Peter Asher

Photo: Cheriss May/NurPhoto/Getty Images

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Advocacy Spotlight: Peter Asher's Fab Advocate Track Record & New Beatles Book

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A look inside the Los Angeles Chapter Governor and super producer's staggering history in music and contributions to creators' rights
Nate Hertweck
Advocacy
Oct 30, 2019 - 2:33 pm

Few careers in music have spanned as much time, distance and greatness as Peter Asher's. More than 55 years after his musical journey began, Asher stands today as one of music's strongest advocates, fighting for the rights of creators to receive proper protection and fair compensation for their work.

Dating back to the mid-'60s, Asher broke onto the music scene with his British pop duo Peter and Gordon, striking gold in 1964 with their first single, the Paul McCartney-written "A World Without Love." Asher's Beatles connections would deepen in the years that followed, and he ran A&R for the band's Apple Records label, singing a young James Taylor and producing several albums that would send his career into the stratosphere. A two-time winner of the Producer Of The Year GRAMMY Award, he went on to work with Linda Ronstadt, Bonnie Raitt, Carol King, Cher, Hans Zimmer and many more.

Asher's music industry perspective is as unique as his experience. In an ever-changing landscape of the music industry, he has been instrumental in fighting for artists left out in the cold due to "pre-1972" loophole in the music licensing system. Many legacy acts can now receive compensation for their work when it's played on digital services under the game-changing Music Modernization Act, which was ardently supported by Asher.

More recently, he has also advocated for The Copyright Alternative Small Claims Enforcement (CASE) Act (S. 1273), which recently passed the House of Representatives by a vote of 410-6. The bill empowers songwriters of all levels by establishing a small claims court for copyright infringement cases, removing the cost prohibitive barriers for songwriters who couldn't afford costly federal court action to protect their work.

Earlier this month, Asher hosted a conversation with Congressman Jimmy Gomez (CA-34) during District Advocate day at the GRAMMY Museum, discussing key issues to music creators. No stranger to supporting the Recording Academy's Advocacy initiatives, he has also participated and performed at other District Advocate events as well even hosted GRAMMYs on the Hill in 2018. Earlier this year GRAMMY Week, Asher used the opportunity of the spotlight being on Music's Biggest Night to speak with lawmakers about how the policy they pass affects the music community.

Peter Asher Shares How He Got Behind The Board

Asher currently serves as the Recording Academy Los Angeles Chapter Governor and Advocacy Representative, where he continues to speak up on behalf of music makers of all kinds.

Asher's latest production is a new kind of Beatles book, The Beatles From A to Zed: An Alphabetical Mystery Tour, wherein he takes an alphabetical approach to recalling songs, instruments and other assorted terms and memories letter by letter. The idea for a book grew out of Asher telling these stories on his weekly Sirius XM radio show, Peter Asher: From Me To You. With so many fascinating memories to share, a book seemed inevitable. But the format had to be fresh.

"It seems like everyone Beatles-related has written a book… I was (talking) more about music and songs, along with some stories," Asher told Billboard. His account of all things Fab Four offers a completely different experience from a conventional autobiography, and in many ways reflects Asher's bottomless knowledge and boundless creativity.

The Beatles From A to Zed: An Alphabetical Mystery Tour was released Oct. 29 and is available here. To add your voice to Asher's in support of the CASE Act, contact your Senators and urge them to support all creators by co-sponsoring the act.

District Advocate Day 2019: Music Creators Raise Their Voices Across The U.S.

Karyn A. Temple

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D.C. Report: Judiciary Committee Brings Copyright Back Into Focus

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Today's House Judiciary Committee hearing touched on crucial copyright matters such as setting up the MLC for success, passing the CASE Act, and more
Nate Hertweck
Advocacy
Jun 26, 2019 - 5:00 pm

Since the historic passage of the Music Modernization Act, the Copyright Office has been busy implementing its provisions. That process, along with additional copyright updates, was the focus of today's House Judiciary Committee hearing with Karyn A. Temple, Register of Copyrights and Director of the U.S. Copyright Office as witness. In what has become a divisive committee of late, Democrats and Republicans put differences aside today to discuss the pending designation of the Mechanical Licensing Collective (MLC), active legislation like the Copyright Alternative in Small Claims Enforcement Act (CASE) Act, and other issues in the copyright space.

