Dae Bogan To Moderate Panel On Los Angeles Music Startup Scene With Capitol360, Techstars Music, Expert DOJO, The Rattle LA, And Startup UCLA / Blackstone Launch Pad At UCLA’s Amplifying Music In Our Los Angeles Conference On| May 15th, 2019

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Amplifying Music in Our Los Angeles

A Conference Amplifying and Connecting the Music Scenes of Los Angeles

Host: Center for Music Innovation at UCLA Herb Alpert School of Music

Location: Charles E. Young Research Library Auditorium, UCLA North Campus

Time: 9 am – 4:30 pm

Date: Wednesday, May 15, 2019

Cost: Free for Registered Attendees


How can we support Los Angeles’ music scene(s) and work together to continue to create something robust, diverse, and dynamic in this changing era?

This day-long conference expands the conversation of how Los Angeles can grow and connect/collaborate around its diverse music scenes. If other cities are challenged by gentrification in having vibrant live music scenes, (a) why is Los Angeles seeming to be growing, despite these difficulties and (b) how we we enhance and amplify this growth?

Background

This Conference is the second in a series of events that UCLA Center for Music Innovation is holding with this Future of Music in LA focus across 2019 across LA, so we welcome you to be involved in those programs as well.

On February 6th, the City of Los Angeles Department of Cultural Affairs held a half-day Symposium as part of its February COMPOSE LA series of events. With partners that included UCLA’s Center for Music Innovation, they brought together different voices across Los Angeles and music to talk about the future of Music in Los Angeles.

Los Angeles is a complex environment. From panels and provocations, we came up with many things that weren’t right within the overall ecosystems in terms of policy, permitting, and procedures. We also explored our very vibrant environment that seems to be growing — despite the systemic challenges.

The Invitation

We invite the community gather again on May 15th at UCLA to both expand the conversation and to add new voices into the mix. We’re going to include people joining us from video conference from other cities and locations. We’re going to include new parties — and parties with different perspectives. And we’re going to include roundtable conversations, where the conversation will come out into and with the audience.

We invite you to join us for this community event at the Charles Young Research Library at the UCLA campus. The event will be free, along with the support from our community and marketing sponsors.

The Schedule

Sessions and the full schedule will be posted mid-April.

 

FREE REGISTRATION (INCLUDING ONLINE STREAMING OF CONFERENCE)

90% Of Music Startups Fail – Improve Your Chances – Enroll In ‘Music Industry Entrepreneurship Masterclass’​

Hi there,

Did you know that 90% of startups fail and while there may be 16 reasons why music startups fail in particular, failure still sucks for the hundreds of music startup founders who failed; especially those who could have gotten it right had they consulted with a music industry entrepreneurship coach.

My name is Dae Bogan and I am a 3x exited serial music industry entrepreneur; a Lecturer, Music Industry at UCLA Herb Alpert School of Music where I develop and teach “Music Industry Entrepreneurship,” which was recognized by Billboard on its list of “The 15 Best Music Business Schools In 2017;” and I am the founder and executive consultant of music startup consultancy, Rights Department, where I’ve helped over 40 founders from around the world develop, launch, scale, pivot, or exit their startups in the music and digital media industries.

Next weekend, for the first time ever, I will be teaching a live online Music Industry Entrepreneurship Masterclass with 9 different sessions to choose from on April 27th, 28th, and 39th. Enrollment starts at less than the price of a one hour coaching session and if you can’t make it, by registering, you will still receive a full recording of the masterclass plus any additional benefits based on your enrollment package.

WATCH A FREE INFORMATION SESSION VIDEO

One of my biggest issues as an artist manager is deciding which opportunities are most lucrative for my clients. Dae’s strategies around organization help you identify which skills you should prioritize in order to drive success for yourself or your team. With Dae’s insight, I have become more efficient and realistic in my pursuit of new ventures, with both short term and long terms goals in mind. — Ryan MacDonald, Entrepreneur

Not For You?

If you do not believe the masterclass applies to you, but you know an entrepreneur — in any industry — who may be interested in learning entrepreneurial skills and fundamental business strategies, please send them the information.

10 Income Streams For A Music Producer

A breakdown of income you could earn by producing one hit (or at least, viral) record.

Production Icome

1. Production fee for your creative input in producing the track.
2. Recording Engineer fee for performing recording engineer duties in the studio.
3. Mixing Engineer fee for mixing the track.
4. Mastering Engineer fee for mastering the track.

(1-4 could be embodied all in one fee, or you could line item it in your contract and/or invoice.)

