Advocacy Year in Review 2014

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ADVOCACY YEAR IN REVIEW 2014

Harmony • Unity • Parity ADVOCACY YEAR IN REVIEW 2014 ADVOCACY & INDUSTRY RELATIONS | Advancing the rights of music creators through advocacy, education and dialogue The View From The Recording Academy Headquarters 2 Neil Portnow, President/CEO 529 14th Street NW, Ste 840 Washington, D.C. 20045 The View From Capitol Hill Phone | 202.662.1285 3 Daryl P. Friedman, Chief Advocacy & Industry Relations Officer Fax | 202.998.2653 Email | [email protected] GRAMMY Week Advocacy www.grammy.com/advocacy Advancing advocacy and education ahead of Music’s Biggest Night Follow us on 4 www.facebook.com/GRAMMYsOnTheHill www.twitter.com/TRAinDC The Recording Academy Represented At Congressional Hearings 6 The Recording Academy’s leadership, membership speak out on copyright CHIEF ADVOCACY & INDUSTRY RELATIONS OFFICER Daryl P. Friedman Bills Seek To Support Music Creators DIRECTOR OF GOVERNMENT RELATIONS 10 Equity for songwriters, artists and producers Todd Dupler The Recording Academy Puts Member Interests On The Record MANAGER, ADVOCACY CONTENT & COMMUNICATIONS Government studies set policies for decades to come Janine Coveney 12

EXECUTIVE ASSISTANT 2014 GRAMMYs On The Hill Crystal Hypolite 14 Music makers, lawmakers, and a “bus” to carry them 2014 GRAMMYs On The Hill ADVISORS 18 Recording Academy members stress fairness during advocacy day LEGISLATIVE CONSULTANT Diane Blagman GRAMMYs In My District Local grassroots advocacy day launched nationwide ADVOCACY COMMITTEE CHAIR 20 Harvey Mason Jr. The Academy Furthers Friendships In High Places GENERAL COUNSEL 22 Recording Academy members strengthen relationships Joel Katz with policymakers NATIONAL LEGAL COUNSEL Chuck Ortner Local Chapters Lead Tax Credit Charge Chapter advocacy advances tax credits for music production DEPUTY GENERAL COUNSEL 26 Bobby Rosenbloum The Recording Academy Influences Rulemaking 27 Traveling with instruments is focus of new regulations WRITERS Janine Coveney Advocacy & Industry Relations Office Todd Dupler 28 Advancing the rights of music creators EDITOR Melissa Blazek

DESIGN Photos courtesy of The Recording Academy, WireImage.com, and Getty Images except where designated. Rikki Poulos Design The GRAMMY® Award design is a trademark and service mark registered with the United States Patent and Trademark Office and PRE-PRESS AND PRINTING may not be reproduced without permission. Challenge Graphics Tara Curtis The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording Arts & Sciences®, The Recording Academy®, GRAMMY®, GRAMMY Awards®, GRAMMY Hall of Fame®, Latin Academy of ® ® ® ® EDITORIAL ASSISTANCE Recording Arts & Sciences , The Latin Recording Academy , MusiCares Foundation , GRAMMY Legend Awards , GRAMMY in the Schools®, and GRAMMY Foundation®. Kiana Butler im c hate T M P © 2015 The Recording Academy. All rights reserved.

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The View From Recording Academy Headquarters SANTA MONICA, CALIF.

Neil Portnow PRESIDENT/CEO

armony, unity, parity. These three concepts were at the heart of our Advocacy mission in 2014. “Harmony, unity, parity” was the theme of my April 3, 2014 Hcommentary in Washington media outlet Roll Call; the core of my keynote address at the 2014 GRAMMYs on the Hill Awards; and the essence of my statement as the opening witness at a congressional music licensing hearing last June. These words represent the right approach to policy as music advocates: We must coalesce around shared ideals with a common purpose in order to achieve goals that benefit all creators. In 2014 we saw key bills introduced in Congress that speak to important issues for our membership. The Songwriter Equity Act addresses fair-market rate setting for songwriter royalties. The RESPECT Act seeks to rectify the nonpayment of digital royalties to legacy, pre-1972 artists. As The Recording Academy continues to support the creation of a performance right, the Protecting the Rights of Musicians Act looks to prevent the same broadcasters who refuse to compensate performers for transmitting their music from earning compensation for the retransmission of their programming. The Recording Academy firmly supports these proposed bills. Yet Congress likely viewed these important bills as disparate pieces of legislation coming from competing — and divided — interests. In 2015 we must work to dispel this misperception. While it’s encouraging to see individual issues gain traction, now is the time to put the powerful concepts of “harmony,” “unity” and “parity” into play. It is still my belief that all players within the music community are stronger together than we are apart. Only through a unified effort, with all stakeholders combining our political firepower for greater impact, can we achieve the “parity” music creators so justly deserve. As you review this edition of Advocacy Year In Review, you will see the ways in which The Recording Academy strives to build bridges, strengthen ties, create harmony and foster unity throughout our industry. So join me in becoming part of a generation of visionaries who create a unified approach to the future of our business and be sure to participate in our many Advocacy initiatives throughout the year. Together we will work to construct the framework for the concept of fair-market payments for all creators.

Kind Regards,

Neil Portnow The View From Capitol Hill WASHINGTON, D.C.

Daryl P. Friedman CHIEF ADVOCACY & INDUSTRY RELATIONS OFFICER

own to the wire. We had been lobbying the Federal Aviation Administration to implement new rules for instrument travel — hard-earned by our Recording DAcademy members’ lobbying efforts. The government’s deadline was the end of the year. The rules were adopted on Dec. 30. And as you hold this publication in your hand, the rules are fully implemented and in place. I highlight this one victory amid a very busy 2014 for The Recording Academy and its Advocacy programs, not just because it ended the year on such a high note, but because this initiative is a perfect example of the power of grassroots lobbying. Musicians had long complained about the airlines’ inconsistent policies for fly- ing with instruments. This issue then became one of the key talking points for Academy advocates during the 2012 GRAMMYs on the Hill Advocacy Day. Soon after, Congress passed the FAA Modernization and Reform Act of 2012. The Recording Academy, working with our brothers and sisters at the Ameri- can Federation of Musicians, continued its push to see that the FAA issue rules were implemented on the ground. A July 2014 stakeholders meeting attended by representatives of The Academy discussed strategies to push the U.S. Department of Transportation for regulations to be officially issued. The final rulings were those issued at the end of 2014. The FAA’s new rules represent the very best of what organized grassroots lobbying by The Recording Academy can accomplish for its membership. I hope you will take pride in this and other Advocacy milestones from the year and continue to advocate for music creators in 2015 and beyond.

