Indie Music Is On The Rise…Or Is It? A Response From The GRAMMYs, Coachella and More
Left Table: Moderators Professor Amanda Harrison (professor of music industry studies, formerly of Live Nation) and Professor Kristen Walker, Ph.D. (graduate marketing professor). Right Table: Panelists from The Family Business, The Recording Academy/The GRAMMYs, Goldenvoice/Coachella/Stagecoach and Bill Silva Entertainment. This event is an installment of the “Industry Insights” panel series organized by CSUN Music Industry Program in collaboration with CSUN Music Entertainment Student Association for students of the Bachelors in Music Industry Studies and Masters in Music Industry Administration degree program at California State University, Northridge (CSUN).
Last night I attended a very informative music industry panel featuring Branden Chapman (Executive in Charge of Production & Chief Business Development Officer of The Recording Academy & The GRAMMYs), Bonnie Marquez (VP of Marketing of Goldenvoice’s Coachella and Stagecoach music festivals), Bill Silva (music industry mogul and respected concert promoter of Bill Silva Entertainment), and SuzAnn Brantner (Founder of The Family Business and former Head of Digital of William Morris Endeavor). Read More…
#WineConversations: Positioning Your Best Interest Within The Scope Of Others’ Best Interest
Your passion is not limited by your capacity to dream; it’s only limited by your work ethic. The most amazing people don’t only dream big, they work hard…they work big. Truth be told, no one has your best interest in mind; they have only their’s. And sometimes — ultimately in consequence — your best interest falls inline with their motives. I help artists by giving advice, providing guidance and sometimes opening doors. That is in your best interest only because my best interest is proving that in some way I am a relevant music industry insider. It is no secret — when best interests align — the most amazing shit happens. The lesson here is to put yourself in the circles of those who have THEIR best interest in support of YOUR best interest. Otherwise, you’re just another talented yet ill supported aspiring artist hoping you’re the exception to the rule of success.
SWEEPSTAKES: Scholarship To Attend The Amazing Independent Music Conference In Hollywood
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Dae Bogan to Teach “Music Copyrights & Publishing” Workshop at Independent Music Conference
I will be teaching a “Music Copyrights & Publishing” workshop at the Independent Music Conference. This workshop will cover music copyrights and publishing basics. Topics will include rights granted to music copyright owners, protection and enforcement, public domain vs. creative commons, public performance vs. digital performance, and much more.
The Independent Music Conference (IMC)® is a Federally Registered Trademark. It is the only national music conference designed specifically for the rapidly growing independent music market. Founded in 2002, the IMC has been presented thirteen times in cities all over the U.S. including Philadelphia, Dallas, Charleston, Northampton and Los Angeles.
More details at http://www.indiemusicon.com/
Tips For Recording Vocals From Award-winning Asian Pop Record Producer, Tat Tong
This is a guest piece by my buddy Tat Tong. Follow him on Twitter @t2tatong and check out his website www.tattong.com.
Tat Tong is a multi-platinum selling, award-winning pop producer/songwriter managed by Universal Music Publishing with 12 #1 and 36 Top 20 hits across Asia. He is currently making inroads into the American and European music markets, and splits his time evenly between Los Angeles and Singapore.
Tat Tong on live vocals versus studio vocals: Read More…
Demystifying The Music Industry: What’s The Difference Between ASCAP/BMI/SESAC and SoundExchange?
I received an email this morning from a reader who had read my piece, “Demystifying The Music Industry: What’s This About Public Performance Rights?.” He asked, “If SoundExchange was designated by the Library of Congress as the sole PRO to administer public performance licenses and also collect public performances fees for Sound Recording Company Owners, then why do artists still utilize the services provided by the other 3 US PROs (ASCAP / BMI / SESAC) – is [SoundExchange] not sufficient by itself?”
A lot of indie artists are confused about the difference between ASCAP, BMI, SESAC and SoundExchange. I’ll attempt to break down the most important differences between these groups and elaborate towards the end about other considerations and other royalty collection entities. Feel free to comment with any questions (or corrections). Read More…
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