Search results for black box royalties

Music Business Association To Host Webinar On Black Box Royalties Presented By Dae Bogan

music business association

Music Business Association will host Dae Bogan’s webinar on black box royalties on Thursday, October 26th at 11am PDT / 2pm EST. Open to all.

Description: The global music licensing ecosystem is ripe with inefficiencies, complexities and legal mumbo-jumbo that affects the livelihood of music creators and copyright owners when royalties become trapped. The idea of not being paid when your music earns royalties is frustrating. Some would even call it highway robbery! But there are some practical solutions that every interested party in music royalties can put to use immediately to ensure that your music industry administration operations get you paid. This webinar will demystify so-called “Black Box” royalties and demonstrate how rights-holders can leverage technology to combat this global issue.

Register at https://register.gotowebinar.com/register/5742451649783265539

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

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Over the last few weeks I’ve come to consider the notion that some of the biggest so-called “advocacy” groups for music creators censor their discussions on black box royalties due to the top-heavy makeup of their membership.

I’m Working On A Side Project Addressing ‘Black Box’ Royalties

I feel that some directors avoid, or lighten, their criticism of major labels and publishers, at the expense of their independent and DIY members, because representatives of the majors sit on the boards of these organizations. They have deep pockets for annual gifts and dues, and a non-profit can’t afford to see those dwindle.
In my presentation on the state of unclaimed royalties and music licenses at the Music Industry Research Association’s first inaugural MIRA Conference earlier this month, I presented several arguments of how black box royalties manifest. This included cash advances paid to music companies by digital service providers that go unattributed to their artists at the end of the contract term. What I didn’t include are the distribution of unattributed royalties to major publishers, by market share, from music rights organizations.

[Preview] The State of Unclaimed Royalties and Music Licenses in the United States (7)
Major labels and publishers cannibalize most distributions of black box royalties in an unfair and imbalanced manner. It is my belief (and feel free to correct me if I am wrong) that the majors have the resources and manpower to do a better job of registering their works and claiming their earnings. It is my opinion, based on my work through TuneRegistry — a music and rights metadata management platform for the independent music community — that the independent sector have the most difficult time in this respect; especially the DIY segment, which is all but blacklisted from being represented in these secret imbalanced conversations and distributions.

But who should be the outspoken opponents of these types of distributions? The advocacy groups? When “watch dogs” should be shining the light in every dark corner of the royalty vault, some of these groups tend to prefer dim conversations regarding black box royalties and how those funds are cannibalized by their major members.

This is why I believe A2IM (American Association of Independent Music) and AIMP (Association of Independent Music Publishers), despite my concern for how the music industry categorizes independents, is a great thing overall for DIY musicians.

DIY musicians need to do a better job of joining and navigating the worlds of trade associations. After all, they are their own record label and music publisher.

Lead Photo by Jonny Clow on Unsplash

Introducing, The American Society for Collective Rights Licensing (ASCRL) — The Organization That Wants To Help Visual Artists Collect Their Unclaimed ‘Black Box” Royalties

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ASCRL homepage. Featured photo © Neil Zlozower

As many of you know, I’ve researched and have written extensively about unclaimed music royalties held in escrow or so-called “black boxes,” which are monies owed to music creators and rights-holders (and founded RoyaltyClaim to address this issue). Today, I want to draw your attention to a similar matter in the world of visual art (e.g. photography, illustration, stills, text design).

eugene-mopsikThis morning I had the pleasure of speaking with Eugene Mopsik, the CEO of the American Society of Collective Rights Licensing (ASCRL). A successful corporate /industrial photographer with over 32 years of experience, Eugene was previously the Executive Director of the American Society of Media Photographers (ASMP).

Eugene and I talked about issues related to the representation and rights of visual artists and the monetization of their works outside of the United States. He and his co-founders of ASCRL are working to help visual artists claim their fair share of royalties that have long gone to the publishers of visual works.

Similar to musical works (aka compositions or songs) that earn mechanical royalties when the work is reproduced, visual works, in many cases, earn reprographic royalties. Whereas mechanical royalties outside of the U.S. are collected by mechanical rights organizations (MROs) in territories under the MRO’s jurisdiction, reprographic royalties are collected by reprographic rights organizations (RROs) in territories under the RRO’s jurisdication. And, much like the complex web of legal and regulatory issues that makes it challenging for songwriters to collect their ex-U.S. mechanical royalties, similar limitations make it challenging for visual artists to collect their ex-U.S. reprographic royalties.

