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Recording Academy Champions The HITS Act recording-academy-champions-hits-act-which-supports-independent-music-makers%E2%80%99-recovery

Recording Academy Champions The HITS Act, Which Supports Independent Music Makers’ Recovery

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The Help Independent Tracks Succeed Act lets creators fully expense production costs for new music up-front to stimulate reopening of the music economy
Advocacy
Jul 31, 2020 - 7:00 am

Today, the Recording Academy joined Rep. Linda T. Sánchez (D-Calif.) and Rep. Ron Estes (R-Kansas) to announce the Help Independent Tracks Succeed (HITS) Act, which allows an individual to fully expense for tax purposes the cost of new studio recordings on their taxes, up to $150,000, within the same year of production.

Music creators are among the American workers hardest hit by the coronavirus pandemic. Tours are cancelled, venues, bars, and restaurants are shuttered, and recording studios remain closed. As independent artists and producers look for a new path forward, the HITS Act creates a foothold for recovery. Without it, the costs of making new music may be prohibitive to creators following months of lost income.

"The Recording Academy is proud to have worked alongside Reps. Sánchez and Estes to develop the key provisions in the HITS Act," said Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy. "The HITS Act will make a meaningful impact and help ease the financial burden for thousands of independent creators getting back on track, eager to share their creativity with the world. It will inspire new music and create opportunities for many of the vulnerable professionals in our community to persevere during these uncertain times."

Currently, individual recording artists and record producers are required to amortize production expenses for tax purposes over the economic life of a sound recording, typically 3-4 years. The HITS Act allows artists and producers to choose to deduct 100 percent of their production expenses for records created in the United States in the year such expenses are incurred, in the same manner that qualified film and television production expenses are allowed to be expensed. Expenses can include studio equipment, studio rental fees, staff costs, electricity, studio musicians, and much more.

"We are living through tough times and nothing helps you escape like turning on your favorite album," said Rep. Sánchez. "Similar to many families and workers across the country, the coronavirus has also had an enormous impact on music makers. Gigs have been canceled, studios shuttered, and creative writing sessions postponed. I'm proud to introduce the HITS Act with Rep. Estes. Our bill will provide small, independent creators with a bit of help getting back to work, making the music we turn to in good times and bad."

"Music is a powerful language that connects people of varying generations, backgrounds and experiences," said Rep. Estes. "The men and women who make music — either through writing, singing, playing or producing — deserve to have the same tax benefits as artists in the film, television and live theater industries. The HITS Act is sound legislation that supports our creative communities throughout the United States and encourages music makers of all sizes and notoriety."

Many music creators watched their incomes disappear as the pandemic ushered in a new normal of closures and cancellations. The median income for a professional musician is less than $25,000 a year, and independent music professionals will be among the last to return to work as the nation gradually reopens. As the only organization representing all music creators, the Recording Academy will continue to support government assistance that will help music creators navigate their way through this unprecedented time and subsequent recovery period.

Academy Endorses New Legislation To Support Creators, Venues & Small Music Businesses

Entertainment Law Initiative 2020 Event

22nd Annual Entertainment Law Initiative (ELI) Event & Scholarship Presentation | GRAMMY Week 2020

Photo: Jesse Grant/Getty Images for The Recording Academy

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GRAMMY Week 2020: ELI Event Embraces Change grammy-week-2020-entertainment-law-initiative-event-celebrates-change-makers-and

GRAMMY Week 2020: Entertainment Law Initiative Event Celebrates Change-Makers And Discusses Today's Most Pressing Issues

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As the music industry continues to evolve, the Recording Academy recognizes those at the vanguard of entertainment law and the leaders pushing the profession forward
John Ochoa
Advocacy
Jan 31, 2020 - 7:47 am

They say change is the only constant in life. That's a mantra by which the music industry lives. And when it comes to entertainment law, change is what drives the business forward. 

Change is the theme that defined the 22nd Annual Entertainment Law Initiative (ELI) Event & Scholarship Presentation, the most prominent gathering for entertainment attorneys and other music business professionals during GRAMMY Week. Every year, the ELI event unites the music business community and addresses some of the most compelling issues facing the music industry today. The 2020 ELI event—held last week (Friday, Jan. 24) as an official GRAMMY Week event at the Fairmont Miramar Hotel in Santa Monica, Calif.—honored an industry luminary initiating change today while also recognizing some future leaders in law. 

For over two decades, ELI has addressed the shifting landscape of entertainment law head on, providing a forum for legal thought leaders and honoring its own practitioners who are ensuring the industry adapts to the ever-changing music and entertainment industry. 