Master Income

5. Income share in the master sales, downloads, streams, often referred to as “points on the record.”
6. If you add background vocals and/or live instrumentation to the production, while you may not earn a session musician fee, you are still entitled to receive all or a portion of the non-featured performer share of statutory master royalties for US non-interactive streams, or so-called “digital radio royalties.” To get this, make sure that you are credited not only as a Producer but also as a background vocalist or musician for whatever instrument you played. These royalties in the US are paid out by the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund. These funds do not reduce the featured artist’s neighboring rights (US = digital radio) income. It is completely separate from the featured performer share of income and non-negotiable by that featured performer. If you don’t claim it, you still earn it but you leave it on the table!
7. Thanks to the passing of the Music Modernization Act, which became law on October 11th, 2018, and the inclusion of the Allocation for Music Producers Act (AMP Act), studio professionals such as producers and engineers have a legal and permanent right to directly collect non-interactive, digital royalties agreed through a letter of direction with the featured artist from SoundExchange. Join the Creative Affiliates Program at SoundExchange and submit your letters of direction.
8. A producer’s share of international neighboring rights royalties in several territories where recordings that you produce are performed on broadcast radio and TV.

Publishing Income

9. If you composed the melody or co-authored the lyrics, you should be considered a Writer on the musical work and be entitled to receive writer-share of publishing income (performance royalties, mechanical royalties, synchronization royalties).
10. If you composed the melody or co-authored the lyrics, as a Writer on the musical work, you are entitled to receive or assign the publisher-share of publishing income (performance royalties, mechanical royalties, synchronization royalties).

In conclusion, if you’re a music producer, make sure that you understand all of the income streams associated with the work that you put in on a recording AND your legal entitlements under copyright law and music publishing industry customs. Also, join the Recording Academy / GRAMMYs Producers & Engineers Wing.

Want to learn more? Download my FREE ebook “The DIY Musician’s Starter Guide To Being Your Own Label And Publisher.”

2021 Prediction: The United States Music Publishing Market Continues To Grow And Fragment, Creating More Silos For Unpaid “Black Box” Royalties — DIY Musicians Hit The Hardest

As the U.S. music publishing industry grows (in terms of revenue, volume of copyrights, and number of income participants), the rights administration and licensing sector becomes ever-more fragmented; giving way to cracks in its foundation through which royalties fall into the so-called “black box” — the industry name for the unmatched and unpaid royalties earned against unidentified works or unidentified or unreachable income participants that accrue in escrow only to be later forfeited and disbursed to entities to which the funds do not belong; primarily major music conglomerates and those acquiring catalogs of copyrights to expand their market share position.

Black Box Royalties Myths, Common Misconceptions Debunked at Music Biz 2018

united states music publishing market music licensing rights administration royalty ecosystem

A picture of a white board illustrating the growth and fragmentation of the US Music Publishing Market, specifically the music licensing and royalty ecosystem, drawn during Dae Bogan’s lecture in his class, “Music Industry Entrepreneurship and Innovation” at the UCLA Herb Alpert School of Music, Winter Quarter 2019

In 1909, when the first federal copyright law that protected music creators and rights-holders was enacted, there were no massive music rights organizations as we’ve come to know them today. Although unions had existed — the American Federation of Musicians was founded 13 years earlier in 1896, but focused more on work conditions than collective bargaining, as it does today — ASCAP was formed in 1914 to license the performing rights of composers, authors, and publishers.

Fast forward to 2021 when the newly formed Mechanical Licensing Collective will issue its first blanket digital streaming mechanical license to the likes of Spotify, Google, and Apple. There will be over a dozen music rights and royalty collection organizations issuing thousands of licenses, administering millions of pieces of copyrights, and processing billions of micro-penny transactions.

Here Are 10 Ways That The Music Licensing Collective (MLC) Can Set The Bar As A Collective Licensing Organization In The 21st Century

The music licensing and royalty ecosystem in 1909: Individual music composers, aristocrats who financed or commissioned works, and sheet music publishers.

The music licensing and royalty ecosystem in 2021: Traditional non-profit and private music rights organizations (ASCAP, BMI, SESAC, Global Music Rights, PRO Music Rights, SoundExchange, Mechanical Licensing Collective), royalty funds (AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, Alliance for Artists and Record Labels, Film Musician’s Secondary Market Fund, Sound Recording Special Payments Fund), unions engaged in collective bargaining (SAG-AFTRA, American Federation of Musicians), licensing clearing houses and agents (e.g. Music Reports, Harry Fox Agency).

