ADVOCACY YEAR IN REVIEW 2015

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Moving Music Advocacy & Public Policy Advancing the rights of music Advocacy Year in Review 2015 creators through advocacy, | education and dialogue Moving Music 529 14th Street NW, Ste 840 2 , President/CEO Washington, D.C. 20045 Phone | 202.662.1285 The Power Of Partnership Email | [email protected] www.grammy.com/advocacy 3 Daryl P. Friedman, Chief Industry, Government & Member Relations Officer

Follow us on welcome Back Congress www.facebook.com/GRAMMYAdvocacy 4 The Band Perry joins The Academy for musical briefing www.twitter.com/@GRAMMYAdvocacy friendlier Skies For Musicians The FAA finalizes rules for flying with instruments Chief Industry, Government & 6 Member Relations Officer Daryl P. Friedman graMMY Week Advocacy Special guests enliven advocacy, education briefings ahead of Music’s Biggest Night Senior Director, Advocacy & Public Policy 7 Todd Dupler register Of Copyrights Continues Roundtables Manager, Advocacy Content & Communications Maria Pallante travels to Chapters for copyright discussions Janine Coveney 10 Executive Assistant graMMY Creators Alliance Launches Lindsey Taylor 11 Advocacy coalition of artists, creators announced on 57th GRAMMY telecast Administrative Assistant, Advocacy & Membership Lacy Cowden Moving Music: Milestones In 2015 12 Todd Dupler, Senior Director, Advocacy & Public Policy

ADVISORS The Fair Play Fair Pay Act Of 2015 16 Landmark bill introduced just ahead of GRAMMYs on the Hill Legislative Consultant Diane Blagman 2015 GRAMMYs On The Hill Awards Advocacy Committee 17 Luminaries gather to salute creator champions Brandon Bush, Co-Chair Harvey Mason Jr., Co-Chair Peter Asher 2015 GRAMMYs On The Hill Advocacy Day Ann Mincieli 22 Recording Academy members stress fairness during advocacy day Nile Rodgers Dan Warner 2015 GRAMMYs In My District Grassroots advocacy day’s sophomore year exceeds expectations John Poppo 26 Neil Portnow Daryl P. Friedman congressional Copyright Review Goes On Tour Ex-Officio 30 House Judiciary Committee leaves Capitol Hill The Academy Files Comments With Justice Department Writers Organization shares views on PRO consent decrees Janine Coveney 31 Todd Dupler advocacy & Public Policy Office Editor Advancing the rights of music creators Courtney Kemp 32

Design Rikki Poulos Design COVER | (center) is presented with Artists’ Coalition Award by Neil Portnow and Pre-Press and Printing first Michelle Obama at the 2015 GRAMMYs on the Hill Awards on April 15| PHOTO: Paul Morigi/WireImage.com Challenge Graphics Tara Curtis 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. Editorial Assistance The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording Kiana Butler Arts & Sciences®, The Recording Academy®, GRAMMYs®, ®, ®, Latin Academy of Recording Arts Renée Fabian & Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY in the Schools®, and GRAMMY Foundation®. Tim McPhate © 2016 The Recording Academy. All rights reserved. Printed on recycled paper 2 | Advocacy Year in Review | 2015

Moving Music

Neil Portnow President/CEO

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. W And in many cases, the moving of music has been overdue. Now that many of the ’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 advo- cate 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 , 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

’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.” I 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 depart- ments joined forces to maximize members’ impact on the fight for creators’ rights. I have the privi- lege 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 engage- ment. 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 educa- tional 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 , performers and studio pro- fessionals — 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 advo- cates, 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 4 | Advocacy Year in Review | 2015

The Band Perry Joins The Recording Academy To Welcome Back Congress rown K

Event with Recording Arts & enny B

Sciences Congressional Caucus 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 draws lawmakers, staff 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.

n Jan. 13, 2015, the Advocacy & Public Policy Depart- ment hosted GRAMMY winners the Band Perry for a full day of activities on Capitol Hill that shone a spotlight on O 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 Visitor Center that drew dozens of Congress members and their staff. rown K enny B

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 com com . . mage mage I I ire ire /W /W origi origi M M aul aul P P

Reid Perry, Rep. Kevin McCarthy (R-Calif.), Kimberly Perry, Neil Perry, Reps. The Band Perry perform a song from their second , Pioneer, before Nancy Pelosi (D-Calif.) and Steny Hoyer (D-Md.), and The Academy’s Daryl P. an audience of Congress members and staff. Less than a month later, at the Friedman, onstage at the close of the Welcome Back Congress event 57th GRAMMY Awards, the Band Perry would receive their first GRAMMY Award in the Best Country Duo/Group Performance category for their tribute recording of “Gentle On My Mind” 5 com . mage I ire /W origi M aul P