Sincerely,

Daryl P. Friedman 4 | ADVOCACY YEAR IN REVIEW | 2014

GRAMMY WEEK ADVOCACY

MARK SULLIVAN/WIREIMAGE.COM

Members of Congress meet with the Cyndi Lauper And Collaborators Dissect creators of the GRAMMY-winning “Kinky” Songs For Special Legislative Briefing “Kinky Boots” cast album. (Front row, l-r) Rep. Debbie Wasserman The Advocacy & Industry Relations team was delighted to have Schultz (D-Fla.), composer Cyndi Lauper, music director Stephen GRAMMY winner Cyndi Lauper and her musical theater collaborators on Oremus, and producer William hand to share the process of creating the cast album for the Broadway Wittman (Back row, l-r) Rep. Ted smash “Kinky Boots” during “Anatomy Of A GRAMMY-Nominated Deutch (D-Fla.), The Recording Academy’s Daryl P. Friedman, Reps. Track,” held Jan. 25, 2014. In addition to Lauper, who wrote the music Marsha Blackburn (R-Tenn.), John and lyrics for “Kinky Boots,” the panel discussion featured album Conyers Jr. (D-Mich.), Joseph Crowley (D-N.Y.), Linda Sánchez co-producers Stephen Oremus and William Wittman. Lauper gave a (D-Calif.), Jerry Nadler (D-N.Y.), striking demonstration of the development of a musical set piece by and Michael McCaul (R-Texas) playing an early song demo and contrasting it with the finished version as seen in a video from the final recording session. More than 20 Advancing Advocacy & Education Ahead Of Music’s Biggest Night

Washington lawmakers and staff attended the event at the Beverly Wilshire Hotel in Los Angeles to learn about the studio-to-stage process. Lauper and her collaborators took home the GRAMMY RECORDING ACADEMY for Best Musical Theater Album at the 56th GRAMMY Awards held the next day. FRIENDS ELEVATE LEADERSHIP U.S. House Leaders, Academy Leaders Convene For GRAMMY Town Hall Members of The Recording Academy leadership met with key leaders of the U.S. House of Representatives in Los Angeles just hours before presentation of The Academy’s Special Merit Awards Ceremony on Jan. 25, 2014. In this first-of-its-kind GRAMMY Town Hall, then-House Majority Whip Kevin McCarthy (R-Calif.) and House Democratic Caucus Vice Chair Joseph Crowley (D-N.Y.) fielded questions from Academy Trustees and Chapter Presidents, addressing issues of concern to music creators. In addition to sharing their views on music licensing policies, online COURTESY KEVIN MCCARTHY COURTESY JERROLD NADLER piracy and terrestrial performance rights, the two policymakers Two of The Recording Academy’s stalwart also gave an overview of congressional issues for the year. The session proved a great example of The Recording Academy’s rela- supporters on Capitol Hill advanced their tionships on Capitol Hill. standing during 2014. Rep. Kevin McCarthy (R-Calif.), who participated in the GRAMMY Hunter Hayes Greets Congressional Town Hall in Los Angeles during GRAMMY Week Delegates Backstage At Staples — and was also a recipient of a GRAMMYs on During the “Behind The Scenes At The GRAMMYs” the Hill Award in April — was elected House congressional briefing at Staples Center inLos Angeles on Jan. 26, Majority Leader in November after serving three 2014, GRAMMY-nominated artist Hunter Hayes was among those years as House Majority Whip. Rep. Jerrold who stopped to speak with visiting lawmakers and thank them for Nadler (D-N.Y.), another staunch friend of The their support of issues central to the livelihoods of music creators. Academy, was a special guest at the Designed to give members of Congress and their staff an up-close look at the preparation that goes into the GRAMMY Awards tele- Entertainment Law Initiative Luncheon during cast, the session included briefings by Recording Academy Trust- GRAMMY Week 2014. Nadler soon became ees Carlos Alvarez and Dan Warner on the unique challenges the top Democrat on the House Judiciary faced by studio engineers and producers. Subcommittee on Courts, Intellectual Property and the Internet, where he has played a pivotal role in a comprehensive review of copyright law. 6 | ADVOCACY YEAR IN REVIEW | 2014

THE ACADEMY REPRESENTED AT CONGRESSIONAL HEARINGS

Neil Portnow Drives MusicBus To Capitol Hill Recording Academy President/CEO Neil Portnow served as the lead witness during the “Music Licensing Under Title 17” hearing held before the U.S. House Judiciary Subcommittee on Courts, Intellectual Property and the Internet on June 10, 2014. Portnow asked the committee to keep the well-being of copyright holders in mind as they weigh issues concerning copyright reforms: “The framers gave authors the exclusive right to their works, for a time, in order to promote the progress of science and useful arts,” said Portnow. “As today’s hearing is focused on music licensing, we should, at the outset, remember who the ‘authors’ of music are. They are the songwriters and composers who create the very DNA of music.” Portnow also reintroduced The Academy’s omnibus music proposal during his testimony, noting several sections of the copyright law that can be updated through comprehensive omnibus legislation. “Now it’s time for a unified, holistic approach to music licensing. It’s time for a music omnibus bill, or MusicBus, for short. With copyright review underway, we need our industry and Congress to be visionary and create a unified approach for the future of our business. The MusicBus idea is really simple: fair-market pay, for all music creators, across all platforms,” said Portnow. Emphasizing music creators’ livelihoods and the need for a unified approach to reform, Portnow’s testimony set the tone for the rest of this pivotal hearing.

