Neil Portnow, Yolanda Adams & P.J. Morton

Photo: Paul Morigi/WireImage

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Inside The 2019 GRAMMYs On The Hill Awards Celebration

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Music and politics came together on the eve of Capitol Hill's largest policy event for music to celebrate champions of music creators' rights from both worlds
Marcus K. Dowling
Advocacy
Apr 10, 2019 - 6:30 pm

Hot on the heels of the successful passage of the Music Modernization Act in October 2018, the 2019 GRAMMYs on the Hill gala event celebrated an industry now looking to provide quality educational opportunities for young artists, as well as the artists of the past and present highlighting their stellar advocates in the halls of Congress. Ultimately, the underscored the truly good, decent and humane benefits that can blossom when music and politics unite to ensure a sustainable future for all music creators.

Apr 10, 2019 – 2:08 pm

Go Inside The 2019 GRAMMYs On The Hill Awards

Washington, D.C.’s The Hamilton hosted the event, which honored singer/songwriter/actress Kristin Chenoweth and gospel icon Yolanda Adams. As well, two congressional honorees—Sen. Chuck Grassley (R-Okla), the President Pro Tempore of the Senate, and Rep. Hakeem Jeffries (D-New York), the Chairman of the House Democratic Caucus—were feted. Though Senator Grassley was unable to attend, he was more than ably replaced by Rep. Nancy Pelosi (D-Calif), the Speaker of the House, who noted the “tireless advocacy work of artists like Adams and Chenoweth for the aid of America’s music professionals,” was, “greatly appreciated by their many friends on Capitol Hill.”

Chenoweth, a stalwart musical icon whose talents span musical theater, film, and television, was honored with the GRAMMYs on the Hill Philanthropist Award. Regarding her Kristin Chenoweth Art and Education Fund, the diminutive in stature yet mightily voiced performer noted that she would rather show than discuss the impact of her Art and Education Fund. Pairing with Cassandra Haight, a student from Washington, D.C.’s Duke Ellington School of the Performing Arts, she performed “For Good,” her duet from the soundtrack of legendary Broadway musical Wicked.

Insofar as being the man responsible for being the first (and only) person to quote Notorious B.I.G.’s “Juicy” on the floor of the House of Representatives (during a 2017 discussion on Affordable Care Act), Hakeem Jeffries is already a groundbreaker. Regarding the passage of the MMA, he noted a promising message of bipartisanship and unity as it related to how Congress regarded the industry. “We came together as Republicans and Democrats, the left and the right because music is such a universal language. [Music] captures the soundtrack of our life including love, loss, and a life well lived. People put aside their partisan differences to do what’s right for artists, songwriters, and creatives.”

Adams, was gracious in being honored with the Recording Academy's Creators Leadership Award, and the GRAMMY-winning gospel icon also delivered a memorable performance. The President of the Recording Academy Texas Chapter, her strong advocacy work for preserving the health and financial sustainability of her fellow artists and songwriters via Academy charity MusiCares, was highlighted.

As always, this year’s “only at the GRAMMYs on the Hill Awards” moment did not fail to entertain. GRAMMY-nominated singer/songwriter Linda Perry played a stirring acoustic guitar rendition of a song she penned, Christina Aguilera’s “Beautiful, which won the GRAMMY for Best Female Pop Vocal Performance in 2004. Perry then launched into a feel-good rendition of her own—via her former group 4 Non Blondes—1991 hit “What’s Up” alongside a stage filled with performance luminaries including Gavin Degraw, and 20 members of Congress as a backing choir and band.

“Often when you think you’re at the end of something, you’re at the beginning of something else,” outgoing CEO of the Recording Academy, Neil Portnow paraphrased Mister Rogers, at the open of his remarks. Capping his 17 years in the position with the passage of the Music Modernization Act (MMA) is unquestionably a highlight.

"The passage of the MMA is a monumental success, not only for music creators but for music people everywhere," said Portnow. "Progress begins with unity. From creators to elected leaders, our Recording Academy staff, and our partner organizations throughout the industry, have demonstrated altruistic harmony.”

He also noted that, “At the heart of Recording Academy members is a desire to give back. The Academy has deepened its commitment to its charities. Tonight’s beneficiary, The GRAMMY Museum, is our shared music cultural home.”

As the event bringing together the worlds of music and politics came to a close, everyone looked toward the following morning for GRAMMYs on the Hill Advocacy Day, where both lawmakers and music advocates are able to share perspectives looking ahead to the future of music policy. And as all of those on stage and in the audience experienced on this lively night in the Nation's Capitol, music has the power to bring us together.