Several members of Congress join the Band Perry onstage at the Capitol Visitor Center. Pictured from left are Reps. Blake Farenthold (R-), 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.) rown rown K K enny enny B B

The members of the Band Perry listen to Democratic Leader Nancy Pelosi (D-Calif.) House Majority Leader Kevin McCarthy (R-Calif.) takes time to meet with during their brief meeting. Pelosi spoke onstage at the Welcome Back Congress the Band Perry in his Washington, D.C., office event. She rushed to the Capitol Visitor Center from a meeting with President Barack Obama to encourage other lawmakers to support music creator legislation com . mage I ire /W rown rown origi K K M enny enny aul B P B

The Band Perry gives Rep. Steny Hoyer (D-Md.) a In between songs, Kimberly Perry discusses Reps. Tom Marino (R-Penn.) and Bob Goodlatte chuckle during a meeting before their performance. the Band Perry’s creative process and fair (R-Va.) speak with Neil, Kimberly and Reid Perry House Democratic Whip Hoyer is co-chair of the compensation for creators after the Welcome Back Congress event. Goodlatte Recording Arts & Sciences Congressional Caucus, is the Chair of the House Judiciary Committee, of which co-presented the event. (From left) Neil Perry, which Marino is a member Kimberly Perry and Hoyer 6 | Advocacy Year in Review | 2015

he year 2015 began with a victory for The Recording Academy, the American Federation of Musicians and other trade groups representing working musi- cians. With the U.S. Department of Transportation having issued new regu- T lations for flying with musical instruments in accordance with the FAA Modernization And Reform Act Of 2012, musicians received a welcome measure of The Academy assurance regarding their air travel plans. The Recording Academy and other stakeholders began the campaign several Helps Achieve 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 dur- Regulations ing the 2011 GRAMMYs on the Hill Advocacy Day, Congress passed the FAA Modernization And Reform Act Of 2012. Lobbying efforts continued, requesting the For Flying Department Of Transportation formally implement the law until the order was final- ized on December 30, 2014. With Effective March 6, 2015, for travelers using any domestic carrier, the new FAA rules provide for the safe transport of musical instruments by air. Instruments 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 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 . Large instruments as in-cabin cargo For an instrument that may be too large to stow in the overhead bin but too valuable or deli- cate to check with the rest of baggage, travelers may purchase a second seat to stow the instru- ment 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. cademy A Large instruments as checked luggage ecording R If an instrument is too large to carry on or occupy its own seat, an airline must accept he T of 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 (includ- ourtesy C ing the case) cannot exceed 150 inches and the weight cannot exceed 165 pounds. If Academy Trustee Dan Warner is ready for air travel with his the instrument exceeds these measurements, the airline may still accept it, but the air- guitar and FAA guidelines line 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

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 T 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/ 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 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 com . mage I ire /W uckner B ichael M

GRAMMY-winning producer and Academy Trustee Peter Asher, The Village CEO Jeff Greenberg and com . GRAMMY-winning songwriter Diane Warren attend mage I the Eighth Annual GRAMMY week event ire /W uckner B ichael M 8 | Advocacy Year in Review | 2015

ELI Luncheon Features Pro-Creator Remarks By New York Congressman Feb. 6, 2015 • Fairmont Hotel in Santa Monica, Calif. com 4Rep. Jerrold Nadler (D-N.Y.), Ranking Member of the House .

Judiciary Subcommittee on Courts, Intellectual Property and mage I

the Internet, delivers the keynote speech at the Entertainment ire /W Law Initiative Luncheon. During his remarks, Nadler challenged

the room full of attorneys and executives from diverse segments uckner of the music community to work together to advance meaningful B

music licensing legislation. He received a standing ovation ichael M

Member Briefing: “Behind The Scenes At The GRAMMYs” Feb. 7, 2015 • Staples Center In Los Angeles com . mage I ire /W arris H erod J

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 for 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.) com com com . . . mage mage mage I I I ire ire ire /W /W /W arris arris arris H H H erod erod erod J J J

members of Congress, their staff, and Congress members and staff hear from Reps. Sheila Jackson Lee (D-Texas) and Academy guests climb aboard a production songwriter and actress Pauley Perrette of “NCIS.” Hakeem Jeffries (D-N.Y.) listen as GRAMMY- truck for a special behind-the-scenes Included are Sheila Jackson Lee (D-Texas), Louie winning producer Hank Neuberger describes the GRAMMY briefing Gohmert (R-Texas), and Hakeem Jeffries (D-N.Y.), production facilities and process among others 9

Congressional Briefing: “Inside The Studio” Feb. 7, 2015 • The Village in Los Angeles com . mage I ire /W arris H erod J

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.)

