I am pleased to announce that Apple has selected my Billboard-recognized class, Music Industry Entrepreneurship and Innovation, at UCLA Herb Alpert School of Music as a preferred source to recruit aspiring music industry professionals into its college internship programs at Apple Music.
Upon successful completion of an internship and graduation from UCLA, recent grads may become eligible for full-time employment at Apple music divisions.
An Apple Worldwide Recruiting representative will visit my class in January 2019 to promote their internship program to my students and answer any questions that students might have.
I am pleased with Apple’s decision to partner with universities and educators that deliver best-in-class education and experiences to students who may become tomorrow’s music industry leaders.
In reviewing my class students have shown great appreciation for the course and the speaker series that I curate throughout the quarter:
Hi Dae, Just wanted to thank you for an awesome class. This was one of the few classes at UCLA where I felt I was taught skills, not just about the subject matter but in how to go about achieving my career goals, that were applicable to my endeavors and will be used for the rest of my life. I got more out of it than I had with any other course here and I would highly recommend your class to to anyone interested in a music industry career.
– Student testimonial, Winter Quarter 2018
Without a doubt one of the most useful classes I have taken in my undergraduate career at UCLA. Professor Bogan has so much real world knowledge and knows how to convey that knowledge in a classroom setting immensely well. All the course material was invaluable to my progression and aspirations of being in the music industry. Every lecture was extremely well-prepared, with amazing guest speakers and information that I will be using for the rest of my life. Professor Bogan did a phenomenal job and I will be recommending this class to all my friends interested in music or starting their own company. Can’t say enough good things about this class.
– Student testimonal, Winter Quarter 2018
In addition to the relationship with Apple, I am excited to announce that I’ve established a relationship with music tech start-up accelerator Techstars Music that allows me to recommend student and alumni owned start-ups for consideration to receive seed investment and to participate in its accelerator program.
I look forward to continuing to add value to my course to offer students one of the best experiences in their academic careers at UCLA.
I am happy to announce that my UCLA top rated and Billboard recognized course on music entrepreneurship will return to UCLA Herb Alpert School of Music next quarter, Winter 2019.
Course Title: MSC IND 188: Music Industry Entrepreneurship and Innovation
Course Description: From digital-first record labels and music messaging apps to AR/VR (augmented reality / virtual reality) music experiences and blockchain-based music startups, entrepreneurs have been disrupting and innovating across the music industry since the launch of Napster in the early 2000’s.
In this course, you will learn and apply principles of entrepreneurship and fundamental business strategies to the music industry. We will analyze case studies and current events and participate in critical discussions around music industry entrepreneurship.
Course work will consist of developing business plans, workgroup labs, and building out infrastructure for start-ups that focus on technology and innovation in the music industry; all culminating in the pitch of a fictitious music industry company at the end of the quarter. You will also take away cautionary tales and lessons for success from founder stories presented by guest speakers of music industry start-ups and executives from established music industry companies.
Personal Note: I developed “Music Industry Entrepreneurship and Innovation” as a forward-thinking course which reflects the kind of entrepreneurial exploration we will do around new business models and emerging technologies (e.g. artificial intelligence in music composition, blockchain in music rights administration, cryptocurrency as royalty payments, augmented reality and mixed reality in music education, virtual reality in music experiences such as concerts, etc.). I’m looking forward to taking this journey with you starting January 2019.
Without a doubt one of the most useful classes I have taken in my undergraduate career at UCLA. Professor Bogan has so much real world knowledge and knows how to convey that knowledge in a classroom setting immensely well. All the course material was invaluable to my progression and aspirations of being in the music industry. Every lecture was extremely well-prepared, with amazing guest speakers and information that I will be using for the rest of my life. Professor Bogan did a phenomenal job and I will be recommending this class to all my friends interested in music or starting their own company. Can’t say enough good things about this class. – Anonymous, Student Course Evaluation
Very strong thought person allows him to be a very quality, natural teacher and mentor. Very cool to learn from a self made millionaire. Very humble and engaging. Understands the value on unorthodox education. – Anonymous, Student Course Evaluation
Hope your week has been going well! I just wanted to thank you for an amazing quarter. I really learned a lot from you and would love to keep in touch in the future. The information I gained from your class will help me in developing my professional career in the music industry and I just wanted to let you know how much of an impact you’ve had on me. Thank you!
Hello Professor,Thank you so much for all the knowledge you have provided this year, I have profoundly enjoyed your class.-M.
Thank you for everything this quarter.
Not only have I learned so much about the music industry and entrepreneurship skills from your class, but you also taught me how to value my time and sense of self highly. With these valuable tools and mindsets, I have started to believe in myself so much more and I have also set higher standards for my life with purpose, thanks to you.
I appreciate the active investment you put in our actual learning through outside resources and guests. This class was a special experience, which has honestly been very hard to find in many of my professors these four years.