It's no wonder, then, that this year's ELI Service Award honored Jeff Harleston, a music industry veteran who has faced virtually every sea change to directly challenge the entertainment law field. 

"Over the last 25 years or so, no industry has experienced more change than the music industry," Sir Lucian Grainge, chairman and CEO of Universal Music Group, said in his opening remarks at the gathering. "But throughout this period of turmoil and transformation, there've been two constants. First, amazing artists making great music. And secondly, as if you didn't know by now, Jeff Harleston's extraordinary sound judgment."

Harleston, who currently serves as the general counsel and executive vice president of business and legal affairs at Universal Music Group, has been a champion for artists and creators throughout his decades-long career. Across his days as the head of the business and legal affairs department at MCA Records in the late '90s to his time as general manager of Geffen Records, Harleston has worked with iconic artists like Mary J. Blige, Nelly Furtado and Snoop Dogg, among many others. 

"There's no bigger friend to artists than Jeff," three-time GRAMMY winner Common said of Harleston in a personalized tribute video. "So you can call Jeff a general counsel or a board member or a role model. They all fit. But I'll continue to call him a friend. He's a true advocate for artists. And I couldn't be prouder of the recognition he's receiving today."

ELI 2020 - Jeff Harleston - Sir Lucian Grainge

Making his way to the stage, the crowd offering a well-deserved standing ovation, Harleston addressed the room with pride and jubilation in his voice and optimism in his sight. 

"This is to the lawyers in the room," he said. "At times, we know being a lawyer in the music business can be an entirely thankless task, but we love it because we love music… But most importantly, we have learned to work together. And what we've been able to do when we work together is move it forward really well. We move things forward legislatively, we've empowered new services that are finding ways to bring our music and the artists' music to places they've never been before. And it's all because we've allowed ourselves to respect each other and trust each other. I really am happy to see that happen and I really hope that we can continue that spirit." 

As he remembered his extensive career and all that he and his colleagues have together accomplished for the industry and the wider artist community, he took a moment to acknowledge the road ahead for entertainment law and the challenges to come. 

"As I reflect on my almost-27 years in this business," he said, "there's one thing that's clear about the music business: the constant is change. Change happens all the time... But what we have to do and what we've learned to do... we've learned to deal with the change. And change is hard. It can be abrupt. It can be unexpected. It can be painful. But it's important, and it has to happen.

"We are in the midst of a change as we speak. But I know that we are strong and resilient, and we will get through it. And when we come out the other side, we will be better, we'll be stronger and the world will be great. In the words of Bob Dylan, 'The times, they are a-changin’."

Fittingly, Dylan's eternal lyrics and Harleston's remarks nod to the ever-evolving music industry and the modern issues it faces, many of which were addressed by the entrants of the 2020 ELI Writing Competition. 

As one of its core elements, ELI has supported promising law students and has fostered future careers in entertainment law, having provided more than 800 students with scholarships to date. The event's popular yearly student writing competition and scholarship presentation acknowledge the outstanding law students who are seeking to push entertainment law into the future.

This year's writing competition entrants, who each addressed a compelling legal issue confronting the music industry and proposed a solution in their essays, tackled some of today's most timely and pressing matters in the field.

Christopher Chiang, a student at University of California, Los Angeles (UCLA) School of Law, won the writing competition with an essay proposing a sliding scale framework for copyright protection in music. Chiang was presented his award, which came along with a $10,000 scholarship and tickets to various GRAMMY Week events, onstage by Ken Abdo, a partner at Fox Rothschild who has been involved with the ELI Writing Competition since its beginnings. Runner-ups included John Gilbertson, a student at Drake University School of Law in Des Moines, Iowa, and Graham Fenton from UCLA Law. 

ELI 2020 - Christopher Chiang - Ken Abdo

Perhaps the most urgent issue and forthcoming change to affect the music industry today comes via California Assembly Bill 5, more commonly known as AB5. The newly passed state statute aims to protect workers in the "gig economy," namely Uber drivers. However, its impact on the music industry could prove detrimental. (Music creators, particularly those who work as independent contracts, such as studio musicians or session/backing players, would potentially need to be recognized as employees and/or employers in order to secure work, which in turn entails a more complicated hiring process and higher fees for one-time gigs and short-term projects and performances.) Having gone into effect at the beginning of 2020, AB5 today stands as one of the most timely and important issues for music creators' rights in 2020.

In a panel that followed remarks by ELI Executive Committee Chair Michael Kushner, who is executive vice president, business & legal affairs and general counsel at Atlantic Records, some of the brightest and most active voices in the battle over AB5 spoke of the well-intended law and its potentially damaging effect on the music industry.