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GRAMMY winner Elton John surprises members of Congress when he stops by The com . Village studios in Los Angeles during The Academy’s congressional briefing. (from left) mage I Reps. Marsha Blackburn (R-Tenn.), Joseph Crowley (D-N.Y.), Debbie Wasserman Schultz ire

/W (D-Fla.), John, and Linda Sanchez (D-Calif.) arris H 3Graham Nash (center), greets Reps. Louie Gohmert (R-Texas) and erod

J Marsha Blackburn (R-Tenn.) com . mage I ire /W arris H erod J

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.) 10 | Advocacy Year in Review | 2015

Register Of Copyrights Continues Roundtables With GRAMMY Chapters Creators tour coincides with federal copyright reviews

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 Iget 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 out- look for copyright reform in Congress and continued to express her apprecia- tion to The Academy for providing the forum for her to dialogue directly with working music creators. The Academy was especially gratified to read the

ongress Copyright Office study “Copyright And The Music Marketplace,” released in C of February 2015. The music study reflects many of the recommendations made

ibrary by The Recording Academy on behalf of the songwriters, performers and stu- L he T dio professionals it represents. of

The U.S. Register of Copyrights’ creators tour also coincided with the House ourtesy C 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, 5The Recording Academy’s Advocacy & Public Policy team presents hundreds of letters from Academy members supporting hearing on copyright, held just two weeks after GRAMMYs on the Hill, Pallante copyright reform to the U.S. Copyright Office leadership. hailed the Fair Play Fair Pay Act as “an excellent legislative framework” for (from left) Jacqueline Charlesworth, Associate Register of Copyrights; Maria Pallante, Register of Copyrights; and The addressing music reform and called attention to its proposed performance right Academy’s Daryl P. Friedman and Todd Dupler for terrestrial radio, saying, “It’s indefensible as a matter of law and embarrass- 6The Register of Copyrights visits with members of the ing as a matter of policy” that terrestrial radio does not pay creators when their Nashville Chapter on June 24. (from left) Matt Maher, Better Than Ezra’s Kevin Griffin, Brandon Heath, The Academy’s Laura songs are played. The Register also called special attention to her meetings Segura Mueller, Maria Pallante, Band of Horses’ Bill Reynolds, with Recording Academy members through The Academy’s creator roundta- guest, John McBride, Martina McBride, The Academy’s Todd bles, labeling the events as “inspiring” in terms of understanding the scope and Dupler, Chapter Executive Director Alicia Warwick, Trustee Jeff Balding and Chapter President Shannon Sanders application of copyright in the real world. com . mage I ire /W reedon B rederick F 11

GRAMMY Creators Alliance Launched At GRAMMY Awards Historic collective amplifies voices of creators in music activism

uring the 57th Annual GRAMMY Awards on Feb. 8, 2015, which was broadcast to an audi- ence of more than 25 million on CBS, Neil Portnow, President/CEO of The Recording Academy, was joined onstage by GRAMMY winners Jennifer Hudson and to Dmake 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 | Advocacy Year in Review | 2015 Moving Music: Milestones In 2015 Todd Dupler Senior Director, Advocacy & Public Policy

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 com- Ipensation for music makers, while federal agencies looked at myriad issues affect- ing 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 royal- ties to the producer. SoundExchange voluntarily accepts letters of direction and pro- vides 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 permis- sion from featured artists or their heirs to receive appropriate royalty payments. The AMP Act would provide a consistent, permanent process by which studio profession- als 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 real- time advocacy to support the AMP Act using The Academy’s online action tools. 13 com . 4Alex Da Kid, The Academy’s Daryl mage Friedman, former Academy Chair I ire

Christine Albert, John Alagia, and /W pose before the GRAMMY

Producers On the Record panel aagensen discussion at South by Southwest on H asha

