Thanks to my buddy Mark Adato, and his work with the organization Africa New Day, I got to help two African independent artists from Congo with career advice. This year, through my mentorship work at SXSW and through AND, I’ve been honored to give career advice to artists in the Caribbean and Africa.
Independent artists in the United States take for granted our relatively easy and abundant access to information and resources related to the music business. Many of the artists in Africa and Carribean do not even know how to get their music on iTunes. They want desperately to share their music. I’m proud that I’ve been able to help a few get started on the right path.
I’ve even used my in-store music video network, which plays in all Shiekh Shoes stores across the United States, to showcase artists from Africa and the Caribbean to my 3 million viewers.
Connecting the diaspora through music, demonstrating our similarities through musical storytelling, and showing that entertainment defies boarders has been a humbling experience.
If you are reading this and you are an artist from Africa, reach out to Africori, which describes itself as a Pan-African music company for artists and labels. Their website is http://africori.com. They may be able to help with getting music distributed. Also, learn about copyrighting your music and collecting music royalties in your territory. You can find more information by talking to Music In Africa foundation. Their website is http://musicinafrica.net.
I often use Hip-Hop and Pop songs in my classes and workshops when discussing rights, income participation, publishing splits, and royalties because these two genres tend to have the most writers per song on average. With the recent DOJ ruling to enforce 100% licensing, songwriters have been trying to understand its impact on their careers. In his blog, TheTrichordist.com, David Lowery presents a compelling argument that the 100% licensing ruling is a “tax” on Hip-Hop music creators and rights-holders. He uses a DJ Khaled song as an example to demonstrate how the 100% licensing rule could impose unfair cost, administrative, and time prohibitive requirements on writers and publishers.
Let’s look at the implications of the DOJ 100% rule for the writers of the 5th most popular Hip Hop Song in the US this week.
These are the four samples in For Free, by DJ Khaled featuring Drake. Each of those sampled songs also has multiple writers. Consequently the list of writers for the composite work is quite long. In this case there are 13 Songwriters, 4 BMI publishers and at least 3 non BMI publishers. 6 writers use ASCAP to license performing rights. 6 writers use BMI and one writer is Canadian so they use SOCAN. As is always the case with works composed of samples, these writers have a co-writer agreement to spell out ownership percentages and then an agreement that specifies each party will license and collect it’s own fractional share. “You do your business and collect your money, I do…
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A few music industry announcements:
1. I am giving a talk and mini-workshop on Saturday, August 13th at 11am at the Indie Entertainment Summit titled “Music Metadata Matters: How Metadata Impacts Your Income & Opportunities” followed by speaking on a panel on YouTube video monetization for DIY indie artists and bands. Get deats and tickets at http://www.IESfest.com.
2. I am organizing and hosting the Southern California Music Industry Professionals’ August Music Industry Mixer on Thursday, August 18th form 6pm to 9pm at The Federal Bar. We have a special guest speaker, Tiamo Vettori De Vettori, Founder/CEO of Musicpreneur Academy and a Music Success Coach (www.TiamoMusic.com), will give a talk “Secret High Paying Gigs: 5 Lucrative Markets for Musicians in the NEW Music Industry.” This event is FREE. Join SCMIP at http://www.meetup.com/SCMIPonline and RSVP for the mixer at http://www.SCMIP-August.eventbrite.com.
3. I have a panel submitted for SXSW 2017 on music rights and metadata in the ever evolving digital music space featuring panelists from Music Reports, BuzzAngle, TuneRegistry, and Crunch Digital. Vote for the panel and leave comments at http://panelpicker.sxsw.com/vote/62361.
4. I am now the full-time CEO of TuneRegistry, an easy-to-use music catalog and metadata management platform with built-in music administration tools for the independent music community. TuneRegistry helps music creators and rights-holders organize their music catalog and streamline administrative tasks such as registering with rights organizations. Our goal is to have 1,000 music creators and rights-holders using TuneRegistry by the end of 2016. Please tell your music industry friends and send them to http://www.tuneregistry.com for details.
To stay up-to-date about my projects, work, involvements, and my upcoming appearences subscribe to my blog at http://www.daeboganmusic.com, follow me on Twitter @daeboganmusic, and like my Facebook page Dae Bogan Music.
My team has spent over a year building a platform that will help independent music creators simplify their careers. It’s called TuneRegistry and today we open to the public!
I can only imagine the music compensation nightmare that will ensue over the next 12 months as streaming, DPD, and airplay royalty checks start to go out to the multi-national team of creators and rights holders.
Who is responsible for ensuring the accuracy of rights holder information across all tracks? Who is checking that digital music services have complete metadata to match sound recordings to their underlying compositions? Who is accounting to the background vocalists and session musicians?
Did every producer and engineer secure letter of directions from Beyoncé and Drake to properly claim a portion of Pandora payouts? Who is looking after the contributors who do not have multinational publishers? Will they capture their piece of neighboring rights, DART royalties, or Spotify mechanicals?
Who will lose out due to inefficiencies? Who will have money left on the table due to an inability to properly claim and collect?
These are the questions that we ask ourselves at TuneRegistry and why we’ve built the next-generation music rights & metadata management platform to empower creators and rights holders.
The image featured above is a screenshot of a post on recording artist Lukas Graham‘s Facebook page. This blog entry is about the idea of the Digital Music’s New Fan Conversion Funnel as illustrated by a comment posted in the comments section by Lukas Graham fan, Stacy Angus.
But first, a quick crash course on conversion funnels.