If I wrote a popular commercial song that is exploited to the fullest extent — released on a commercial recording; performed live in concert; licensed for use in film or television; placed in a commercial; earns viral success on user generated content platforms and social music apps; covered many times; embodied in a music video; lyrics printed and sold on merchandise; used for a live broadcast sporting event; added to Spotify and Apple playlists where it takes off; picked up on terrestrial, Internet, satellite, and cable radio; etc. — I would need to ensure that my work is registered at all of the places where the royalties earned from the uses I’ve described are paid; the music licensing and royalty ecosystem. If I do not, then my royalties will leak into the black box.

The black box is estimated at over $2 billion — and growing — of which much of it is due to independent music creators, small music rights-holders, and the estates of deceased authors and performers who do not have the access, power, know-how or market share to navigate the web of black boxes; for which there are many.

Songwriters Are Owed Nearly $2B In Unclaimed Royalties!!! — Maybe More — I’ve Been Saying This For Some Time Now (Against Pushback), But Finally The Press Has Confirmed It

When entities charged with maintaining these black boxes distribute the funds in market share distributions, the major labels and publishers win and the independent and DIY creators lose. It is unfair and unethical. But what are we going to do about it?

Some artists, knowing that they do not know exactly how this all works, have found creative business ways to “make up” for potential lost royalties. But for the rest — the majority — of DIY musicians, they’re generally left out of the discussion and left to fend for themselves, even when they think they’re doing everything right.

What Can The Socioeconomic Context Of The Culture From Which Hip-Hop Is Derived Tell Us About How The Biggest Genre In The World Gets The Shitty End Of The Royalty Stick?

As the industry charges forward with new energy fueled by the growth of music streaming, we have to consider how the continued fragmentation of the music licensing ecosystem affects the most vulnerable — DIY musicians. Major labels have direct deals with DSPs and digital services that pay them advances and account to and pay them royalties. DIY musicians rely on music rights organizations, who are often disproportionately influenced by the majors, to handle these things for them.

Do So-called Music Advocacy Groups Avoid Deeper Discussions On Black Box Royalties To Appease Their Major Members?

I founded TuneRegistry to help DIY musicians be their own advocate, to demystify the music licensing and royalty ecosystem by aggregating the fragmented world of rights administration into one economical platform. To this end, our team has helped hundreds of small to medium-sized music rights-holders and DIY musicians unlock thousands of dollars in new found royalties and to register their works to ensure that they are identified and accounted to in the future. Not all music rights organization have joined our network, but we will continue to advocate and fight for the rights and entitlements of DIY music creators as long as we can.

Conspiracy Theory Satire

Conspiracy theorists be like…

16 year old Hanson Gregory invented the ring-shaped doughnut in 1847.

1+8+4+7 equals 20.

A ring-shaped doughnut has 2 circles — one outer and one inner.

20 written out twice is 2020.

The first day of the 16th week in year 2020 is 20.

The month in which the 16th week lands is April. April is the 4th month of the year.

4+16 equals 20.

4-20 reversed is 20-4 and if you remove the dash 20-4 is 204. (We’ll reference this later)

Adding the first two digits of 1847 (1+8) and the second two digits of 1847 (4+7) results in 9-11.

American astronomer Mary Watson Whitney was born on September 11th, 1847.

Mary believed that scientific training would prepare women to get traditional jobs in science in the 20th century.

Mary Watson Whitney died 21 days into the 21st year of the 20th century on January 21st, 1921 in Waltham, Massachusetts.

Waltham, Massachusetts was incorporated in 1884.

1+8+8+4 equals 21.

There are 21 letters in Hanson-Gregory-doughnut.

Hanson Gregory died in 1921.

A statue of Hanson Gregory was erected by the town of Glen Cove, Maine.

It takes 204 minutes to drive from Glen Cove, Maine to Waltham, Massachusetts.

The average American can eat 21 doughnuts in 204 minutes.

If someone eats 21 doughnuts in one sitting, clearly they have the munchies.

The munchies are attributed to smoking marijuana, which is referred to as 4-20.

You just read 21 lines of random ass facts that I pieced together with the loosest unsubstantiated connections that blew your mind.

————————————————————————
“Conspiracy Theory Satire”
© 2019 Dae Bogan

Permission to use under Creative Commons license CC BY-NC-ND (Attribution-NonCommercial-NoDerivs)

A (Long) Announcement For Music Industry Entrepreneurs

This month, 7 years ago, I was abruptly laid off from my role as VP of Marketing & Strategic Partnerships and General Manager of Music of a half-billion dollar US retail chain. Although the lay-off occured as a result of a company reorganization following an M&A transaction, it still came as a surprise.