Antitrust laws has made it difficult to form a collective licensing body. Consequently, the U.S. does not have a local RRO to enter into reciprocal agreements with foreign RROs for the purpose of passing through ex-U.S. reprographic royalties to be paid to U.S. visual artists. Once again, this is similar to the absence of a U.S. MRO for songwriters. Notably, however, the U.S. has made an exception for the collective licensing of performance rights in musical works.

Since 1914, songwriters and composers have been able to join a performance rights organization (PRO) for the collective licensing of performance rights and payment of performance royalties. In the United States, the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music Inc. (BMI), SESAC, and Global Music Rights (GMR) are PROs that represent the performance rights of songwriters and publishers.

Currently, when reprographic royalties are earned outside of the United States, they are collected by RROs. RROs then distributes royalties to the publishers of visual works and authors of visual works (visual artists) who’ve joined the RRO. The RRO passes reprographic royalties for works due to members of foreign RROs to the RRO in the respective territory. In cases where the publishers or authors of works are unknown or if the author is an unrepresented U.S. visual artist, royalties are held in escrow and eventually distributed by market share to publishers. In the latter, royalties that are fairly owed to U.S. visual artists are being distributed to publishers. This is what the American Society of Collective Rights Licensing aims to address.

Joining ASCRL is free. Members can submit their works and use the ASCRL claiming portal to claim their entitlements and unlock unclaimed royalties. To learn more about ASCRL or to begin the process of joining, visit http://www.ascrl.org.

I’m Working On A Side Project Addressing ‘Black Box’ Royalties

music_and_money_by_bobvogler

As of this writing, there are currently 116,133 verifiable* payments owed to music creators and rights-holders that are sitting in unclaimed/undistributed royalties escrow accounts (referred to as “Black Box” funds**) in the United States.

The actual number of individual payments owed is likely closer to or exceeds 1 Million, however the actual number is unknown because the administrator(s) of some of the biggest Black Box funds have not made public their list of payees to whom they owe royalties.

Unfortunately, due to the statute of limitations on these funds many of these payments expire. Every month payees unknowingly forfeit their rights to these payments and the interest in the royalties revert back to the administrator. This happens because the payee does not contact the administrator of the fund to claim their royalties. Granted, most payees are unaware that these payments are waiting for them because the administrator is unable to reach the payee for various reasons.

It has been estimated that the global “Black Box” royalties could be in the billions of dollars owed to music creators and rights-holders.

Imagine working somewhere and then you do not receive a paycheck because the HR department does not have your new address. Not a perfect analogy, but not receiving monies that you’ve earned as a result of your hard work seems unfair.

THIS IS A HUGE PROBLEM

So, I am happy to announce that I am working on a side project called Royalty Claim. Royalty Claim will attempt to work with as many of these administrators to aggregate their databases of millions of records of unclaimed/undistributed royalties and make that information available to the public. There are other services and insight that we will offer through Royalty Claim to help educate music creators and rights-holders on Black Box funds and how to limit/prevent their earnings from falling victim to the broken global music licensing ecosystem (such as taking control of your music catalog with TuneRegistry).

Want to get updates on the Royalty Claim project and be the first to know when we have something to reveal? Sign-up for our email list at www.RoyaltyClaim.com.

Also, follow @RoyaltyClaim on Twitter.

* These 116,133 payments are specifically verifiable because the list of payee names can be gathered from several databases.
** I am currently aware of over 30 funds and sub funds being managed in the United States. However, there are definitely many more that are “private”.

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

Over the last few years, I’ve been researching and sounding the alarm on the growing problem of unclaimed music royalties or so-called “black box” royalties.

I’ve estimated the value of the collective black box to be nearly or above $2B. I’ve presented research, have written extensively and have spoken publicly about this problem, which disproportionately affect independent and legacy songwriters.