Starting with the MLC, Chairman Jerry Nadler (D-N.Y.) entered a letter from Recording Academy President/CEO Neil Portnow and Chairman Harvey Mason Jr. into the hearing’s official record, using it to help frame his questioning for Temple regarding the Copyright Office’s views on how the MLC will distribute funds and ensure payments reach the songwriters who've earned them. The letter from the Academy’s leaders reinforced its formal comments on the MLC designation process. Last month, the Academy’s comments helped shape follow-up meetings between the Copyright Office and the two MLC candidates in which the Copyright Office posed many of the same questions recommended by the Academy regarding unmatched songs, unclaimed royalties, and songwriter outreach.

With the July 8 deadline for designating who will administer the MLC quickly approaching, many other committee members also raised questions on the process, including Rep. Martha Roby (R-Ala.), Rep. Ted Deutch (D-Fla), and Rep. Ted Lieu (D-Calif.), who represents the Recording Academy home office. All of these voices expressed similar inquiries on how the Copyright Office is ensuring all songwriters are paid properly, that data matching is robust, and that effective outreach and education to the songwriter community is conducted.

Rep. Karen Bass (D-Calif.) also urged the Copyright Office to ensure diverse representation on the MLC board. Looking ahead, Rep. Lieu asked about appropriate oversight and accountability of the MLC once it's up and running. Clearly, the Committee is highly committed to and invested in the MLC's success.

The other legislation taking the spotlight at the hearing was the CASE Act, a bill with strong bipartisan support that has already secured more co-sponsors than ever before—including more than half of the Judiciary Committee. The bill would allow creators without the resources to engage in expensive litigation the opportunity to protect their work via the creation of a new small-claims copyright court. Ranking Member Doug Collins (R-Ga.) kicked things off expressing strong support of the CASE Act to help small and independent creators protect their copyright. Likewise, Rep. Hakeem Jeffries (D-N.Y.), the bill’s lead sponsor and most recent recipient of the GRAMMYs on the Hill Award, also outlined the need for CASE. Throughout the hearing, Temple showed emphatic support for the bill

Hopefully, the next big step forward for the CASE Act is a mark-up of the bill before the August recess.

There were also a number of questions regarding allowing the Sec. 119 STELAR compulsory license, which allows satellite providers to retransmit broadcast television content, to expire. Of course, and as we've reported, the National Association of Broadcasters (NAB) strongly opposes being forced to give their content to other video services without consent, an impossible stance to reconcile with their insistence on using artists' music without consent or compensation.

Overall, the hearing included a swell of healthy dialogue surrounding creators' rights, legislative collaboration and the future of Copyright law. As Recording Academy Senior Director of Advocacy Todd Dupler summarized the events in his live tweet thread of the hearing, "House Judiciary hearings have often been contentious & controversial this year, but today's hearing was a great reminder that lawmakers can still work together in a bipartisan fashion."

From Advocate To Board Chair: Harvey Mason Jr.'s Tireless Quest For Creators
 

Sierra Lever

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:NEXT With Sierra Lever: The Rising Music Marketer Talks Artist Storytelling, Kendrick Lamar & More

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The future industry leader and Associate Marketing Director at Columbia Records opens up about how 'Good Kid, M.A.A.D City' inspired her to champion artists' stories and pursue a career in music
Nate Hertweck
GRAMMYs
Nov 11, 2019 - 1:31 pm

Meet Sierra Lever, a young music professional primed to make waves in the industry. As Associate Marketing Director at Columbia Records, she already has worked on such major releases as Tyga, Polo G, Chloe X Halle, Chase B, and previously at Motown Records on Migos, Stefflon Don, Zaytoven, and more. She's also featured in the latest episode of :NEXT, the Recording Academy’s new digital short-run series featuring the future of the music industry.