(Opposite page) Neil Portnow, President/CEO of The Recording Academy, gives his opening statement June, 10, 2014, at the House Judiciary IP Subcommittee’s hearing on Music Licensing Representatives of The Recording Academy’s leadership, membership speak out on copyright before Congress

NADLER COMMITTED TO INTRODUCING THE MUSICBUS In his opening statement during the June 10, 2014, hearing on music licensing, ranking Democratic IP subcommittee member Jerrold Nadler (D-N.Y.) told the committee that he supports the MusicBus concept and planned to write legislation in support of it. “If we are to rationalize the law and level the playing field, we must take a comprehensive approach,” he said. “At this year’s GRAMMYs on the Hill event, Neil Portnow — who is here with us today — called for the industry to coalesce behind a music omnibus, or ‘MusicBus.’ His call for unity was also echoed by Republican Whip Kevin McCarthy and Democratic Leader Nancy Pelosi, who both agreed that the time has come for Congress to address these issues in one package. I agree, and I pledge to take charge.” As the 113th Congress came to a close, Nadler reaffirmed his commitment to create legislation during the next Congress. 8 | ADVOCACY YEAR IN REVIEW | 2014

THE ACADEMY REPRESENTED AT CONGRESSIONAL HEARINGS

GRAMMY Winner Makes “Whac-A-Mole” Licensing Frustrations Clear Three-time GRAMMY winner Maria Schneider was the only music creator on the witness panel at a copyright review hearing on the notice and takedown provisions of the Digital Millennium Copyright Act, convened March 13, 2014, by the House Judiciary Subcom- mittee on Courts, Intellectual Property, and the Internet. Schneider, who has earned GRAMMYs in both the Jazz and Classical Fields for the music she composes and performs, was the only musician on a witness panel comprising corporate lawyers and law professors. In her opening testimony, Schnei- der gave an impassioned description of the real-world experience and frustrations she encounters while attempting to safeguard her music from online pirates and offered practi- cal solutions that could be enacted by Con- gress to better protect artists and creators in the future. During questioning, Schneider also dem- onstrated in no uncertain terms the unwieldy process Google offers to copyright holders to make a claim of infringement and You- Tube’s demonization of creators who suc- cessfully remove their works. The video of Schneider’s appearance as a star witness at the House Judiciary hearing became highly instructive viewing for both students of copyright law and champions of creators rights, as she gave one of the most clear-cut accounts of the dilemma faced by creators who are both beneficiaries

(Above) GRAMMY winner Maria and victims of the open Inter- Schneider holds up a screen net. In addition, Bloomberg capture explaining the process for notice and takedowns online name checked the session in during the March 13, 2014, House its “Top 113th Congressional Judiciary IP Subcommittee hearing on “Section 512 Of Title 17” Copyright Review Moments” as “Best Hearing: Whack-a-mole.” (Right) Congressman Jerrold Nadler, the ranking minority member of the House Judiciary IP Subcommittee, (left) greets Schneider after the music licensing hearing as Daryl Friedman, Chief Advocacy & Industry Relations Officer, looks on Representatives of The Recording Academy’s membership also raise copyright issues before Congress

Rosanne Cash Speaks Out For Struggling Creators Recording Academy member Rosanne Cash appeared before the House Judiciary IP Subcommittee to speak about needed copyright reforms that will impact how creators earn a living during a second music licensing hearing held June 25, 2014. The GRAMMY-winning singer/songwriter spoke passionately about the time, skill and collaboration required to create recorded music; the non-negotiable terms offered to creators by many Internet music services; and the diminishing compensation creators receive due to unfair licensing statutes. Todd Dupler, The Recording Academy’s Director of Gov- ernment Relations, was part of the preparation team for

Cash’s testimony. COURTESY ROSANNE CASH

(Above) GRAMMY winner Rosanne Cash gave memorable testimony during the second of two hearings on copyright before the House Judiciary Subcommittee on Courts, Intellectual Property and the Internet on June 25, 2014.

(left) In addition to Rosanne Cash, ASCAP’s Paul Williams, Pandora’s Chris Harrison, SoundExchange’s Michael Huppe, and Sirus XM’s David J. Frear also testified at the June 25, 2014, House Judiciary IP subcommittee hearing on music licensing. CHRIS WILLIAMS FOR SOUNDEXCHANGE 10 | ADVOCACY YEAR IN REVIEW | 2014

BILLS SEEK TO SUPPORT MUSIC CREATORS

Equity For Songwriters Rallying behind the songwriters who see very little return on the exploitation of their copyrights in the digital space, Rep. Doug Collins (R-Ga.) introduced H.R. 4079, the Songwriter Equity Act, at a Feb. 25, 2014, press conference on Capitol Hill attended by representatives of The Recording Academy. The bill proposes two updates to copyright law that will ensure competitive, fair-market royalty rates for songwriters and composers. More specifically, the bill would allow federal rate courts to consider all relevant market information when setting new royalty rates for the performance of musical works. It would also adopt a fair-market standard for the rates set by the Copy- right Royalty Board for the statutory licensing of musical works. The Recording Academy’s support and input were instrumental in creating legislation that benefits songwriters and protects the interests of performers, producers and engineers. A companion bill was introduced in the Senate on May 12, 2014, by Sens. Lamar Alexander (R-Tenn.), Bob Corker (R-Tenn.) and Orrin Hatch (R-Utah).

Academy President/ CEO Neil Portnow with ASCAP President

Paul Williams. LLOYD WOLF FOR SOUNDEXCHANGE Equity for songwriters, artists and producers

Leveling The Broadcast Playing Field For Intellectual Property Also supporting music creators in the broadcasting sphere was H.R. 4588, the Protecting the Rights of Musicians Act, which was introduced May 7, 2014, by Rep. Marsha Black- burn (R-Tenn.) and co-sponsored by Rep. Anna Eshoo (D-Calif.), both senior members of the House Energy & Commerce Committee. The legislation