March 19, 2015, in Austin, Texas S

Music Moves Top Copyright Official legislative progress. In New York, just two days before hundreds of The spotlight of GRAMMY Week also served as an ideal time for music creators blanketed Capitol Hill, Reps. Jerrold Nadler (D-N.Y.) the U.S. Copyright Office to release their highly anticipated music and Marsha Blackburn (R-Tenn.) announced the introduction of the licensing study. The detailed study reflects many of The Recording Fair Play Fair Pay Act Of 2015 (details on page 16). The timing of the Academy’s own recommendations to help guide music reform and bill’s introduction was no coincidence: It was designed to benefit address the needs of music creators. Specifically, the report embraces from the unparalleled ability of GRAMMYs on the Hill to reach mem- the principles of the AMP Act and proposes a uniform market-based bers of Congress. rate standard for all government royalty rates, federalization of pre- The Fair Play Fair Pay Act addresses a number of issues to ensure 1972 recordings and a public performance right for sound recordings fair compensation for artists and performers. Notably, it marks the first on terrestrial radio. In addition, the study agreed with several of The time in six years that legislation has been formally introduced to fix the Academy’s recommendations for improving the licensing process for terrestrial radio loophole that prevents artists from getting paid when songwriters, including bundling public performance and mechanical their music is used by broadcasters. While newer digital radio plat- rights for songwriters to streamline licensing. The report also echoes forms are required to license sound recordings and pay for their use, The Academy’s comments that transparency for music creators the terrestrial radio format is still stuck in the past in how it pays artists should be addressed in any update to music licensing. and producers. This loophole, which dates back decades, makes the Perhaps most importantly, the Copyright Office report embraces multibillion dollar broadcast radio industry the only industry in America The Academy’s firm position that music licensing reform requires a that can exploit someone else’s intellectual property without permis- comprehensive legislative solution. The report states “the [Copyright] sion and without compensation. To add further insult to injury, the lack Office has underscored the need for a comprehensive approach to 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 copyright review and revision generally. This is especially true in the countries that don’t require terrestrial radio to compensate music cre- case of music licensing — the problems in the music marketplace ators. As a result, American artists annually lose tens of millions of need to be evaluated as a whole, rather than as isolated or individual dollars in foreign royalties that are collected overseas but never paid concerns of particular stakeholders.” because the United States does not reciprocate for foreign artists. On April 29, 2015, when U.S. Register of Copyrights Maria Pallante Extending the performance right to AM/FM radio is always met with testified before the House Judiciary Committee in the final copyright stiff resistance from the big broadcasters and their army of Washington law hearing of its two-year series, she urged Congress to act swiftly lobbyists, but the Fair Play Fair Pay Act removes their favorite political on music licensing reform. Pallante also singled out The Recording argument. For years, major radio corporations have gone to Capitol Hill Academy for praise, noting that her series of creator roundtables at hiding behind small local broadcasters, claiming that compensating art- various Academy Chapters had been “the most inspiring part” of ists for their music would put local stations out of business. The Fair copyright review for her. The roundtables, which began in 2014, were Play Fair Pay Act puts the focus squarely on “big radio” by allowing The Recording Academy’s response to Pallante’s expressed desire to small broadcasters, public and noncommercial stations to pay a low, meet firsthand with music creators about their concerns. 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 GRAMMYs On The Hill Moves Major noncommercial stations would pay $100 a year to license music. Music Legislation The Fair Play Fair Pay Act also takes other steps to harmonize Also in April, GRAMMYs on the Hill, The Academy’s signature and rationalize music licensing for all radio platforms. Currently, each advocacy event in Washington, D.C., provided another stimulus for radio platform is treated differently under the law. While AM/FM 14 | Advocacy Year in Review | 2015 com . Neil Portnow, with mage

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radio pays nothing for sound recordings, satellite radio and cable small amounts of ivory. On July 25, 2015, President Obama radio platforms pay royalties below fair market value. Internet radio announced new regulations to restrict the domestic ivory trade. companies pay royalties at a rate that is supposed to mimic or As a result of The Academy’s efforts, the new rules include approximate rates established in the free market under what is important accommodations for these existing musical instru- called the “willing buyer, willing seller” standard. The Fair Play Fair ments. Specifically, they would reverse a restriction on travel with Pay Act would bring all radio platforms, regardless of the technol- musical instruments containing ivory and provide certain limited ogy used, under the “willing buyer, willing seller” standard so art- opportunities for ongoing domestic commerce in such musical ists are paid fair market value for their work. The bill also ensures instruments. In announcing the proposed rules, USFWS stated legacy artists are paid for sound recordings created before 1972, that it “consulted extensively with groups that may be impacted and it also includes the AMP Act. By bringing all of these issues by new trade controls for ivory, including professional musicians” under one bill, the Fair Play Fair Pay Act advances a holistic and said the proposal “recognizes that legal trade in these items approach to music licensing reform. 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 In the latter part of 2015, The Recording Academy, in col- audiences across the country and around the world. In March 2015 laboration with other members of the Policy new regulations by the U.S. Department of Transportation took Roundtable and the Arts Education Working Group, saw music effect to make it easier for musicians to travel with their instruments move into our schools in a rare bipartisan way as Congress (see details on page 6). Later in the summer, the Obama administra- passed a sweeping new bill to reform K–12 education, the first tion made additional, important accommodations to assist musi- of its kind in 14 years. The reauthorization of the Elementary And cians traveling overseas. Secondary Education Act, titled the Every Student Succeeds Additionally, President Barack Obama and his administration Act, includes both music and the arts in the definition of a “well- have responded forcefully to combat the poaching of African ele- rounded education,” meaning music and arts programs will be phants and the trafficking of ivory, which has become a global eligible for critical Title I federal funding. On Dec. 10 President crisis and tragedy. Beginning in February 2014, when new restric- Obama signed the bill into law. Applauding the bill’s signing, tions were announced that affected musical instruments, The Academy President/CEO Neil Portnow stated, “We know that Academy and its partners in the broader music community have integrated music education during formative years makes a sig- worked diligently to educate the administration, and in particular nificant difference in helping students learn in all areas of study the U.S. Fish and Wildlife Service, regarding the unintended and creates a strong foundation for future generations of music impact the restrictions could have on working musicians who pos- creators and music industry professionals.” sess pre-existing, legally crafted musical instruments containing 15

“Through the strength of our membership, GRAMMYs in My District demonstrated that music creators live everywhere.”

