Advocacy is sharing your views and opinions with the people elected that make decisions impacting your arts organization. In addition to communicating directly with elected officials, you can advocate your cause through people who have influence on those decision makers. Effective advocacy (the active process of gaining political and financial support for your organization or cause) hinges on continuous education and communication between your supporters (your advocates) themselves, their decision makers (local politicians, state and federal legislators), and the public.
Educating both the public and legislators on the true impact of the arts must be a primary goal for any arts advocate. The arts are often envisioned as social, cultural, or entertainment avenues. When the arts are perceived in this light, they often are associated with personal enjoyment and enrichment for the wealthy while their valuable contribution to the rest of society goes unnoticed. The arts have major impact on the economy (specifically through tourism and economic development), on education, and other areas of our society as well.
Artist Advocacy works towards legislative and public policy issues that directly affect creator's ownership and compensation. This includes lobbying and support for such issues as ownership consolidation in the entertainment industry, copyright and performance rights issues and more.
In 2013, Atty. Rosario in association with the Howard University’s Law School’s Institute for Intellectual Property and Social Justice (IIPSJ) lobbied Congress concerning the Stop On Line Piracy Act (“SOPA”) and Protect Intellectual Property Act (“PIPA”).
In 2012, Atty. Rosario also co-authored an editorial that was published in the The Hill.com on how the merger between EMI/Capital Records and Sony Music and Universal Music would affect royalty payments for recording artists and songwriters and the disparate impact on minority artists.
In 2011, Atty. Rosario lobbied Congress for the passage of a “Performance Rights Act,” which would allow recording artists to be paid when their recordings are publicly performed on broadcast radio; just as songwriters are paid through ASCAP, BMI and SESAC.
In 1999, Atty. Rosario also worked with the American Federal of Musicians (AF of M) and the American Federation of Television and Radio Artists (AFTRA) for repeal of an amendment to the Copyright Act that added “master recordings” to the statutory definition of “works-made-for-hire,” that would have prevented artist from asserting termination rights under Section 203 of the Copyright Act of 1976.
Atty. Rosario also participates in the “Grammy’s on the Hill” and National Bar Association’s annual Advocacy effort.