stemmed in part from the ongoing LLOYD WOLF FOR SOUNDEXCHANGE refusal by terrestrial radio broadcasters to recognize a performance right, an issue long advocated by The Recording Academy The RESPECT Act is introduced at a special and other music stakeholders. H.R. 4588 proposes to prohibit media corporations that event on Capitol Hill that also launched the Project 72 campaign. Included in the own both television and radio broadcast entities from garnering any retransmission licens- presentation are manager Joyce Moore ing fees if the same broadcast company does not pay performance royalties to artists and her client husband, Sam Moore of Sam & Dave; Otis Redding’s daughter Karla played by its AM/FM radio properties. In other words, the bill prevents the same broad- Redding-Andrews; Roger McGuinn of The casters who refuse to compensate performers for transmitting their music, from earning Byrds; Mark Farner of Grand Funk Railroad; SoundExchange President/CEO Michael compensation for the retransmission of the broadcasters’ programming. Huppe; Rep. John Conyers (D-Mich.) (seated); Martha Reeves; Gene Chandler; Richie Furay of Buffalo Springfield and Poco; and Otis Veteran Performers Seek RESPECT On Digital Services Redding’s grandson, Jarrod Redding The advent of digital media has proven a boon for some performers because, unlike terrestrial radio, most online music services pay royalties to performers. However, music recorded before 1972 has been excluded from digital royalty schemes because of a loophole in the federal statutes. This has resulted in entire catalogs of classic American music being exploited on digital radio without compensation to the performers who made this legendary music great. Music stakeholder representatives — led by SoundExchange, legacy performers and such congressional co-sponsors on Capitol Hill as Rep. George Holding (R-N.C.) — introduced the Respecting Senior Performers as Essential Cultural Treasures Act, or the RESPECT Act. Appearing May 25, 2014, at the bill’s Capitol Hill introduction were artists Sam Moore, Martha Reeves, Roger McGuinn of the Byrds, Richie Furay of Buffalo Springfield, and Gene Chandler as well as co-sponsoring members of Congress Howard Coble (R-N.C.), Judy Chu (D-Calif.), John Conyers (D-Mich.), Marsha Blackburn (R-Tenn.), Ted Deutch (D-Fla.), Louie Gohmert (R-Texas), and Hakeem Jeffries (D-N.Y.), and SoundExchange President/CEO Michael Huppe. The Recording Academy’s Advocacy & Industry Relations team was in attendance to show support for the bill. 12 | ADVOCACY YEAR IN REVIEW | 2014

THE ACADEMY PUTS MEMBER INTERESTS ON THE RECORD

he year 2014 was a pivotal one for copyright issues. The House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet continued an in-depth review of copyright law that began in 2013 through a series of hearings. The U.S. Copyright Office itself is scrutinizing theT laws that guide its operations, while the Department of Justice launched a review of the federally mandated consent decrees that dictate the music licensing processes of the two major performing rights organizations, ASCAP and BMI. Whenever a call for submis- sions was issued, The Recording Academy responded by advocat- ing for changes to achieve fair compensation for members.

Staking A Position On Music Licensing With U.S. Copyright Office In response to a call for comments from the U.S. Copyright Office, which launched an ongoing review of copyright law, The Recording Academy filed formalrecom - mendations for updating music licensing statutes. The comments propose more efficient licensing processes and setting fair-market royalty rates for music creators across all platforms. The document, filed May 23, 2014, supports the introduction of MusicBus legislation first proposed by Academy President/CEO Neil Portnow in April 2014. The Recording Academy submitted a second filing on Sept. 12, 2014, clarifying the proposed updates to the music licensing arena and answering specific questions posed by the Copyright Office after its evaluation of the first round of comments. In this filing, The Academy called for transparency and accountability in the music licensing process and reiterated the call for fair compensation for all creators through the passage of music omnibus legislation. The U.S. Copyright Office spent 2014 reviewing comments on music licensing from The Recording Academy and a wide range of other stakeholders in order to issue a report on its findings in 2015. Government studies set policies for decades to come

Dr. Luke, Academy Trustees Ennis And Mason Join Academy’s DOJ Filing In 2014 the Department of Justice launched its own review of the decades-old federal consent decrees it previously established to mandate how performance rights organizations ASCAP and BMI set music licensing rates. When the DOJ issued a call for comments on the viability of the consent decrees, The Recording Academy filed a well-considered response on Aug. 6, 2014, that was co-signed by six songwriter members: Darrell Brown, Sue Ennis, Sean Garrett, Lukasz “Dr. Luke” Gottwald, Harvey Mason Jr., and Greg Wells, whose collective work has racked up millions of sales across the rock, pop, R&B, and country genres. To underscore the issues raised in the

filing, songwriter and Pacific Northwest Chapter Trustee Ennis penned an editorial in American Songwriter magazine. The filing expressed support for the continued opera- tion of the performance rights organizations while calling for much-needed updates, including streamlining the licensing process, allowing the Copyright Royalty Board to set rates that reflect what would have been established in competitive market negotia- PAUL MORIGI/WIREIMAGE.COM PAUL tions, and allowing rights holders to grant partial or bundled rights to ASCAP and BMI. Request For Space On The Spectrum From FCC In 2014 The Recording Academy built on its 2013 efforts to pressure the Federal Communications Commission to safeguard the use of wireless microphones in the wireless spectrum. Knowing that FCC was poised to act on the issue soon, Recording Academy President/CEO Neil Portnow filed a letter with the FCC Chairman Tom Wheeler on May 7, 2014, urging the FCC to expand licensing eligibility for wireless microphone users. The issue is crucial to providing wireless microphone users with enhanced protections against signal interference. On May 15, 2014, the FCC adopted two orders affecting wireless microphones. First, in response to the letter filed by The Academy and comments from other interested stakeholders, the agency expanded licensing eligibility to include professional sound companies and venues that use 50 or more wireless mics. Second, the FCC adopted an order to implement the “incentive auction” for broadcast television spectrum man-

dated by Congress. As part of the incentive auction process, the two existing channels PHOTO COURTESY SUE ENNIS reserved for wireless microphones will be eliminated. But because of the efforts of The From top: Harvey Mason Jr. • Sue Ennis Recording Academy and other stakeholders, the FCC recognized the importance of wireless microphones and agreed to make new accommodations for their use. On Sept. 30, 2014, the FCC issued two new notices of proposed rulemaking to implement the orders. The Academy will continue to engage with the FCC throughout the rulemaking process to ensure that the needs of wireless mic users are addressed. 1414 | ADVOCACY | ADVOCACY YEAR YEAR IN IN REVIEW REVIEW | 2014| 2014