The Texas Chapter visits with the governor at 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, cademy cademy A Texas Chapter Senior Executive Director A Theresa Jenkins, and Todd Dupler, Senior ecording Director, Advocacy & Public Policy ecording R R the the

8 GRAMMY winner Gary Clark Jr. of of

shows his support of GRAMMYs in My District at the Austin City Limits ourtesy ourtesy C Festival on Oct. 11, 2015 C

Songwriters Move To Protect strength of our membership, GRAMMYs in My District demonstrated Creative Freedom that music creators live everywhere and are passionate about the message of enacting music reform to provide fair compensation for all In November 2015 The Recording Academy continued its commit- ment to move the U.S. Department of Justice to update and reform the music makers — songwriters, performers and studio professionals. consent decrees that govern ASCAP and BMI so songwriters can secure fair compensation for their work. ASCAP and BMI, two of the LOCAL & STATE ADVOCACY CONTINUES THROUGH performing rights organizations relied upon by songwriters and com- THE CHAPTERS posers to collect royalties for public performances, are restricted by GRAMMYs in My District was a shining example of what the consent decrees issued by the DOJ that date back to 1941. These Academy’s 12 Chapters can do to engage members in advocacy on outdated decrees have failed to keep pace with changes in technology a grand scale in one day. But the Chapters stayed involved in advo- and the music marketplace and constrain the PROs from securing fair cacy throughout the entire year. Town Halls were held in Los Angeles, market pay. In 2014 the DOJ initiated a review of the consent decrees, New York, and to educate members about the issues recognizing that reform may be appropriate. But in 2015, the agency affecting them in Washington and to inspire them to get involved. The suggested changes to the consent decrees that would actually do more Chapter used its summer celebration to conduct outreach to harm to songwriters. On Nov. 16 The Recording Academy — joined by local lawmakers and promote advocacy. Our Chapters in Tennessee an all-star collection of songwriters, including Evan “Kidd” Bogart, and supported state coalitions aiming to protect fans from GRAMMY Creators Alliance member Ryan Tedder and Academy predatory ticketing practices. The Los Angeles and San Francisco Trustee Harvey Mason Jr. — filed comments with the Department of Chapters pressed the California governor to strengthen the tax credit Justice to illustrate how the proposed changes would limit the creative for music production related to film and television in the state. freedom of songwriters to collaborate. (Read more details about the Members of the Chapter testified before their city council filing on page 31.) 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 GRAMMYs In My District Moves on state legislators and the new governor. Music Everywhere On top of the many successes achieved in Washington, perhaps Because of the passion and commitment of our members, The the biggest advocacy success of 2015 took place outside of our Recording Academy moved music to new heights in the public policy nation’s capital. Music moved out of Washington in unprecedented arena. When music makers unite to make their voices heard, policy- ways on Oct.16, 2015, with GRAMMYs in My District. In only its sec- makers listen and the results are clear. While tremendous progress ond year, more than 1,650 members of The Recording Academy — has been made, much work remains. As music creators continue to reaching nearly 350 congressional districts — registered to participate raise their voices together on important issues, we will accomplish in this one-of-a-kind grassroots advocacy initiative. Through the great things in 2016. 16 | Advocacy Year in Review | 2015

F air Play Fair Pay Act Introduced In Time For GRAMMYs on The Hill Multipart bill addresses various creator issues April 13, 2015 • New York

n April 13, just two days before GRAMMYs on the Hill, Recording Academy President/CEO Neil Portnow joined an unprecedented gathering of music cre- ators alongside Reps. Jerrold Nadler (D-N.Y.) and Marsha Blackburn (R-Tenn.) Oto announce the introduction of the Fair Play Fair Pay Act Of 2015. Among the music luminaries on hand for the New York introduction were , Jonatha Brooke, Rosanne Cash, Elvis Costello, Marshall Crenshaw, Jack DeJohnette, Abdul “Duke” Fakir of Tops, Gloria Gaynor, Nona Hendryx of LaBelle, , Ray

FIRST Parker Jr., Martha Reeves, Ronnie Spector, Martha Wash, and Cassandra Wilson. Also music present were representatives from SoundExchange, SAG-AFTRA, the Content Creators Coalition, the Americana Music Association, and partners in the musicFirst Coalition. ourtesy C The Fair Play Fair Pay Act (H.R. 1733) addresses a number of music issues as 5Rep. Jerrold Nadler (D-N.Y.) gets a visit from GRAMMY winner Sheila E., who thanks him for his a step toward the kind of comprehensive reform The Academy has long sought. In support of music legislation particular, the bill would: 4Neil Portnow • establish a terrestrial performance right so that AM/FM radio competes on equal foot- celebrates the 2015 introduction ing with its Internet and satellite competitors com . of the Fair Play • Create platform parity so that all forms of radio, regardless of the technology they use, mage Fair Pay Act with I ire pay fair market value for music under the “willing buyer/willing seller” standard bill co-sponsors, /W Reps. Marsha • Protect small radio stations by capping royalties for stations with less than $1 million