Music Marketer Sierra Lever Is :NEXT

Her journey began back home in Portland, where she put on parties to showcase local talent. She began booking more artists, big artists, such as Too $hort and Big Krit on her college campus. Her DIY spirit and interest in the behind-the-scenes workings of the music business led to her joining GRAMMY U and eventually taking an internship in the Recording Academy, where she worked in the Awards department and the Executive Office.

This wide range of experience helped illuminate Sierra's path into marketing, where she could learn how to tell artists' stories in a way that helps spread the word about their music. And while going to a Spice Girls concert as a little girl that lit the initial spark of Sierra's interest in music, it was a seminal hip-hop album that showed her the way to a career in the industry.

"Kendrick Lamar's Good Kid, M.A.A.D City was the album that really inspired me to enter into the music industry," she said. "[It] really tells his story. And it connected to me, and it connected to so many, It really represented the pressures of our environment that we live in… the minute I listened to it, it was on repeat. There's really no skips for this album. It's very thematic. It has all these different themes from the Bible to street violence to love and lust, all those different elements."

Sierra felt she was part of something when she listened to that album. Not content to be just a fan, she wanted to share that sense of belonging. She drew inspiration from the artists she loved and channeled those storytelling concepts into her own career on the business side of music.

"You have to be a student of the game," she said. "That is what really shows. You see these artists and you see how them studying the game really translates to their evolution over time, and I feel like that's the same for me working as a professional in music, [finding my] individuality [and] really taking risks."

Sierra first heard about :NEXT as an intern at the Academy. As her eligibility for GRAMMY U was coming to a close, Lever thought it'd be the perfect segue into a professional career. She was right.

"The best part about being a 'Nexter' is really being able to connect with your peers and see your peers evolve. That is a big thing for me, to be able to support each other, to know that you do have a support system," she said, adding, "We have panels, we have these industry vets that we get to have that face time with and connection with."

Sierra also talks fondly of her mentor, Recording Academy Washington D.C. Chapter Executive Director Jeriel Johnson. "He is someone who is really connected in the urban [music] space, someone who is a leader within it. I identified with him in the sense of, this is where I want to go and where I want to grow," she said.

"The most valuable lesson I learned from him is to always try," Sierra said. "Always go with your foot forward in the sense of, 'I'm learning and I'm going to be successful.'"

Now, Lever is striving to pursue her dreams in the music industry, and being a part of :NEXT has helped her stay on course. She compares the support she's received—and given to her fellow young music professionals—to that of a family.

"I will say this: The GRAMMYs, they are a family to me. There are so many people who have seen me evolve over time," Sierra says.

Her long-term vision is to continue to tell artists' stories, and she's off to a great start. She puts it best when asked what else she's learned from Johnson,  her :NEXT mentor, about being successful in music:

"When you strive for success, you never fail, you just learn."

:NEXT With Scott Michael Smith: The Innovative Producer/Mixer On Taking Risks, Steve Reich & More

Photo: Jesse Wild/Total Guitar Magazine/Future/Getty Images

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Why The CASE Act Works For Everyone From Musicians To The General Public

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Lawmakers, music professionals and the creative community weigh in with the truth on how the bill could immediately benefit those who it designed to protect
Nate Hertweck
Advocacy
Nov 6, 2019 - 3:16 pm

Momentum for the Copyright Alternative Small Claims Enforcement Act (CASE Act) has been mounting for months, and the bill's most recent win was passing 410-6 in the House of Representatives. But a faction of anti-copyright advocates have continued to publicize misleading positions on how the CASE Act will affect copyright infringement protection even after it received broad, bipartisan support in the House of Representatives. As the bill moves to the Senate, their posturing could delay the bill as they work with Senators, like Ron Wyden (D-Ore.), to prevent a vote.

The truth is the CASE Act stands to simplify and streamline the process for creators to defend their work against infringement, not to stifle fair copyright use, deny free expression or enable copyright troll harassment, as critics of the bill have erroneously claimed.