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(L-R) The Recording Academy's Wayne Zahner and Neil Portnow, Kristin Chenoweth, Rep. David N. Cicilline, Linda Perry, Mary-Mitchell Campbell and Diane Blagman
Photo: Shannon Finney/WireImage

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GRAMMYs On The Hill 2019: Music And Politics Unite At Washington’s Largest Advocacy Event For Music

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The annual Advocacy outing put music creators such as Linda Perry and Kristin Chenoweth in the room with lawmakers to discuss issues and policy critical to the livelihood of music creators
Nate Hertweck
Advocacy
Apr 12, 2019 - 12:56 pm

"Had a great day in D.C. supporting @GRAMMYAdvocacy during #GRAMMYsOnThe Hill. The fight for fairness continues to ensure that those who make music are heard" –eight-time GRAMMY-winning engineer/mixer Manny Marroquin, Conversations In Advocacy #52

Each year, the music community rallies on Capitol Hill for the Recording Academy's GRAMMYs On the Hill to connect with Congress and express the importance of creators’ rights. This year's Advocacy Day on April 10 brought out a litany of artists, producers, songwriters, and industry members to meet with lawmakers and discuss policy that affects their livelihood every day. 

The turnout from creators was impressive, from GRAMMY winning artists such as Lzzy Hale and Joe Hottinger of Halestorm, to GRAMMY nominees Mario and Linda Perry, to Broadway superstars Brandon Victor Dixon and Kristin Chenoweth, to name just a few. On the evening before Advocacy Day, the GRAMMYs On The Hill Awards honored Chenoweth with the Philanthropist Award, as well as Yolanda Adams with the Creators Leadership Award and Sen. Chuck Grassley (R-Iowa) and Rep. Hakeem Jeffries (D-N.Y.) for their decisive roles in last year's Congress getting the Music Modernization Act across the finish line and signed into law.

As music emanated up the steps up the Capitol Building and into its hallways, elevators and offices, the festive spirit of creativity and talent reminded our lawmakers of the crucial role music plays in our culture, setting the perfect backdrop for a discussion on the issues closest to music creators. For the music community, Advocacy Day makes all the difference.

"GRAMMYs on the Hill clearly has an impact and makes a difference," said Recording Academy President/CEO Neil Portnow. "It is no coincidence that just one week after last year's Awards and Advocacy Day, the Music Modernization Act unanimously passed the House of Representatives, paving the way for the bill to later be signed into law. Through the continued dialogue between music creators and Congress, we are ensuring a viable future for music makers."

GRAMMYs on the Hill Advocacy Day is considered Capitol Hill's largest policy event for music, and shows the Recording Academy does so much more for the music world throughout the year beyond honoring excellence at the annual GRAMMY Awards. To learn more about the Academy's ongoing Advocacy efforts, get informed on the latest issues and policy affecting music creators and learn how you can take action to join the movement.

Inside The 2019 GRAMMYs On The Hill Awards Celebration

Yolanda Adams performs during the 2016 GRAMMYs On The Hill
Photo: Kris Connor/Getty Images

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Yolanda Adams & More GRAMMYs On The Hill Awards Honorees Announced

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The annual Advocacy event will also honor Sen. Chuck Grassley, Rep. Hakeem Jeffries for their roles in MMA's passage as well as Adams and Kristin Chenoweth
Philip Merrill
Advocacy
Mar 27, 2019 - 8:11 am

This year's GRAMMYs on the Hill Awards, to be held on April 9, will honor Yolanda Adams for her advocacy and Kristin Chenoweth for her philanthropy, as well as Sen. Chuck Grassley (R-Iowa) and Rep. Hakeem Jeffries (D-N.Y.) for their decisive roles in last year's Congress, getting the Music Modernization Act across the finish line and signed into law.

Sep 28, 2018 – 5:20 pm

Yolanda Adams To Honor Neil Diamond

"GRAMMYs on the Hill clearly has an impact and makes a difference," said Recording Academy President/CEO Neil Portnow. "It is no coincidence that just one week after last year's Awards and Advocacy Day, the Music Modernization Act unanimously passed the House of Representatives, paving the way for the bill to later be signed into law. Through the continued dialogue between music creators and Congress, we are ensuring a viable future for music makers."

Dec 2, 2014 – 10:58 pm

Kristin Chenoweth: Carole King's Music Is "Not Just Dessert"

As chairman of the Senate Judiciary Committee in last year's Congress, Sen. Chuck Grassley (R-Iowa) led his chamber's unanimous support for the MMA in its final form as an omnibus package, combining several separately considered bills. Grassley originally introduced the Allocation For Music Producers Act (AMP) in the Senate, which was an important component of the MMA, adding producers and engineers to copyright law for the first time. Upon being elected President pro tempore of the Senate in January 2019, Grassley now presides over the chamber as its most senior member.