Blackburn and orporan

C in annual revenue at $500 per year (and at $100 a year for non-commercial stations) Jerrold Nadler • Secure royalties for recordings made prior to 1972 argarita M • Protect songwriter royalties

4Ted Kalo, • incorporate the recent AMP Act to provide payments for producers executive director Three days after the introduction, Recording Academy members participated in of the musicFIRST

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I lawmakers, asking them to add their support to the Fair Play Fair Pay Act.

and ire singer Cyndi Lauper /W 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 orporan C of additional music creators who have signed a statement in support of the legislation. argarita M

An array of music professionals, artists and creators join musicFirst Coalition partners — including The Recording Academy — for the Fair Play Fair Pay Act announcement by Reps. Jerrold Nadler and Marsha Blackburn com . mage I ire /W orporan C argarita M 17 2015 GRAMMYs on the Hill

AWA R D S APRIL 15, 2015 • Washington, D.C.

3GRAMMYs on the Hill 2014 honorees democratic leader Nancy Pelosi (D-Calif.) and House Majority Leader Kevin McCarthy (R-Calif.); 2015 com . GRAMMYs on the Hill honorees Jerrold mage I ire Nadler (D-N.Y.) and /W Alicia Keys; and The origi

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he 2015 presentation of GRAMMYs on the Hill on April 15 in Washington, GRAMMY Winner D.C., benefited from the synergy of recently proposed legislation such as the Fair Play Fair Pay Act, heightened attendance among Academy Alicia Keys and T members and lawmakers, and a surprise White House presenter whose appearance dropped mouths in the packed Hamilton Live theater. Reps. Goodlatte, Singer/songwriter Alicia Keys, a 15-time GRAMMY winner and founding mem- ber of the newly launched GRAMMY Creators Alliance, was presented with the Nadler Feted Recording Artists’ Coalition Award by none other than first lady — and surprise guest — Michelle Obama. House Judiciary Chairman Bob Goodlatte (R-Va.) and Creators, lawmakers celebrate Ranking Member of the House Judiciary Subcommittee on Courts, Intellectual moving music policy forward Property and the Internet Jerrold Nadler (D-N.Y.) were also honored for their ongo- ing 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 side- men featuring GRAMMY-winning saxophonist Kirk Whalum and Academy Trustees Brandon Bush, Tammy Hurt, Michael Romanowski, and Dan Warner. 18 | Advocacy Year in Review | 2015 2015 GRAMMYs on the Hill

AWA R D S com . mage I ire /W origi M aul P com Democratic leader Nancy Pelosi (D-Calif.) . joins hands with 2015 GRAMMYs on the Hill mage I

honoree Alicia Keys on the red carpet ire /W origi M aul P 4Honoree 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) remarks at the awards and producer Rodney dinner, where SESAC was Jerkins (right) the main sponsor com . mage I ire /W origi M aul P com . mage I ire /W ogel com . V eigh mage L I ire

American Authors’ Zac Barnett performs on guitar with several /W

members of Congress, including (left to right) Reps. Judy Chu origi M (D-Calif.), Rick Nolan (D-Minn.), Ann McLane Kuster (D-N.H.), Billy aul P Long (R-Mo.), Ted Deutch (D-Fla.), Joseph Crowley (D-N.Y.), Lois Frankel (D-Fla.), and Michelle Lujan Grisham (D-N.M.) Presenters (left) and former Academy Chair Christine Albert with 2015 honoree Bob Goodlatte (R-Va.), chairman of the House Judiciary Committee 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 chools award to student laire

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4Rep. 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 com . mage I ire /W origi M aul P 20 | Advocacy Year in Review | 2015 com . mage I ire /W ogel V eigh L

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 com . mage I ire /W origi M aul P

Singer/songwriter Ledisi performs in tribute to honoree Alicia Keys during the awards celebration

GRAMMY-winning saxophonist Kirk Whalum performs well-known horn lines from and hits during the musical sidemen demonstration, with Academy Trustee Michael Romanowski backing on bass com . mage I ire /W origi M aul P com . mage I ire /W ogel V eigh L

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4Singer/songwriter Angela Hunte performs “,” the 2015 GRAMMY-winning song she co-wrote GRAMMYs with Alicia Keys on the Hill

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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 6First Lady Michelle com for “Empire State Of Mind” . Obama presents reators mage GRAMMY C I

