices of elected officials.
• Congressional testimony by numerous Recording Academy leaders who have served as expert witnesses before
key congressional hearings determining music policy. Among them are Recording Academy President/CEO Neil
Portnow and GRAMMY-winning jazz and classical artist Maria Schneider.
•The GRAMMY Creators Alliance was launched in February 2015 to help today’s leading artists, songwriters and
studio professionals be a powerful voice in shaping music’s future.
EDUCATION
•The annual Advocacy Year In Review serves as a roundup of the year’s Advocacy & Public Policy objectives
and successes. An educational tool for music professionals and policymakers alike, the publication can also be
accessed online via www.grammy.org/advocacy.
•Through its online Advocacy Action tool, Academy members can contact federal, state and local government
officials to advocate for pro-music policy. Social media engagement via Facebook (GRAMMYAdvocacy) and Twitter
(@GRAMMYAdvocacy) provide real-time updates on policy matters.
•The Recording Academy works closely with the Recording Arts and Sciences Congressional Caucus, co-chaired
by House Majority Leader Kevin McCarthy (R-Calif.) and House Minority Whip Steny Hoyer (D-Md.). In conjunction
with the caucus, The Academy produces congressional briefings and events to educate policymakers.
DIALOGUE
•The GRAMMY Industry Roundtable series brings together policy leaders and music professionals to discuss critical
issues in a private, off-the-record setting.
•The GRAMMY Music Leaders Retreat was co-founded by The Recording Academy and co-hosted by Neil Portnow.
During this semiannual gathering, major music association leaders discuss common legislative goals and important
community issues in an off-the-record setting.
•GRAMMY Town Halls are focused sessions for Academy members featuring special guests to discuss Advocacy
goals and initiatives.
For more information about Advocacy & Public Policy at The Recording Academy, visit www.grammy.org/advocacy.
529 14 t h S t r e e t NW., S t e 840 • W a s h i n g t o n , D.C. 20045 •
www.grammy.com/advocacy

2015 - The Recording Academy

Transcription

Similar documents

milton keynes bowl pendulum

The David Beckham Academy

leadership - Ursuline Academy

COLUMBUS ACADEMY DAY AT LYND FRUIT FARM

The Sankofa Series - Mahmoud El-Kati

18.08.10 | Workshop: Puzzling with peaks (“Puzzelen met pieken”)

2010 - New York Academy of Art

Eclaro Academy PDF

Newsletter for the 10/01/2014

Bio Magdalena Owczarek Pologne / Lodz