MUSIC MAKERS, LAWMAKERS, AND A 2014 “BUS” TO CARRY THEM GRAMMYs on the Hill

Above: Hillary Scott • Left: Lady Antebellum’s Hillary Scott (second from right) and Charles Kelley (far right) perform the chorus to the group’s “Compass” with help from members of Congress, including (l-r) Reps. Steny Hoyer (D-Md.), Blake Farenthold (R-Texas) and Kevin McCarthy (R-Calif.) PAUL MORIGI/WIREIMAGE.COM PAUL Huge Turnout for GRAMMYs On The Hill A Testament To Strength of Academy Advocacy

usic makers shaking hands with lawmakers. The world premiere of an original song about creators by creators. A flurry of media coverage. A host of political star power. Record attendance. These were all hallmarks of the 2014 GRAMMYs on the Hill Awards, which proved to be the watershed event in a busy year of advocacy milestones. After Mall, very few Washington events are previewed by a story in The New York Times business section (“Music Industry Pushes Unified Message On Compensation”), and wrap with top-ranking Republicans and Democrats onstage with GRAMMY winners Lady Antebellum to sing “we’re really not that far apart.” Under the banner of “Harmony, Unity, Par- ity,” the celebration saw the introduction of The Recording Academy’s vision for omnibus music legislation, thanks to a well- received keynote speech by Neil Portnow, President/CEO of The Recording Academy. Portnow laid out a proposal wherein all stakeholders in the music space combine their various legislative efforts into one comprehensive bill that the entire community could endorse and advocate. The message of unified action and comprehensive legislation was embraced by both the House Majority Leader, honoree Kevin McCarthy (R-Calif.), and the House Democratic Leader, honoree Nancy Pelosi (D-Calif.). GRAMMY-nominated trio Hanson performed the national anthem before GRAMMY-

winning singer/songwriter Joy Williams, formerly of the Civil Wars, took the podium Neil Portnow, President/CEO of as master of ceremonies. The evening included a musical tribute by GRAMMY The Recording Academy, calls for omnibus music legislation in winners Los Lonely Boys to honoree Kent Knappenberger, the Westfield, N.Y.- his keynote remarks. based music teacher who became the first recipient of The Academy and GRAMMY Foundation’s Music Educator Award. After sharing his views on the importance of music education, Knappenberger picked up a mandolin to jam with Los Lonely Boys on their hit “Heaven.” Special recognition was bestowed on members of Congress who supported Recording Academy initiatives during the previous year. Pelosi cited “harmony, unity, parity” as a fitting approach by various music stakeholders and hailed the proposed

PHOTOS COURTESY OF THE RECORDING ACADEMY, WIREIMAGE.COM AND GETTY IMAGES 16 | ADVOCACY YEAR IN REVIEW | 2014

2014 GRAMMYs on the Hill

“MusicBus” legislation as she accepted her honor from multiple GRAMMY Award winner Dionne Warwick and Academy Chair Christine Albert. McCarthy also supported the omnibus idea as he accepted his award from presenters Wesley Schultz of the Lumineers and GRAMMY winner Booker T. Jones. One of the surprises of the night was the premiere of “Fair,” a song written for the event by Rep. Doug Collins (R-Ga.), a co-sponsor of the Songwriter Equity Act, with SESAC songwriters and Academy members Gary Burr and Victoria Shaw. The evening’s top honor went to trio Lady Antebellum, who were presented with the Recording Artists’ Coalition Award by This page, from top: (l-r) SESAC President/COO Pat Collins; Sen. Lamar Alexander (R.-Tenn.) for their support of numerous Lady Antebellum’s Charles Kelley and Hillary Scott; advocacy issues. Group members Hillary Scott, Charles Kelley Recording Academy President/CEO Neil Portnow; and Lady Antebellum’s Dave Haywood • SESAC songwriters and and Dave Haywood, who have earned seven GRAMMY Awards Academy members Victoria Shaw and Gary Burr are joined by Rep. Doug Collins (R-Ga.) to perform their composition as Lady Antebellum, then performed their hits “Need You Now” “Fair” at the GRAMMYs on the Hill Awards • House and “Compass,” and were joined onstage by members of Majority Leader Kevin McCarthy (R-Calif.) shows off his 2014 GRAMMYs on the Hill Award with award presenters Congress, who sang along to “we’re not that far apart.” Wesley Schultz of the Lumineers (left) and GRAMMY winner GRAMMYs on the Hill 2014 was the perfect mix of music and Booker T. Jones (right) message to set the tone for the day of lobbying to follow. GRAMMY winner Joy Williams, formerly of the Civil Wars, serves as master of ceremonies for the GRAMMYs on the Hill Awards • Kent Knappenberger (left) , the first recipient of The Academy and GRAMMY Foundation’s Music Educator Award and a GRAMMYs on the Hill Award recipient, performs on mandolin with (l-r) Henry, Ringo and JoJo Garza of GRAMMY-winning group Los Lonely Boys • GRAMMYs on the Hill honorees display their awards: (l-r) Lady Antebellum’s Charles Kelley, music educator Kent Knappenberger., and Lady Antebellum’s Hillary Scott and Dave Haywood • Recording Academy Director of Government Relations Todd Dupler briefs attendees on Advocacy Day • (l-r) Taylor, Zac and Isaac Hanson perform the national anthem at the opening of the 2014 GRAMMYs on the Hill Awards • GRAMMY winner Dionne Warwick (left) and Recording Academy Chair Christine Albert (right) flank House Democratic Leader Nancy Pelosi (D-Calif.) as she receives her 2014 GRAMMYs on the Hill Award