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guitar lead a sing-along session of their song “Best Day Of My Life” with aul P 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.) 22 | Advocacy Year in Review | 2015 2015 GRAMMYs on the Hill AdvocaCy Day 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

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 Nbriefing 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. com . mage I ire /W ogel V eigh L

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

n1 (l-r) George J. Flanigen IV, Chair Emeritus of 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

n2 Getting ready for a day of Capitol Hill 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

n3 Attendees at the morning briefing benefit from the Capitol Hill experience of panelists Diane Blagman, Senior Director of Governmental Affairs, Greenberg Traurig; former Sen. Tim Hutchinson (R-Ark.); and former Rep. Albert Wynn (D-Md.)

com he cademy s eil ortnow and ajority . n4 T A ’ N P M Leader Kevin McCarthy (R-Calif.) mage I ire /W origi M

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n5 Academy executives and members meet with Sen. Patrick Leahy (D-Vt.) ahead of the Advocacy Day luncheon. (Back row, l-r) 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 com . Los Angeles Chapter member Chuck Ortner. (Front row,

mage l-r) Christine Albert, former Recording Academy Chair; I ire Leahy; Neil Portnow, President/CEO of The Recording /W Academy; and Academy Chair Eme ritus George J. Flanigen IV origi M 5 aul P 24 | Advocacy Year in Review | 2015

n1 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

n2 It looks like a top-level summit when 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 n3 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; Jerry Blair; Issa; and recording artist Eddie Money n4 Todd Dupler, The Recording Academy’s Senior Director of Advocacy & Public Policy, shares guidelines for a successful lobbying day with GRAMMYs on the Hill participants during the morning briefing n5 A GRAMMYs on the Hill Advocacy Day morning briefing 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

AdvocaCy Day

n6 Sen. Elizabeth Warren (D-Mass.) receives 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

n7 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 6 Chapter member Nicole Henry, Los Angeles Chapter member Amy Keys, Academy Trustee , and Chapter Governor Kem

n8 As Advocacy Day closes on the steps of the 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

7 8

n9 Rock singer/songwriter Eddie Money (left) shakes hands with / 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

n10 Rep. Sheila Jackson Lee (D-Texas) greets GRAMMY-winning saxophonist/ composer Kirk Whalum during one of the lawmaker’s meetings with Recording Academy advocates on Capitol Hill

All photos on this page by Paul Morigi/WireImage.com

9 10 26 | Advocacy Year in Review | 2015

GRAMMYs In My District 2015 Second Annual Advocacy Day an unprecedented success

Oct. 14, 2015 • U.S.A.

Nashville Chapter Town Hall • The Barn Studio com . mage I ire /W ode R d E

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

8 Nashville Chapter members Craig Campbell, com com Chapter President . . mage mage Shannon Sanders, and I I Steve Emley confer ire ire /W /W

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My District meeting E E 27

fter a successful launch in 2014, The Recording Academy’s Creators Alliance co-founder Steven Tyler’s Huffington Post op-ed on second annual GRAMMYs in My District Day on Oct. 14, music advocacy issues. Coverage for the unique grassroots advo- 2015, more than exceded expectations with an unprece- cacy campaign appeared via SongwritingAndMusicBusiness.com, A dented number of member registrations and meetings across RockFeed.net and NME, among others. Washington trade group the the country. With more than 1,650 registrations, GRAMMYs in My District Copyright Alliance featured GRAMMYs in My District in its weekly Day 2015 saw Academy members meet with congressional representa- copyright news roundup, while popular Portland, Ore.-based radio tives in their districts in a variety of settings, from individual meet- program “The Future Of What” devoted a show to the event. ings at representatives’ offices to large town hall-style group meetings In addition, Academy members posted editorials in local media: held at local recording studios. Florida Chapter Governor Regina Kelland penned a letter to the editor To mark the occasion, Daryl P. Friedman, The Recording Academy’s in the Tampa Bay Times; San Francisco Chapter Governor David Chief Government, Industry & Member Relations Officer, made an appeal Glasser wrote to the Denver Post; Michael Freeman, a GRAMMY- to Congress to make needed changes to laws impacting creators in an winning producer and engineer and a past President, Trustee and editorial in Washington, D.C., news outlet Roll Call. Governor of the Chicago Chapter, in The Daily Herald; and Gregory The Academy’s one-day advocacy event also drew coverage from a Blodie Davis, a New Orleans-based performer and composer, in The wide range of media outlets, including those that reported on GRAMMY New Orleans Advocate.