Rep. Hakeem Jeffries (D-N.Y.) co-introduced a songwriter-focused version of the Music Modernization Act in the House on Dec. 21, 2017. "The House Judiciary Committee has undertaken a thorough review of the issues that adversely affect stakeholders in the copyright ecosystem," said Jeffries at the time, praising the MMA for "increasing efficiency and providing greater transparency." His committee was noteworthy for its scope of hearings into music and copyright, and Jeffries' questions to witnesses helped build the consensus that resulted in generational copyright reform. As the newly elected House Democratic Caucus Chairman, Jeffries’s leadership will advance the rights of all creators in the 116th Congress.

Four-time GRAMMY-winning gospel artist Yolanda Adams will receive the Recording Academy's Creators Leadership Award in thanks for her advocacy on behalf of artists in tandem with her philanthropic giving. Current President of the Recording Academy Texas Chapter, Adams has supported her fellow artists and songwriters through many decades of advocacy work. In addition, her support for MusiCares and other charities including St. Jude Children's Research Hospital has been selfless, both through performances and by means of financial support.

In thanks for her generous giving both personally and financially, Kristin Chenoweth will be honored with the GRAMMYs on the Hill Philanthropist Award. Recognized with Tony and Emmy awards as a Broadway performer and television actress, she also appears in films including as the animated Gabi in Rio 2. Growing up outside Tulsa in Broken Arrow, Oklahoma, her leadership in the Broken Arrow Performing Arts Center has made it the focus of a revitalized arts district. She also conducts a Broadway Boot Camp to help youngsters understand how to audition and pursue careers in theater. A long-time supporter of MusiCares, Chenoweth performed at the 2011 MusiCares Person Of The Year tribute to Barbra Streisand.

The awards dinner and show will take place at the Hamilton Live in Washington, D.C., with live performances from both Adams and Chenoweth as well as additional special guests. 

The following morning, on April 10, GRAMMYs on the Hill Advocacy Day is a special occasion for the music community to engage with lawmakers and staff fully. Considered Capitol Hill's largest policy event for music, both lawmakers and music advocates are able to share perspectives looking ahead to the future, and continue their work to ensure fair compensation for artists, songwriters and producers on unresolved issues.

Recording Academy Advocacy Hits SXSW

 

Billie Eilish At Lollapalooza 2018
Photo: Daniel Mendoza/Recording Academy

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How Billie Eilish's Debut LP Proves Album Streaming Still Alive Among Youth In 2019

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Early figures on the popstar's breakout album plus the IFPI's annual Global Music Report paint a positive picture of young listeners and streaming, underscoring the need for fair royalty rates now
Nate Hertweck
Advocacy
Apr 5, 2019 - 4:23 pm

"Music sales are up, streaming is booming, and if Billie Eilish's new album is any indication, young listeners are streaming full albums – so why are streaming companies still fighting so hard to underpay for their product? It is time to fairly compensate music creators for their work."  — Conversations In Advocacy #51

Numbers don't lie. Global music sales increased by 9.7 percent in 2018 and nearly half came from streaming, according to the IFPI's annual Global Music Report. What's more, young music consumers are still interested in streaming full albums—under the right conditions. This means as streaming grows toward becoming the majority income generator for music worldwide, so does the importance of fair royalty rates to encourage and support music creation.

Take breakout alt-pop sensation Billie Eilish's debut full-length, When We All Fall Asleep, Where Do We Go?, which arrived last Friday after much anticipation. The album, which is expected to be the second-biggest album drop of the year so far, landed at No. 1 on Apple Music in 96 markets worldwide and garnered nearly 56 million Spotify streams on its first day alone. Remarkably, Apple Music listeners streamed an average of 81 percent of the album's duration, and a similar effect was felt on Spotify.

Not all blockbuster albums see this level of equilibrium. Drake's 2018 effort Scorpion, earned over 60 percent of its plays from just three tracks: "God's Plan," "In My Feelings" and "Nice For What." Granted the rollout of these two smash hits was quite different. As Music Business Worldwide points out, Eilish's album was marketed to streaming audiences as a comprehensive body of work, at least by Apple Music, and that may have made the difference.

“While most services focus the majority of their efforts around playlists, Apple Music still emphasizes albums because we understand their value as a storytelling tool for artists,” said Oliver Schusser, Apple Music.

Eilish's case study underscores young consumers' overall migration to streaming, a not-new phenomenon in music consumption. What is new—or at least is the latest in a long struggle to fairly compensate music creators—is the streaming services recent filing of notice to appeal the Copyright Royalty Board's increase in streaming rates paid to publishers. Since these platforms are making more money than ever, can't they work together with music makers to ensure that creation of the very product they pedal—music—is healthy and sustainable?