I wish you enormous success in your future! I hope to be there one day as well 🙂
Dear Professor Bogan,
Hope this email finds you well! [Omitted]
I was truly inspired by your entrepreneurship and knowledge. It is great to see someone that looks like me be passionate, knowledgeable, and successful in the music industry. I also am grateful for all of the tools you gave us to create our own businesses. The things we learned are truly priceless and will help us structure our ideas and concepts for a lifetime. Moreover, thank you for the diverse array of music industry professionals you brought into the class, because of the depth of your network, you connected us with someone from just about every aspect of the industry, which gave me personal accounts of what is needed to get into this industry. I can tell that you carefully craft every aspect of your class, and I truly appreciate the effort and dedication to student learning.
Not a goodbye, but definitely see you later! Thanks for a great quarter!
Just wanted to thank you for an awesome class. This was one of the few classes at UCLA where I felt I was taught skills, not just about the subject matter but in how to go about achieving my career goals, that were applicable to my endeavors and will be used for the rest of my life.
I got more out of it than I had with any other course here and I would highly recommend your class to to anyone interested in a music industry career.
See you around hopefully,
Tonight, I finally had time to read a recent piece by Ari Herstand in which he reviewed a Spotify playlist submission service called Playlist Push owned by an acquaintance of mine. It was a good piece because Ari spent time using the service and met with the founder to ask questions. His review was credible because he was knowledgeable. Like the good journalist that I generally respect him as, he did his research well.
However, I was taken aback when I clicked through to another article — on registering music with music rights organizations (an obvious interest of mine) — that was referenced in the Playlist Push article and came across a passage at the end where Ari precedes to pass judgment on my company, TuneRegistry, and tells his readers that he can’t recommend us. This was shocking and upsetting because, unlike his review of Playlist Push, Ari has not used TuneRegistry and has never set with me, the founder, to discuss what we do or ask questions (despite the fact that I have invited him to do so in the past). In fact, he states in what is basically a sort of rant against our model, that he has questions about our service.
Worth mentioning that TuneRegistry is a new company that was created to get your songs registered most places for a fee. They don’t take a commission, so they don’t really put much effort into tracking down your royalties, they just get your songs registered and hope that the appropriate organizations pay you correctly (but you are required to register yourself with all the organizations they collect from – which is a major headache and NOT recommended). TuneRegistry takes a lot more effort and hands on work by you, but they serve a purpose for those that have the time, energy and understanding of how all this works and want to manage it themselves (and keep all their royalties).
But, you do not need to use them. Let me repeat, you do NOT need to use TuneRegistry (I got some questions about this). I just listed them as an alternative to an admin publishing company. To be honest, I can’t recommend them because of the headaches they cause in making you register with all these orgs. But some people like headaches. So… go for it! I recommend giving up 15% to a full-fledged admin publishing company and saving yourself the headache.
In response, I left the following comment on the article so that readers of Ari’s piece would receive more context from me, the founder of TuneRegistry:
TuneRegistry founder here. I appreciate that Ari decided to mention us in this piece. He’s one of the champs out here providing information to independent artists. That being said, as a music creator rights’ advocate, speaker, writer, music business educator (https://daeboganmusic.com/category/educator), and former indie artist and music manager, I would like to add some context to our offering as a counter to the negative-leaning and misleading tone presented in the piece.
TuneRegistry is an affordable (two Starbucks coffees a month) software that empowers DIY music creators to administer the music rights that they own and control, while retaining 100% of their copyrights and 100% of their royalties. We enable both composition side and master side rights administration, all in one place.
Prior to launching TuneRegistry — which was co-founded by a music industry professional & educator, two lawyers, and a technologist…all of whom are also musicians — I spent 2 years working with all of the U.S. music rights organizations to get them onboard to allow self-published music creators to reap the benefits of being their own publisher. This means, you do not have to give up 20% of your publishing income in perpetuity (until you cancel) just because a 3rd party publishing administrator registered a song for you with a PRO one time several years ago.
Ari states that we “don’t take a commission, so they don’t really put much effort into tracking down your royalties, they just get your songs registered and hope that the appropriate organizations pay you correctly.” It is correct that we do not take a commission. 100% of the royalties flow to the rights-holder. The notion that we do not care about your royalty flow is grossly misleading. We care immensely about your ability to be accounted to and paid royalties. It is this fundamental idea, the creators should be paid all of what they are due, that is at the heart of TuneRegistry. We work with creators every single day to clear conflicts, disputes, push customer service inquiries at societies forward, and provide education on how royalties work and how to collect them (see our free ebook “The DIY Musician’s Starter Guide To Being Your Own Label & Publisher” https://www.tuneregistry.com/lp/the-diy-musicians-starter-guide-to-being-your-own-label-and-publisher). I personally spend thousands of dollars and hundreds of hours in the music industry, at conferences and meeting with organizations and societies to improve outcomes for indies. In a word, we care. We are smaller than all of the traditional publishing administration companies that Ari mentioned in his piece, some of whom boast about having over 150,000 songwriters in their catalog. Without disparaging any of them, I will say that it is impossible to actively “track down” royalties for 150,000 songwriters. Passively receiving royalty payments and unauditied royalty statements, is not the same as tracking down royalties, something that I’ve done with my other company RoyaltyClaim.com, the world’s first search engine for unclaimed royalties, but I’ll digress.