New York Chapter Town Hall • Jungle City Studios com . mage I ire /W oppola C ike M

com he cademy s ew ork hapter xecutive irector . T A ’ N Y C E D Nick Cucci, New York Chapter Vice President Ben Allison, mage I

ire Rep. Jerrold Nadler (D-N.Y.), New York Chapter Secretary

/W Judy Tint, singer/songwriter Tom Chapin, and TV writer/ producer Norman Lear oppola C ike M Ben Allison, Tom Chapin, and Judy Tint perform for Members of the New York Chapter discuss the need for music legislation reforms GRAMMY advocates and Rep. Jerrold Nadler (D-N.Y) during with Rep. Jerrold Nadler (D-N.Y.) (left) the New York Chapter’s GRAMMYs in My District town hall com . mage I ire /W oppola C ike M 28 | Advocacy Year in Review | 2015

GRAMMYs in My District 2015 Recording Academy members across the country raise the banner for music creators

Washington Minnesota

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

Philadelphia Maryland

Memphis Washington, D.C. Tennessee

Georgia

Atlanta

FLORIDA 30 | Advocacy Year in Review | 2015

House Judiciary Committee Announces Copyright Listening Tour

n Sept. 10, 2015, House Judiciary Com- mittee Chairman Bob Goodlatte (R-Va.) and Ranking Member John Conyers Jr. (D-Mich.) Oannounced that the House Judiciary Com- mittee would launch a national “listening tour” as part of the committee’s comprehensive copyright review. The committee’s decision to take the copyright conver- sation out of Washington, D.C., echoes the U.S. Register of Copyrights Maria Pallante’s series of creator round- tables 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.”

cademy The House Judiciary Committee kicked off its tour with A a Sept. 29 meeting in Nashville, Tenn. It followed with ecording

R West Coast roundtables on Nov. 9 and Nov. 10. The for- he T

of mer roundtable was held at Santa Clara University and

included cellist and past GRAMMYs on the Hill participant courtesy Zoë Keating. The Recording Participants in the Nov. 10 roundtable at UCLA Academy’s Todd included GRAMMY-winning songwriter/producer Matt Dupler joins songwriter/producer Serletic and entertainment attorney Dina LaPolt. During Matt Serletic during the session, Goodlatte questioned Salem Communica- a House Judiciary Committee’s tour tions VP/GM Terry Fahy on the issue of terrestrial radio stop at UCLA in performance rights. When Fahy argued that streaming Los Angeles rates are too high for radio to make new investments, (l-r) Reps. Goodlatte responded by highlighting that radio already Blake Farenthold pays nothing for terrestrial radio broadcasts and asked (R-Texas), Darrell Issa (R-Calif.), Bob if broadcasters would be willing to make a deal to finally Goodlatte (R-Va.), resolve the issue. Goodlatte was joined by Reps. Darrell and Jerrold Nadler (D-N.Y.) listen to the Issa (R-Calif.) and Jerrold Nadler (D-N.Y.) in challenging discussion during the broadcast radio rep. the UCLA copyright roundtable Other topics discussed at the roundtables included the DMCA safe-harbor provisions, ad-supported and search- supported piracy, and reform of the U.S. Copyright Office. The House Judiciary Committee first launched its elations R extensive review of copyright back in 2013, a process that has included a number of hearings on various

overnment aspects of the law. The Recording Academy has observed

UCLA G and participated in the process, with GRAMMY-winning of

tesy composer Maria Schneider providing testimony on the

cour notice-and-takedown process in March 2014, and Recording Academy President/CEO Neil Portnow testify- ing on music licensing in June 2014. 31

The Recording Academy Files Further Comments On Consent Decrees The Academy advises DOJ against 100 percent licenses hange mages C I u ector vigan D E etty H /G yne a erome ason J J W of of of

arrison H tesy razier cour courtesy F courtesy Evan Bogart Rodney “Darkchild” Jerkins iriakou K otecha urstin aird K K L reg avan uke manuel L E S G of of of of

courtesy courtesy courtesy courtesy Emanuel Kiriakou Luke Laird onald D n Nov. 20, 2015, The Recording Academy filed comments with the c ” M U.S. Department of Justice as the department continues to con- ozella com . sider modifications to the ASCAP and BMI consent decrees. In this, “M mage I aureen

the second set of comments filed since the DOJ launched its ire M /W of O review, The Academy responded specifically to the question of partial or frac- origi M

tional licensing by performing rights organizations. aul P courtesy The filing makes clear The Recording Academy does not support the granting Harvey Mason Jr. Maureen “Mozella” McDonald 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 com work, means that a songwriter’s work could be licensed by another PRO with . eed R mage whom the songwriter has no relationship. This would have a negative impact on I ire icky R /W of the creative process, whereby songwriters would have to consider the PRO inter affiliation of a potential songwriting partner before agreeing to work together. W evin K courtesy This in turn would inhibit the creative process. Ryan Tedder The Recording Academy’s filing was further distinguished by bearing the sig- natures 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. 32 | Advocacy Year in Review | 2015

The Recording Academy’s Advocacy & Public Policy Office

n 1998 The Recording Academy established an office in the nation’s capital, seeking to amplify 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 IWashington, 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 14th Street NW., Ste 840 • Washington, D.C. 20045 • www.grammy.com/advocacy