In fact, copyright trolling, where the troll attempts to coerce a legitimate copyright holder or user into court by bringing frivolous claims against them, is specifically safeguarded against in the CASE Act beyond even current federal law. The bill provides respondents with the opportunity to opt out of any case and grants the Copyright Claim Board the authority to award attorney fees up to $5,000 to the respondent, ban the claimant from filing for a year and even dismiss all pending cases filed by the claimant if the claimant is found to be acting in bad faith.

But what’s not erroneous is the relief that the CASE Act will deliver to a legion of creators and small businesses. The CASE Act serves as a huge help for musicians in so many ways beyond its protection from trolling by making it cheaper and quicker to file copyright infringement claims to protect their work. Also, by capping damages at $30,000, the bill empowers musicians who cannot afford the expensive legal fees associated with Federal court action.

The music community has rallied behind the CASE Act, with Recording Academy Chief Industry, Government & Member Relations Officer Daryl Friedman calling the latest passage in the House, "Another victory for music creators almost exactly a year after the Music Modernization Act was signed into law.” Friedman also underscores the critical next steps for the bill.  

“We now look to the Senate and the White House to get this bill into law and ensure music makers have access to the copyright protection they deserve,” he told Complete Music Update.

And music creators are not the only type of creators who will benefit. Everyone from photographers to filmmakers to creative small business owners will be able to efficiently protect what they create – and for many of these members of the independent creative community, relatively low stakes copyright infringement can be high stakes to their survival.

"The biggest challenge is how expensive and complex it is to fight infringement in federal court," Lisa Dillon and Brian Welsh wrote in The Bend Bulletin’s guest column. The article, titled "Oregon creators deserve the CASE Act," directly addresses those constituents represented by Sen. Wyden.

"If an infringer is incompliant to your attempt to get reimbursed for your work, it’s virtually impossible for a solo-creator or small biz to have any real legal recourse," they continued, adding, "This bill is truly a no-brainer."

And it is. Because ultimately, the general public stands to benefit from the passage of the CASE Act. As our country and our world move ever-faster into the internet age, the bill benefits all because it allows for fair protection of creators' work by establishing more efficient process to enforce infringement, not because it changes any of the free speech rights or laws that are essential to our democracy. Rep. Hakeem Jeffries (D-NY-8), who is a sponsor of the bill, answers criticism that the act threatens free speech online.

"The internet has provided many benefits to society. It is a wonderful thing, but it cannot be allowed to function as if it is the Wild West with absolutely no rules," Rep. Jeffries told The Verge. "We have seen that there are bad actors throughout society and the world who take advantage of the internet as a platform in a variety of ways. We cannot allow it."

He added, "The Internet doesn't change the Constitution."

With the CASE Act primed for a vote in the Senate, now is the time to contact your Senators and urge them to support all creators by co-sponsoring the act. Creators, copyright users and end users alike will thank you.

District Advocate Day 2019: Music Creators Raise Their Voices Across The U.S.

Alex Ritchie

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:NEXT With Alex Ritchie: The Musical Triple Threat On Her New EP, Drawing Inspiration From Imagine Dragons & More

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The emerging artist, songwriter and producer opens up about her path to success, the release of '404' and more in the premiere episode of :NEXT, the Recording Academy's new digital series on the future of the music industry
Nate Hertweck
GRAMMYs
Oct 28, 2019 - 1:14 pm

Every success story starts somewhere. Los Angeles' Alex Ritchie counts her breakout moment as being asked to perform at a women's rock night at Hollywood's famous Whisky a Go Go after the booking agent heard something special in her rough, homemade recordings on her MySpace page. Over a decade later, Ritchie has worked in a variety of music industry roles with several creative heavyweights, has released her debut EP, 404, and is now the subject of the premier episode of :NEXT, the Recording Academy's new short-run digital series featuring the future of the music industry.

Artist/Songwriter/Producer Alex Ritchie Is :NEXT

The triple-threat artist, songwriter and producer has cultivated her passion for music from joining GRAMMY U, the Recording Academy's music industry college student resource network, to the Recording Academy Los Angeles Chapter's GRAMMYNext program for future music industry leaders, to her return her artist beginnings with the release of her brand new EP earlier this year. But her musical dreams didn't always seem so within reach.