PHOTOS COURTESY OF THE RECORDING ACADEMY, WIREIMAGE.COM AND GETTY IMAGES 18 | ADVOCACY YEAR IN REVIEW | 2014

2014 GRAMMYs on the Hill

RECORDING ACADEMY MEMBERS STRESS FAIRNESS DURING ADVOCACY DAY

early 200 members of The Recording Academy gathered April 3, 2014, on Capitol Hill to participate in GRAMMYs on the Hill Advocacy Day, the only Nannual grassroots lobbying event for the entire music community. Academy advocates were briefed at a breakfast meeting that also included a fiery address by Rep. Marsha Blackburn (R-Tenn.), an original co-sponsor of the Songwriter Equity Act and a cham- pion of performance rights from her position as vice chair of the House Energy and Commerce Committee. (Later in the year she introduced H.R. 4588, the Protecting the Rights of Musicians Act, which prohibits broadcast companies from being compensated for intellectual property if they don’t pay musicians for theirs.) Recording Academy Chair Christine Albert and Los Ange- les Chapter President Mindi Abair also treated attendees to an impromptu performance that added inspiration to the day’s From Top. l-r: GRAMMY advocates including Wesley Schultz, songwriter Billy Montana, stated mission of touching hearts and changing minds. and Zac Hanson head to a Capitol Hill meeting • Rep. Marsha Blackburn (R-Tenn.) gives the keynote address • Rep. Judy Chu (D-Calif.) listens as members of GRAMMY-nominated Rallying behind the event’s theme of “harmony, unity, parity,” group Hanson speak about creators’ rights • GRAMMYs on the Hill Advocacy Day kicks advocate groups fanned out across Capitol Hill, asking lawmak- off with a performance by The Recording Academy Los Angeles Chapter President Mindi Abair on saxophone and Recording Academy Board Chairman Christine Albert on guitar ers to support H.R. 4079, the Songwriter Equity Act, which and vocals • Rep. Marsha Blackburn (R-Tenn.) gives the keynote address • Rep. Sheila ensures fair pay for songwriters and composers. In addition, Jackson Lee (D-Tex.) and Barbara Lee (D-Calif.), Recording Academy CEO/President Neil Portnow, Rep. Jim Clyburn (D-S.C.), Dionne Warwick, Booker T. Jones, and Rep. Steny Hoyer (D-Md.) meet on GRAMMYs in the Hill Advocacy Day From Top. l-r: Rep. Hakeem Jeffries (D-N.Y.) tells delegates “A Change Is Gonna Come” during closing remarks on GRAMMYs on the Hill Advocacy Day • Enjoying the festivities are Rep. George Holding (R-N.C.), SESAC President/ COO Pat Collins, Rep. Jerrold Nadler (D-N.Y.), GRAMMY winner Dionne Warwick, SESAC songwriters Victoria Shaw and Gary Burr, Rep. Blake Farenthold (R-Texas), The Recording Academy President/CEO Neil Portnow, and Rep. Gregg Harper (R-Miss.) • Los Angeles Chapter President Mindi Abair serenades Rep. Harry Reid (D-Nev.) during an impromptu performance during Advocacy Day. The moment was captured on Instagram • Recording Academy delegates meet with Rep. Tom Marino (D-Pa.) (left) • Rep. Bob Goodlatte (R-Va.) takes a selfie with Academy advocates. Included in the group are GRAMMY winners Dionne Warwick and Booker T. Jones; The Recording Academy’s President/CEO Neil Portnow, Chair of the Board of Trustees Christine Albert and Chief Financial Officer Wayne Zahner; Academy members Chuck Ortner; and Academy Vice Chair John Poppo

they asked for support in establishing a performance right for terrestrial AM/FM radio play by opposing the Local Radio Freedom Act, a misleading resolution that distorts the debate over fairness for artists and studio professionals. By day’s end, the lobbying groups — which included GRAMMY winners Dionne Warwick and Booker T. Jones as well as Academy members Hanson and Wesley Schultz of the Lumineers — had visited more than 75 congressional offices carrying a message of fairness for all creators. GRAMMYs on the Hill Advocacy Day 2014 closed with remarks from Chief Advocacy & Industry Relations Officer Daryl P. Friedman and Recording Academy President/CEO Neil Portnow and a stirring keynote address by Rep. Hakeem Jeffries (D-N.Y.), another sponsor of the Songwriter Equity Act. Also a member of the House Judiciary Committee, Jeffries invoked Sam Cooke’s indelible anthem “A Change Is Gonna Come” to encourage the gathering that the parity being sought by music creators today will eventually be achieved through persistence. The Recording Academy’s advocacy efforts did much to keep creators’ rights at the forefront in Congress during the House Judiciary Committee’s ongoing review of copyright law.

PHOTOS COURTESY OF THE RECORDING ACADEMY, WIREIMAGE.COM AND GETTY IMAGES 20 | ADVOCACY YEAR IN REVIEW | 2014

2014 GRAMMYs on the Hill

GRAMMYS IN MY DISTRICT ADVOCACY DAY LAUNCHED

ne of the most effective weapons in The Recording Academy’s Advocacy arsenal is its members’ passion not only for music but for creators’ rights. That passion was brought to bear on Oct. 14, 2014, with the launch of OGRAMMYs In My District, the Academy’s first localized, nationwide grassroots lobbying campaign. Armed with online education and support tools, members from all parts of the country mobilized to write, call and visit the offices of congressional members and staff in more than 140 congressional districts to emphasize the issues crucial to music creators. The mission for members was to remind elected leaders ahead of the 2014 midterm elections that music creators live and work within their districts and need support on a number of proposed fair-pay bills. The Recording Academy marked the inaugural GRAMMYs In My District campaign with a commentary in Washington outlet Roll Call describing the program, its impact on congressional leaders and the array of issues at stake for Recording Academy members and all music creators. Among The Recording Academy members who participated by meeting with local lawmakers were GRAMMY-winning producer Peter Asher; bassist/composer Ben Allison; GRAMMY-winning percussionist Sheila E.; GRAMMY-winning songwriter-producer Ray Parker Jr.; saxophonist Euge Groove; GRAMMY-nominated rocker Eddie Money; and others. Academy members from across the country highlighted the very first GRAMMYs in My District Day of meetings with local legislators by taking to social media, as seen in this collage of tweets and photos shared on the @GRAMMYAdvocacy Twitter page 22 | ADVOCACY YEAR IN REVIEW | 2014

THE ACADEMY FURTHERS FRIENDSHIPS IN HIGH PLACES

U.S. Register of Copyrights Maria Pallante meets with New York Chapter Board members (l-r) National Trustee Nicki Richards, National Trustee Maria Schneider, and Ray Chew during the first Recording Academy Copyright Roundtable

on Jan. 14, 2014 THE RECORDING ACADEMY

U.S. Copyright Register Hits The Recording Academy Chapter Circuit When U.S. Register of Copyrights Maria Pallante told the U.S. House Judiciary Subcommittee on Courts, Intellectual Property, and the Internet during a March 2013 hearing that she would love to get out of Washington, D.C., to speak with a range of copyright holders firsthand, the Advocacy & Industry Rela- tions Office stepped in to offer her the opportunity. As a result, the New York Chapter hosted the first in an ongoing series of copyright roundtable discussions between Academy leaders and Pallante on Jan. 14, 2014. Subsequent roundtable discussions were held Feb. 27 in Chicago, Sept. 12 in Philadelphia, Dec. 9 in San Francisco, and Dec. 16 in Seattle. The Recording Academy’s announcement that the U.S. Register would visit with Chapters to discuss copyright matters prompted coverage by Billboard, which reported that “the initiative ties in with Pallante’s stated goal of hearing from the various stakeholders — leading performers, songwriters and studio professionals — of the current discussions on copyright.” Pallante was also the keynote speaker at the Entertain- ment Law Initiative’s Breakfast With ELI 2014 event in New York on Oct. 22. Rock And Roll Diplomacy Espoused By Homeland Security Committee Chief The Recording Academy stirred politics into the mix at one of the country’s biggest music gatherings when Chief Advocacy & Industry Relations Officer Daryl P. Friedman moderated a one-on-one discussion of music’s role in national security with Rep. Michael McCaul (R-Texas), chairman of the House Homeland Security Committee, at the South By Southwest 2014 conference in Austin. The March 15, 2014, panel, titled Artists’ Role In Homeland Security, yielded some interesting observations from Austin native McCaul, who noted that he previously sponsored a bill to expedite the visa process for visiting musicians and noted that music has the power to prevent the radicalization of youth. “I think rock and roll can be a very effective tool against oppression,” McCaul told Friedman. The SXSW session received great coverage in the local Statesman and The Austin Chronicle newspapers and local television news. Recording Academy members strengthened relationships with policymakers who have significant impact in the music sphere