Ari also mentions that, “you are required to register yourself with all the organizations they collect from – which is a major headache and NOT recommended.” We do not collect from any organization at this time. Because you receive 100% of your royalties, you must go to the organization and create accounts to provide them with your banking information so that they can pay you. You must also create accounts so we have an account to register your music into from the TuneRegistry dashboard. This is a one-time thing for only up to 6 organizations. It literally takes an hour or two to submit the applications. This isn’t really that much of a headache. In my opinion, a much bigger headache is giving up 20% of your U.S. publishing royalties in perpetuity (until you cancel) to a 3rd party because you couldn’t put a few hours on a Saturday afternoon aside to get this done. You (the reader) should do the math and be the judge. Can you take out one afternoon to join a few U.S. music rights organizations and then keep 100% of your U.S. music royalties or are you too busy to complete a few forms and would therefore opt to give away 20% of your publishing income in perpetuity? Also, the notion that creating your own accounts is “not recommended” is a fallacy. Not only do all of the organizations encourage music creators to be proactive in their own rights administration, they actively suggest and educate you on how to do so. See this article (https://daeboganmusic.com/2018/03/12/how-to-apply-for-a-harry-fox-agency-online-account-as-a-diy-musician-a-step-by-step-guide/) that we wrote with the approval of Harry Fox Agency showing indie songwriters step-by-step how to get their own account and unlock their Spotify mechanical royalties, which we’ve been doing for some time now (including facilitating opt-ins into direct Facebook, Instagram, and Oculus licenses). Our free ebook mentioned above provides instructions on how to properly setup your own music rights company. We’ve helped many artists and managers do so, and they’ve written positive feedback from this guidance (https://twitter.com/MissAlexWhite/status/1044997438753435649?s=19).
Ari stated, “TuneRegistry takes a lot more effort and hands on work by you, but they serve a purpose for those that have the time, energy and understanding of how all this works and want to manage it themselves (and keep all their royalties).” Yes, we built TuneRegistry for music creators who care about knowing what’s going on with their music business, who care about the ownership and management of their catalogs, and who’d rather get paid all of their U.S. music publishing income faster (no 2 calendar quarters delay by a 3rd party administrator) by being paid directly from U.S. music rights organizations.
Ari writes, “But, you do not need to use them. Let me repeat, you do NOT need to use TuneRegistry.” Technically, you do NOT need to use anyone. This was a bit of an unnecessary statement. He continues, “I got some questions about this. I just listed them as an alternative to an admin publishing company. To be honest, I can’t recommend them because of the headaches they cause in making you register with all these orgs. But some people like headaches.” I would be happy to discuss. I’ve invited you to this discussion several times. You have my email. And please drop the “it’s a headache” bit. That is an incredibly subjective and unfair characterization of the process, by someone who has yet to go through it with us, no less.
Ari concludes, “I recommend giving up 15% to a full-fledged admin publishing company and saving yourself the headache.” To this I say, to each his own. I think there are great admin publishing companies out there doing great work. Many, however, do not accept DIY musicians. In fact, one stated this during his panel at Music Biz Expo this summer. An artist in the room asked what he should do since traditional publishing administrators would not represent his small catalog. The speaker said that artists will just have to wait until their careers grow. I stood up and rejected that notion and introduced TuneRegistry. I do not accept that music creators need to give away up to 20% of their U.S. publishing income. And we’ve been proving this with our users since we launched at SXSW in 2017.
In closing, Ari I appreciate your desire and work to spread information to music creators. Many look to you for advice, insight, and truth. As a writer or contributing journalist myself, I respect your usual research-driven evaluations of services and resources. However, I don’t think you gave us a fair review here since you’ve neither used TuneRegistry nor set down with me to talk about what we’re doing or how. Since you chose to mention my company in your article, a company that my team and I spend and sacrifice so much time and resources to help hundreds of DIY music creators, I would like to invite you, again, to have a discussion with me so that you can get a demo and ask any questions that you may have.
– Dae Bogan
Co-founder & Chief Executive Officer, TuneRegistry
Lecturer of Musicology, UCLA Herb Alpert School of Music
Wednesday night, at California State University – Northridge (CSUN), I conducted my latest workshop, “Music 2020: The Next Era of Innovation in the Music Industry,” in Professor Andrew L. Surmani’s class for his M.A., Music Industry Administration students.
In this workshop, we explore the art and process of ideation; discuss the differences between invention, disruption, and innovation; and profile a number of developing innovations within the music industry including augmented reality (AR), virtual reality (VR), mixed reality (MR), artificial intelligence (AI), machine learning (ML), blockchain and crypotcurrency. The presentation ends with a design thinking exercise where students break out into groups to work through the fundamental design thinking process of developing a minimum viable product to solve a vetted problem in the music industry.
The students seemed to like the workshop:
Dae, you were fantastic and the CSUN MIA students thoroughly enjoyed your very organized, insightful and forward thinking presentation. That was evident in the line of students waiting to talk to you at the break. Thank you again for coming to talk to our graduate music industry students.
– Andrew Surmani, Associate Professor of Music Industry Studies, California State University – Northridge
I’m looking forward to conducting this workshop next week at the College of the Canyons.