“I’m the only musician in my family, and I came from a family of humble means; so even though I had conviction in what I wanted from a young age, it wasn’t “realistic,” Ritchie said. "I’d seen my parents suffer from the economy crash in 2008 and, realistically speaking, pursuing something like entertainment was so risky. I couldn’t afford to fail. We couldn’t afford to dream like that. BUT I had unrealistic dreams anyway, and after my first gig at the Whisky I knew that was it.”

After her Sunset Strip debut, Ritchie got to work, honing her self-taught skills in the studio, joining GRAMMY U while in New York and, after moving back to L.A., working her way into collaborations with the likes of Harvey Mason Jr., Gizzle, Snipe Young, Keith Hetrick, Steve “Steve B” Baughman, David Kim, and Lee Major, to name a few. Ritchie also became the youngest sitting member on two Recording Academy L.A. Chapter committees, earned a full scholarship from Westlake Studios & Electronic Music Magazine to attend Westlake’s new Crē•8 Music Academy for music production, and built relationshisp and become recognized by mega-brands such as Delta and Fender. 

Working all over the page to develop her blossoming career, Ritchie names her musical influences as, well, everything, noting a specific interest in new music. But one influence that sticks out is GRAMMY-winning pop/rock band Imagine Dragons.

"Imagine Dragons has consistently put forth music that pushed boundaries. They're produced by Alex Da Kid, who's my idol producer," she said. "I really always wanted to marinade my roots from singer/songwriter and '90s rock music to what's going on currently, and I thought they did that perfectly with Evolve. It just made me want to step up my game and  really push boundaries and be super free and creative with any of the music I'm working on."

Ritchie poured this freedom and creativity into her new EP, 404, which dropped in May of 2019 and featured collaborations with up-and-coming talents, including The Wildcardz, Snipe Young, and Australia's Nick De La Hoyde. With a strong foundation from her time in GRAMMY U and a supportive network through GRAMMYNext already in place, Ritchie is ready to share her unique personal background and musical talents with a wider audience. She credits her hard work with the Recording Academy's developmental programs helped her find her voice as an artist, hope as a young person in the music industry and the confidence to step out from behind-the-scenes in pursuit of her artistic dreams.

"To be honest, I really milked the opportunities given through GRAMMY U. It opened so many doors to create relationships with a lot of the right people, and also gave me a chance to meet many heroes and listen to their stories about coming up in music. It was a program that gave me hope, especially when it felt the odds were stacked against me. I’m a mixed-race, predominantly Asian-looking LGBTQ+ artist," she said. "When I started music, that combination wasn’t considered ‘commercial;’ in fact, it was more of a hindrance than a help.  I’ve definitely always been the underdog in the race, and was often advised to stay behind the scenes as a songwriter/producer.  Hearing a lot of those comments from industry people really got to me, so the GRAMMY U sessions really made me feel like it was all still possible.”

With her debut EP out now, Ritchie is currently focused on pitching new music for film and media projects, a world she's already gained valuable experience in by working under music supervisor and mentor Tracy McKnight as an assistant music consultant on projects including Disney’s Wrinkle In Time and Hulu’s Obey Giant. As she continues to amass a diverse mix of experience in the music industry, Ritchie is primed to carry the torch for her generation of future music industry leaders, leading a pack of her peers from GRAMMY U to GRAMMY Award hopefuls. 

"The best part about being a 'Nexter' was that I got a whole new family, and It's given me a network of peers that I trust and constantly seek counsil from and work with on the daily," said Ritchie. "They're all killing it right now in their own respective positions. So It gave me that awesome network outside of the family I already had at the Recording Academy. I'm super thankful to know all of them."

Check out Alex's episode of :NEXT above and stay tuned for new editions of the three-part, short-run digital series rolling out each Monday.

:NEXT To Feature The Future Of The Music Industry