“For Billie in particular it’s really exciting because she is such a big part of the Apple artist community and someone the whole company has really rallied around. It’s amazing to see the positive reaction from our subscribers.”

These subscribers across all platforms amounted to 255 million paying listeners worldwide in 2018, and streaming accounted for 47 percent of the $19 billion in global music sales. If a fair amount of this income makes its way back to the music creators, everybody wins, not just the songwriters and publishers, but also the platforms who rely on new releases to stay relevant and ultimately the listeners willing to pay to enjoy the music they love.

Yolanda Adams & More GRAMMYs On The Hill Awards Honorees Announced

"Conversations in Advocacy" is your weekend digital tip sheet on music advocacy and the policies that affect music makers and their craft. New installments post every Friday.

Photo: Nicolas Economou/NurPhoto /Getty Images

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European Union Passes Game-Changing Copyright Reform: Here's Why It's A Huge Deal

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Unpack the new directive to understand how it will affect user-generated content platforms and improve the lives of music creators
Nate Hertweck
Advocacy
Apr 3, 2019 - 5:15 pm

After a long-fought battle to ensure rights holders earn their fair share from user-generated platforms such as YouTube and Facebook, the European Parliament voted 348-274 to approve an updated version of the European Union (EU) Copyright Directive. The legislation provides sweeping copyright reform requiring sites that rely on user-generated content to be held to the same copyright infringement accountability as other digital music services such as Spotify and Apple Music.

Passed provisionally as Article 13, but renamed Article 17 in the updated version, the new law will require technology platforms that provide content in Europe to finally comply with copyright standards and implement copyright enforcement. The law also makes these platforms liable for copyright violations from user-generated content hosted on their sites, making a huge step toward better protection of creators' rights.

"The European Union has laid the foundation for a better and fairer digital environment -- one in which creators will be in a stronger position to negotiate fair license fees when their works are used by big online platforms," said Gadi Oron director general of CISAC, the International Confederation of Societies of Authors and Composers.

In honor of the passage of the new copyright reform in Europe, let's take a look at a few key components and how this directive will impact—and influence—creators and platforms.

Why This Is A Win For Creators

Songwriters, artists, publishers, and record labels  are celebrating this new direction because, in essence, it will ultimately replace the chaotic notice and takedown system with the use of effective technologies, like Content ID, to mitigate any infringement before it goes live online. Platforms will face liability for the copyright violation or have to pay the fair market rate for the use, ensuring rights holders are protected.

"It clarifies what the music sector has been saying for years: if you are in the business of distributing music or other creative works, you need a license, clear and simple," said Helen Smith, executive chair of independent music company association IMPALA.

The new law also protects the free speech rights of users by moving away from a system where non-infringing content is often removed mistakenly, and it provides an easy way to reinstate this mistakenly removed content.

Mind The Value Gap

Currently, there is a so-called value gap in Europe wherein internet platforms that host user-generated content have not paid fair market value for music and have been protected against infringement claims. The new directive addresses this gap by requiring all platforms to adhere to the same standards, thus leveling the playing field for competing technology companies and ultimately ensuring creators' works are distributed legally and compensated fairly across the board.

Implementation Of The Law

All 27 EU member countries will now have two years to transpose the directive into national law. For affected platforms such as YouTube, Facebook and Vimeo, abiding by the new law will likely involve stricter upload filters, though no guidelines for these filters are specifically outlined in the directive. European Parliament has clarified that users will still be able to upload memes, GIFs, hyperlinks and "individual words or very short extracts" of articles.

While each country's transposition of the directive must fit the framework of the EU's new law, some tech giants feel there may be wiggle room.

Google Europe, who have warned, via twitter, that "The #eucopyrightdirective is improved but will still lead to legal uncertainty and will hurt Europe's creative and digital economies," have also hinted they plan to stay heavily involved in the implementation process, writing, "The details matter, and we look forward to working with policy makers, publishers, creators and rights holders as EU member states move to implement these new rules." 

Naturally, there is also some uncertainty as to how the United Kingdom will adopt the new law, considering its current in-flux relationship status with the EU surrounding Brexit.

Global Impact

The gravity and influence of the European Union makes the passage of the directive particularly pivotal for other countries, including the U.S. and the powerhouses of the eastern world.

"It's time for the digital market to catch up with progress. Eyes of the world are on Europe to set a new standard for creators online," Smith explains.

Currently, the value gap in the United States stands as one of the biggest obstacles for the music industry to overcome in its quest for a fair and sustainable system that equally encourages enterprise and creation. Oron hopes, as do many creators worldwide, the decision will "lead the way for countries outside the EU to follow."

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