"AB5 is the definition of the 'law of unintended consequences,'" said Jordan Bromley, a partner at Manatt Entertainment Transactions & Finance. "It was meant to hit a certain sector of California industry, and it [was] painted with such a wide brush that everyone is affected, unless there's a specific exemption in the bill. I would say the one way to look at it is if somebody is providing you or your company or your artists or your producer or your songwriter a service that is 'core to the business,' they are now your employee."

Since its passing, the music biz and artist community have largely banded together to address AB5, with many from both sides of the industry launching online petitions and meeting with California lawmakers directly in an attempt to secure exemption from the law on behalf of the wider music industry. 

Ari Herstand, an independent musician, author and music industry blogger, has been at the forefront of the AB5 debate since it went into law. He's since gathered 50,000 petitions from California music professionals who are against the law. 

"We're 20-something days into this thing right now, and I'm literally gathering stories every single day from musicians who are losing work," he said. "I've hundreds of documented cases of musicians in California that are losing work."

Daryl Friedman, Ari Herstand, Morgan Kibby and Jordan Bromley at 2020 Entertainment Law Initiative event

But much like any other major change to impact the business, the music industry is already making headway into addressing and alleviating the issues of AB5.

Both Bromley and Herstand agree education is a key component in pushing things forward.

"The unions ran the bill," Bromley said. "The unions will run the next bill, most likely. So we need the unions on board. They're all conceptually there... It's frankly a lot of education on our business because it's weird and wacky and nuanced. And even some of the unions that exist in our business don't really understand how it's evolved in the last 10 years. So it's just a lot of patience and education, but everyone's at the table and everyone is focused on a solution."

"There needs to be education," Herstand added. "Right now, because of all of the hysteria around this—that's why so many musicians are literally losing work every day. So as soon as this—hopefully it's an urgency bill—passes, everybody needs to write about it. Every lawyer needs to know this to be able to educate. So I encourage everybody here to follow this process along and, once this thing gets passed, to educate your clients on what is actually happening and that we have found a fix, hopefully."

Panel moderator Daryl Friedman, Chief Industry, Government and Member Relations Officer for the Recording Academy, concluded the chat on a high note of optimism regarding the road ahead with AB5.

"It's going to be a lot of hard work by a lot of people," he said. "Hopefully a year from now, we will realize that this has been fixed. But I think there's also another lesson that is more enduring: the lesson of when creators get involved [and] when creators speak. They make the difference here. When creators speak, policymakers listen."

It's the exact kind of dialogue that has come to define the ethos and vision of ELI throughout the decades: When change comes a-knockin', we will be there to adapt, listen, learn and educate. 

The Entertainment Law Initiative maintains its support for the music industry as a whole, from its creators to its executives to its attorneys, and will continue to foster the next generation of change-makers within the music business and legal community for decades to come.

What's Ahead In 2020 For Music Creators' Rights?

Advocacy Holiday Party_121918

Lawmakers and the Academy celebrate together
Photo: Recording Academy

News
Celebrating 2018 At Washington, D.C. Open House successful-year-grammy-advocacy-culminates-celebration-new-dc-hq

Successful Year for GRAMMY Advocacy Culminates at Celebration in New DC HQ

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A bipartisan bash brought together music's creators and top lawmakers at our new Advocacy offices in the nation's capital
Philip Merrill
Advocacy
Dec 19, 2018 - 4:09 pm

The Recording Academy's hard work on Capitol Hill has paid off in 2018 with real progress, and the time to celebrate has come! On Dec. 12, the GRAMMY-nominated songwriter, Julia Michaels, joined the GRAMMY Advocacy staff, lawmakers, Congressional staff and stakeholder groups—over 200 guests in total—for a holiday open house and ribbon-cutting ceremony at the Recording Academy's new offices in downtown Washington, D.C. The new space is intended to be a home for Academy members visiting the nation’s capital, and help better unite the policy community—in bipartisan fashion—with the music creator community.

Julia Michaels at the GRAMMY Advocacy open house.

“I want to thank the Recording Academy for being here in DC to represent those of us who make music” --GRAMMY nominee Julia Michaels at the GRAMMY Advocacy open house.