That was a pivotal moment in my life as it set off a series of events that began with me founding my first music tech start-up (Maven Promo, formely ChazBo Music) and has continued with me earning a master’s degree in music industry administration; helping dozens of music industry entrepreneurs from around the world develop, launch, or scale their business in the music and digital media industries; entering the world of academia as an educator at some of the top universities on the US West Coast; and selling three companies in the music industry.

Today, 7 years after having my sense of security stripped from under me and 11 years after founding my first music industry business (I owned and operated an artist management company, a music publishing company, and an independent record label while simultaneously leading marketing and music at the US retail chain referenced above), I am humbled and amazed by what I’ve been able to accomplish for myself and for others in such a short period of time.

I’ve been entrepreneurial since I was a youth, but it has been in the last several years that the grunt work and endless sleepless nights have paid off.

I believe in paying it forward. I believe that some of the best lessons are the failures and successes of those who’ve walked the path before you. And I believe that curating these lessons and supplementing them with actionable insights and fundametal principles can help the most dedicated individuals change their outcomes. To this end, I am proud of the work I’ve been able to do in academia and busines coaching.

I have taught courses and masterclasses at UCLA Herb Alpert School of Music, CSUN Music Industry Administration, USC Marshall School of Business, Emerson Los Angeles, SAE Institute, California Luthern University, The Los Angeles Recording School, and College of the Canyons and have given presentations and participated as a speaker at some of the top music industry conferences in the United States such as SXSW Music Conference, Music Biz Expo, Indie Week, ASCAP “I Create Music” Expo and Digital Entertainment World Expo.

In 2017, Billboard recognized my course, “Music Industry Entrepreneurship,” in its list of “The 15 Best Music Business Schools in 2017” and the class continues to rank among the highest rated courses in the Music Industry Program at UCLA Herb Alpert School of Music.

Over the last 5 years, my courses have been exclusively available to students enrolled in the colleges and universities that have commissioned me to develop and teach at their institutions. These students spend tens of thousands of dollars to attend these institutions for access to quality higher education. While I believe that students outside of these institutions and young professionals who aren’t in college shound have access to my courses, even my UCLA Summer Sessions class, which is open to anyone, can still add up to thousands of dollars.

Therefore, in an attempt to share my knowledge and experience with as many interested music industry entrepreneurs as possible, I am excited to announce my limited run “Music Industry Entrepreneurship Masterclass”.

The Music Industry Entrepreneurship Masterclass will be a LIVE 4-hour masterclass taking place at various times on April 27th, 28th and 30th starting at only $199.

I will be posting more details and links to learn more tomorrow, so comment on this announcement to follow and receive notification of the discount link.

SHARE WITH AN ENTREPRENEUR

Are Founders Of AI Music Services Being Disingenuous When They Tell Human Music Creators Not To Worry Or Are They Just Clueless?

ai music
Several founders of artificial intelligence (AI) music creation applications have stated that human music creators need not fear their AI programs, which can turn out a massive amount of computer-generated compositions every week.
 
These AI services have used, and continue to use, human-created compositions to improve upon the AI program’s ability to algorithmically create music compositions.
 
Recently, we’ve seen AVIA become the first AI to be recognized as a composer represented by the French performing rights society SACEM (I have bigger concern over the implication of recognizing AI as a composer and what that could mean to the legal definition of an author under copyright law) and Endel recently became the first AI to land a major label record deal with Warner Music Group.

If AVIA is a composer and Endel is a recording artist, and they can produce massive volumes of content (WMG is releasing 20 albums by Endel this year alone), what does this mean for the quality and pace of human-created music?

 
The founders might be telling human music creators not to worry, but until I see a portion of the royalties earned by AI platforms being distributed to the humans whose works are used as source material for the machine learning processes, I believe the statement at best demonstrates a cluelessness as to how industrialization works or at worse the statement is blatantly disingenuous.

ASCAP Expo & Music Biz 2019 – Are You Going?

ascap i create music expo music biz 2019 dae bogan

On May 3rd, I will be moderating a panel on the Music Modernization Act at the ASCAP “I Create Music” EXPO 2019 and on May 7th, I will be giving a presentation on innovation in the music industry at the Music Biz 2019. Let’s connect!

• ASCAP “I Create Music” Expo – The Music Modernization Act’s Impact On Music Creators And Who Gets Paid (https://www.facebook.com/events/362222397967522/)

• Music Biz 2019 – Music 2020: The Next Era of Innovation in the Music Industry (https://www.facebook.com/events/2255967711328528/)

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