Congresswoman Chu Helps Rally Academy Members At L.A. Town Hall Rep. Judy Chu (D-Calif.), a member of the House Judiciary Committee and the co-chair of the Congressional Creative Rights Caucus, was the keynote speaker at a special Recording Academy Los Angeles Chapter GRAMMY Town Hall Meeting held Feb. 20, 2014, to encourage members to attend GRAMMYs on the Hill 2014. Chu, an avid supporter of the rights of music professionals and other creative artists, exhorted the gathering to register for GRAMMYs on the Hill Advocacy Day by recounting the legislative developments in Washington that impacted music professionals. Chu’s address was part of a presentation that included a panel discussion featuring Academy members and previous Advocacy Day participants Michael Bearden, Chris Walden, Sheila E., and Vikter Duplaix that was moderated by Advocacy Chief Advocacy & Industry Relations Officer Daryl P. Friedman, in which they shared their experiences meeting with members of Congress on Capitol Hill. Recording Academy Continues Support Of Gospel Music Heritage Month On Sept. 15, 2014, the Advocacy & Industry Relations office joined Rep. Sheila Jackson Lee (D-Texas) in celebrating the designation of September 2014 as Gospel Heritage Month at a VIP reception at the Capitol Visi- tors Center. The reception included remarks by The Recording Academy’s Chief Advocacy & Industry Relations Officer Daryl P. Friedman, Gospel Heritage Month Foundation chair Carl D. Davis, and brief performances by gospel stars Dottie Peoples and Edwin Hawkins, among others. Friedman later participated in that evening’s star-studded “The Evolution Of Gospel” celebration at The Kennedy Center, where he saluted honoree and for- mer Academy Trustee Yolanda Adams. The event was recorded by UP TV, which broadcast an edited version on Sept. 27. The Academy was one of the key backers of the congressional resolution that established Gospel Music Heritage Month in 2007.

PHOTO COURTESY OF THE RECORDING ACADEMY

(l-r) Panelist Michael Bearden, keynote speaker Rep. Judy Chu (D-Calif.), panelists Vikter Duplaix, National Trustees Sheila E. and Chris Walden, Los Angeles Chapter President Mindi Abair and The Recording Academy’s Daryl P. Friedman at the GRAMMY Town Hall Meeting at The Recording Academy headquarters in Santa Monica, Calif. • (Right) Rep. Sheila Jackson Lee announces Gospel Heritage Month 2014 at a Sept. 15, 2014, Capitol Visitor Center reception co-sponsored by The Recording Academy 24 | ADVOCACY YEAR IN REVIEW | 2014

COURT DECISIONS HAVE IMPLICATIONS FOR ACADEMY ADVOCATES

hile the official review of copyright laws undertaken by the Library of Congress, the House Judiciary Committee and the Department of Justice was a major focus for advocates of W creator rights, the outcome of several court cases had a major impact on Recording Academy members.

Turtles Win Big For Pre-1972 Recordings In Digital Performance Right Battle In 2014, Mark Volman and Howard Kaylan (aka Flo & Eddie), co-founders of classic rock group the Turtles, decided to take a stand against satellite and digital broadcasters that have played music recorded and copyrighted before 1972 without compensation to performers because of a particular interpretation of the law. The tide has since turned against the digital services as a series of court decisions in favor of the performers in California and New York are expected to have a far-reaching impact in every state. The Turtles racked up three state-level victories in their $100 million class-action suit against satellite broadcaster SiriusXM. Judges in California and New York ruled that the ’60s hitmakers have valid performance rights under state law and should be compensated for the broadcast of those sound recordings. The Turtles have filed another pre-1972 suit against SiriusXM in Florida. Many digital and satellite radio services have claimed that they are not required to pay performance royalties for music re- leased before 1972 because federal copyright laws updated in 1971 were not retroactive. SiriusXM could be found liable for millions, though no damages were set in the New York or Cali- fornia Turtles cases by Decem- ber. Volman and Kaylan have also filed a similar $25 million case against online radio service Pandora.

PHOTO COURTESY OF THE TURTLES The outcome of several court cases had a major impact on Recording Academy members

Record Labels Sue Pandora Over Classic Recordings Independent and major record labels also fought against digital broadcasters’ unlicensed broadcasting of pre-1972 music in two separate cases. The 2014 Turtles decisions influenced the disposition of the pre-1972 case filed in 2013 by the Recording Industry Association of America against SiriusXM on behalf of its record label members and their artists. More than a year after the suit was first filed, a California federal judge who initially sided with the satellite service ruled in October 2014 that the Turtles decision establishing that performance rights exist for pre-1972 music convinced her to rule in favor of the labels. In a separate case, a group of RIAA recording labels led by Capitol Records LLC and Sony Music Enter- tainment filed a copyright infringement suit in April against online broadcaster Pandora in New York State Supreme Court in Manhattan, for their use of pre-1972 recordings. Broadcasters Give Off Static In Aereo Case Aereo, a startup Internet company, was initially introduced as a service that would capture and retransmit free television programming via a small antenna to a paid subscriber base. News of the startup’s business model outraged television broadcasters, who filed a class- action suit. The ABC v. Aereo case went all the way to the Supreme Court, at which point The Recording Academy filed an amicus brief with the court to express support for the rights of intellectual property owners. In June the Supreme Court ruled that Aereo infringed copyright with its real-time streams of free television shows to users’ smartphones and tablets. The case showed the hypocrisy of major broadcasting companies, which sued to receive compensation for the retransmission of their copyrighted television programming, but have long resisted the implementation of a performance right that would compensate performers for their AM/FM radio transmissions of copyrighted recordings. Aereo later attempted to reposition itself as a cable channel but was thwarted in October when a federal judge denied it a license to operate as a cable service. The company finally filed for Chapter 11 bankruptcy in November, having been crushed by the National Association of Broadcasters, which has yet to budge in the matter of a radio performance right though congressional support for such legislation is growing. 26 | ADVOCACY YEAR IN REVIEW | 2014