This special unity was on display throughout last week’s celebration, including during the official ribbon cutting ceremony that brought together musicians like Michaels and Academy Trustee and singer/songwriter Tracy Hamlin with lawmakers Rep. Debbie Wasserman Schultz (D-Fla.), Rep. Ron Estes (R-Kan.) and Rep. Steny Hoyer (D-Md.). Hoyer, who was recently elected Majority Leader for the 116th Congress, addressed the crowd praising the Academy for its efforts and successes in Washington.

https://twitter.com/RepRonEstes/status/1073239919588491264

It was great to join @juliamichaels to cut the ribbon on the new office for @GRAMMYAdvocacy and celebrate passage of the Music Modernization Act. Even in DC, music can bring Republicans and Democrats together! https://t.co/1695vVBOmu

— Rep. Ron Estes (@RepRonEstes) December 13, 2018

Earlier in the festivities, Michaels had a bipartisan visit with Reps. Kevin McCarthy (R-Calif.) and Norma Torres (D-Calif.). McCarthy will be the top Republican in the House next Congress and continue to serve alongside the aforementioned Hoyer as co-chairs of the Recording Arts and Sciences Congressional Caucus. Their bipartisan partnership on behalf of music led to 2018's historic victory when the Music Modernization Act was signed into law after having unanimously passed Congress.

https://twitter.com/GRAMMYAdvocacy/status/1072998425883541504

Our holiday reception is off to a great start with @GOPLeader & @NormaJTorres stopping by to visit with @juliamichaels! pic.twitter.com/ciZvlpTKeX

— GRAMMY Advocacy (@GRAMMYAdvocacy) December 12, 2018

Reps. David Cicilline (D-RI), Ted Deutch (D-Fla.), Sheila Jackson Lee (D-Texas), and Grace Meng (D-N.Y.) also joined in to celebrate with us. D.C.-based producer, engineer and songwriter—and recent GRAMMY nominee—Matt Squire entertained the crowd on Pro Tools, demonstrating how a song is brought to life as a recording, from start to finish. Michaels also addressed the importance of what happens after that, bringing the creative process full circle in context for the crowd.

The year of progress we've had and the passage of the Music Modernization Act are so important because the professionals who create the music we all love — the music that unites us — have to make a living to pour their time and talent into their craft successfully. Cheers and more to come in 2019—with a new home in D.C.!

GRAMMY Advocacy In Action: The Music Modernization Act & Beyond

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roll-call-commentary-turning-up-the-volume-on-music-issues

Roll Call Commentary: "Turning Up The Volume On Music Issues"

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Daryl Friedman
Recording Academy
Jun 21, 2017 - 8:14 am

When you think of the great music cities of America, what comes to mind? Los Angeles? Nashville? New York City? Brookside, Rhode Island?

If the last one was a surprise, it shouldn’t be. Nor should hearing about the great music being made in Shullsburg, Wisconsin; Park City, Utah; or Farmington Hills, Michigan. Because in all of those towns, people are making great music — and they’re expecting their elected leaders to protect their intellectual property. ...

You can read the rest of Daryl P. Friedman's commentary in Roll Call, "Turning Up The Volume on Music Issues," about the creators' rights issues championed by Academy members during GRAMMYs in My District here.

   

Press Photo of Jhené Aiko

Jhené Aiko

Photo: Justin Jackson /J3 Collection

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63rd GRAMMY Awards Premiere Ceremony Announced 63rd-grammy-awards-premiere-ceremony-lineup-2021-grammys

Participating Talent For 63rd GRAMMY Awards Premiere Ceremony Announced: Jhené Aiko, Burna Boy, Lido Pimienta, Poppy And More Confirmed

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Streaming live internationally Sunday, March 14, via GRAMMY.com, the 63rd GRAMMY Awards Premiere Ceremony will feature a number of performances by current GRAMMY nominees like Rufus Wainwright, Terri Lyne Carrington + Social Science and many others
GRAMMYs
Mar 2, 2021 - 7:00 am

The Recording Academy has announced details for the Premiere Ceremony ahead of the annual GRAMMY Awards telecast this month. 

Preceding the 2021 GRAMMY Awards show, the 63rd GRAMMY Awards Premiere Ceremony will take place Sunday, March 14, at noon PT, and will be streamed live internationally via GRAMMY.com.

Hosted by current three-time GRAMMY nominee Jhené Aiko, the Premiere Ceremony will feature a number of performances by current GRAMMY nominees, including: Nigerian singer, songwriter and rapper Burna Boy, jazz band Terri Lyne Carrington + Social Science, blues musician Jimmy "Duck" Holmes, classical pianist Igor Levit, Latin electropop musician Lido Pimienta, singer, songwriter and performance artist Poppy, and singer, songwriter and composer Rufus Wainwright. 

Kicking off the event will be a tribute performance celebrating the 50th anniversary of the classic Marvin Gaye track "Mercy, Mercy Me (The Ecology)". The special all-nominee ensemble performance will feature Afro-Peruvian Jazz Orchestra, Thana Alexa, John Beasley, Camilo, Regina Carter, Alexandre Desplat, Bebel Gilberto, Lupita Infante, Sarah Jarosz, Mykal Kilgore, Ledisi, Mariachi Sol de Mexico de Jose Hernandez, PJ Morton, Gregory Porter, Grace Potter, säje, Gustavo Santaolalla (Bajofondo), Anoushka Shankar, and Kamasi Washington.

Current nominees Bill Burr, Chika, Infante and former Recording Academy Chair Jimmy Jam will present the first GRAMMY Awards of the day. Branden Chapman and Bill Freimuth are the producers on behalf of the Recording Academy, Greg Fera is executive producer and Cheche Alara will serve as music producer and musical director.

Music fans will be given unprecedented digital access to GRAMMY Awards content with GRAMMY Live, which will stream internationally on GRAMMY.com and via Facebook Live, the exclusive streaming partner of GRAMMY Live. GRAMMY Live takes viewers behind the scenes with backstage experiences, pre-show interviews and post-show highlights from Music's Biggest Night. GRAMMY Live will stream all day on Sunday, March 14, including during and after the GRAMMY Awards evening telecast. IBM, the Official AI & Cloud Partner of the Recording Academy, will host GRAMMY Live for the first time entirely on the IBM Cloud.

The 63rd Annual GRAMMY Awards will be broadcast live following the Premiere Ceremony on CBS and Paramount+ from 8 p.m.–11:30 p.m. ET/5 p.m.–8:30 p.m. PT. For GRAMMY coverage, updates and breaking news, please visit the Recording Academy's social networks on Facebook, Instagram and Twitter. 

All of the Premiere Ceremony performers and the host are nominated this year, as are most of the presenters. Afro-Peruvian Jazz Orchestra for Best Latin Jazz Album (Tradiciones); Aiko for Album Of The Year (Chilombo), Best R&B Performance ("Lightning & Thunder" featuring John Legend) and Best Progressive R&B Album (Chilombo); Alexa for Best Jazz Vocal Album (Ona); Beasley with Somi With Frankfurt Radio Big Band for Best Jazz Vocal Album (Holy Room: Live At Alte Oper), Best Large Jazz Ensemble Album (MONK'estra Plays John Beasley), Best Arrangement, Instrumental or A Cappella ("Donna Lee") and Best Arrangement, Instrumentals and Vocals ("Asas Fechadas" with Maria Mendes); Burna Boy for Best Global Music Album (Twice As Tall); Burr for Best Comedy Album (Paper Tiger); Camilo for Best Latin Pop or Urban Album (Por Primera Vez); Carrington + Social Science for Best Jazz Instrumental Album (Waiting Game); Carter for Best Improvised Jazz Solo ("Pachamama"); Chika for Best New Artist; Desplat for Best Instrumental Composition ("Plumfield"); Gilberto for Best Global Music Album (Agora); Holmes for Best Traditional Blues Album (Cypress Grove); Infante for Best Regional Mexican Music Album (Including Tejano) (La Serenata); Jarosz for Best American Roots Song ("Hometown"), Best Americana Album (World On The Ground); Kilgore for Best Traditional R&B Performance ("Let Me Go"); Ledisi for Best Traditional R&B Performance ("Anything For You"); Levit for Best Classical Instrumental Solo (Beethoven: Complete Piano Sonatas); Mariachi Sol de Mexico de Jose Hernandez for Best Regional Mexican Music Album (Including Tejano) (Bailando Sones Y Huapangos Con Mariachi Sol De Mexico De Jose Hernandez); Morton for Best Gospel Album (Gospel According To PJ); Pimienta for Best Latin Rock or Alternative Album (Miss Colombia); Poppy for Best Metal Performance ("BLOODMONEY"); Porter for Best R&B Album (All Rise); Potter for Best Rock Performance ("Daylight"), Best Rock Album (Daylight); säje for Best Arrangement, Instruments and Vocals ("Desert Song"); Santaolalla with Bajofondo for Best Latin Rock or Alternative Album (Aura); Shankar for Best Global Music Album (Love Letters); Wainwright for Best Traditional Pop Vocal Album (Unfollow The Rules); and Washington for Best Score Soundtrack For Visual Media (Becoming).

Click the below to view the program book for the 63rd GRAMMY Awards Premiere Ceremony.

63premiereceremony_info-page.png

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.