CHAPTERS LEAD CHARGE TO INCREASE TAX CREDITS

The Golden State Early in the year, California Gov. Jerry Brown signaled his support for new legislation that would more than triple the state’s tax credit for film and television production — and include music scoring and soundtrack recordings throughout California — to $330 million. Thanks to significant efforts by the San Francisco and Los Angeles Chapters, working with a broad coalition of supporters, California Assem- bly Bill 1839 was passed by the state assembly in May and approved by the state Senate on Aug. 29, 2014. The legislation was finally signed into law by Brown on Sept. 18 in Hollywood. The Empire State New Yorkers worried about music productions defecting to such accommodat- ing states as Tennessee, Georgia and Texas rallied behind a proposal to institute a tax credit for music professionals that is similar to the $420 million tax credit program for film and television production in the Empire State. The Recording Acad- emy New York Chapter joined forces with New York-based record labels, recording studios, music publishers, songwriters, and other stakeholders to form the New York Is Music coalition to advocate for tax credit legislation. The group partnered with New York State Assemblyman Joseph Lentol to host a Nov. 12, 2014, roundtable discussion regarding the proposed Empire State Music Production Tax Credit, which would create a $60 million budget to give music professionals who produce projects in the state a 20 percent reduction on costs. The Volunteer State Also in 2014, members of The Nashville and Memphis Chapters were instrumental in pushing for legislation that would create a tax incentive to support film, television and video game scoring in Tennessee. The state has recently seen an increase in such productions, particularly video game scoring, because of the availability of studio space. Academy members met with Gov. Tim Haslam in August, asking for $2 million to provide a 25 percent tax break specifically for film, TV, and video game scoring projects. Traditional music production would not be covered by the proposed legislation. The Tennesseean covered the issue in an Oct. 17, 2014 story that quoted Susan Stewart, the South Regional Director for The Recording Acad- emy, who stressed the resources available in the state. “We want to be competitive with other areas,” said Stewart. “We also want to be a hub that attracts new business models. The opportunity is there for Tennessee to do both of those.” THE RECORDING ACADEMY INFLUENCES RULEMAKING

Victory For Academy Members As FAA Implements Rules For Instrument Carry-Ons Nearly three years ago, The Recording Academy and other stakeholders began a campaign to have the Federal Aviation Administration implement a set of clear and consistent guidelines for carrying musical instruments on all commercial flights. The Recording Academy actively lobbied for the bill beginning in 2011, asking members of Congress to exert pressure on the FAA to establish the new rules. Congress gave traveling musicians a reason to celebrate by passing the Federal Aviation Administration Mod- ernization and Reform Act of 2012, which mandated clear guidelines for instrument carry-ons across all airlines and all U.S. airports. Hopes dimmed when the stated implementation deadline — Feb. 15, 2014 — passed without action by the FAA. During the year, The Recording Academy continued to push the issue, sending a series of letters to members of Congress and agency officials. On July 9 representatives of The Recording Academy participated in a meeting of stakeholders at the Department of Transportation to push for regulations to be officially issued to all airlines. Good news came at year’s end with the FAA announcing final rules would be implemented on the ground for instrument carry-ons by Dec. 31, 2014. Fish & Wildlife Service’s Rulemaking On Ivory Monitored By The Academy Early in 2014, in a move to halt the illegal trade of African elephant ivory, the U.S. Fish & Wildlife Service issued a sweeping ban on the importation, expor- tation, travel with, and sale of all items containing the substance. While the new rules aim to conserve endangered African elephant populations, they have an unintended impact on musicians who own and travel with older instruments containing ivory, though it is no longer used in the manufacture of musical instruments. The Recording Academy joined with the League of American Orches- tras, the American Federation of Musicians, and the National Association of Music Merchants in urging USFWS to amend the rules to protect elephants while easing restrictions for musicians. In June, the House Natural Resources Subcommittee on Fisher- ies, Wildlife, Oceans and Insular Affairs held a hearing to review the USFWS’ ivory ban rules. Witnesses included administration officials, con- servation advocates and other stakeholders, including Arian Sheets, the curator of stringed instruments for the National Music Museum. Sheets urged the subcommittee to create a special exemption for musical instruments, including violin bows, guitars, woodwinds, pianos, and more. 28 | ADVOCACY YEAR IN REVIEW | 2014

THE RECORDING ACADEMY’S ADVOCACY & INDUSTRY RELATIONS OFFICE

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 & Industry Relations 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. The Recording Academy achieves its policy Igoals 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. • From Washington State to Washington, D.C., the Advocacy & Industry Relations office partners with its 12 Chapters to advocate for the local music community. • Congressional testimony by numerous Recording Academy leaders who have served as expert witnesses before key congressional hearings determining music policy. Among them are Academy President/CEO Neil Portnow and GRAMMY-winning jazz and classical artist Maria Schneider.

EDUCATION • The annual Advocacy Year In Review serves as a roundup of the year’s Advocacy & Industry Relations objectives and successes. An educational tool for music professionals and policy-makers alike, the publication can also be accessed online at www.grammy.org/advocacy. • Through the Advocacy Action tool, Academy members can contact government officials to advocate for pro-music policy. Social media engagement via Facebook (GRAMMYs on the Hill) and Twitter (@ GRAMMYAdvocacy), as well as the GRAMMYs on the Hill app provide real-time updates on policy matters. • The Recording Academy works closely with the Recording Arts and Sciences Congressional Caucus, co-chaired by congressional leaders Rep. Kevin McCarthy (R-Calif.) and Rep. Steny Hoyer (D-Md.), the House Majority Leader and House Minority Whip of their parties, respectively. 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 Recording Academy President/CEO 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 & Industry Relations at The Recording Academy, visit www.grammy.org/recording-academy/advocacy 529 14th Street NW., Ste 840 • Washington, D.C. 20045 • www.grammy.com/advocacy