Despite my fanfare, industry insiders and stakeholders have shrugged or have blatantly called my estimates a gross overstatement and have held that unclaimed royalties are at best a few hundreds of thousands of dollars and mostly owed to “long-tail artists” who do not quite understand how the music industry works. This is a very myopic, company-focused view. These talking heads tend to speak from their position of administering one right for some music licensees. My estimates are looking at multiple rights administered by multiple entities, which would make the collective black box exponentially greater than the escrow account of a single entity.

Also Read: State of Unclaimed U.S. Music Royalties and Licenses

Yesterday, Variety published an article on the Music Modernization Act where a very important fact was tucked away on a single sentence in a paragraph near the end of the piece:

The DSPs are holding some $1.5 billion in unmatched mechanical royalties. If the MMA passes, that money would be passed through to the MLC which would match it to the songwriters and publishers. [bold and underline added for emphasis]

via Variety

https://variety.com/2018/music/news/music-modernization-act-blackstone-sesac-congress-senate-1202881536/

$1.5B of royalties (I still believe this number is higher) is sitting in, probably, interest-bearing escrow accounts while songwriters and small-to-medium sized music rights holders struggle to understand how and why.

Last year I founded RoyaltyClaim, the world’s first search engine of unclaimed music royalties and licenses, which has recently been acquired by Made In Memphis Entertainment. We’ve helped DIY musicians and rights-holders identify thousands of unclaimed entitlements in just a few months, with one paricular music producer uncovering nearly $150k in unclaimed royalties due to him.

The problem is huge. The system is not transparent. And the people in charge could do a better job communicating these things to rights-holders.

Also Read: I’m Working On A Side Project Addressing ‘Black Box’ Royalties

I’ve been on many panels at music industry conferences where I’ve maintained my position that DIY musicians and small-to-medium sized rights-holders are owed hundreds of millions of dollars, if not several billion, and often my co-panelists have taken a position that my claims are sensational and overstated.

I disagree.

When those on the panel talk about black box we are talking about the aggregate of unclaimed royalties that occur because of any number of factors,’ and not just limited to one service or one collection society, explained moderator Dae Bogan, CEO of TuneRegistry.”

via Billboard

Source: https://www.billboard.com/articles/business/8456271/black-box-royalties-myths-panel-music-biz-2018

Read the Variety article here.

Check out my commentary on black box royalties here.

ETLA, The Research Institute Of The Finnish Economy, Publishes Report On State Of Digital Music Infrastructure – Calls For Transparency And Addresses “Black Box” Issues

etla-digital-music-industry-background-synthesis

I had the honor of being interviewed by researcher and author, Derek Sellin, for his industry report “Digital Music Industry – Background Synthesis” for ETLA Working Papers No. 48, published by Elinkeinoelaman Tutkimuslaitos – The Research Institute of the Finnish Economy.

Black boxes materialize for many reasons, including but not limited to: the inability to identify rights holders despite payments made for the use of their compositions; the lengthy time required for filing domestic and ultimately international copyrights, often begun only when a recording is actually released; multiple claims for the same rights exceeding 100% of ownership, resulting in indefinite disputes; international collaborations with less than all creators asserting their rights; international legal inconsistencies regarding what type of performances result in payments (most visible in the fact that radio play does not generate royalties for recording artists in the United States); and the slow and often manual processes to report usage and clear payments under international reciprocal agreements. – Dae Bogan

You can download the report at https://www.etla.fi/en/publications/digital-music-industry-background-synthesis/.

About ETLA
The Research Institute of the Finnish Economy (Etla) is engaged in applied economic research with emphasis on topics that are important from the Finnish point of view. The main focus is on issues that relate to productivity and drivers of its growth, to the functioning of the labour market, as well as to challenges in maintaining a balanced macro economy including sound public finances. Etla monitors economic development, compiles forecasts as well as assesses economic policy and comments on it.

Etla is a private non-profit organisation. Its operations are backed by the supporting association, the members of which comprise the Confederation of Finnish Industries and the Confederation of Finnish Industry and Employers (TT) Fund. The funding from the background organisations covers more than a third of the institute’s budget and forms a solid base for its operations. Read more.

Dae Bogan’s Fall 2017 Appearences

Dae Bogan Fall 2017 Appearences

Fall 2017 Appearances:

9/27 – Dae Bogan to speaks at RightsTech Summit at New York Media Festival 2017 in New York City (Details at http://wp.me/p2GxIU-XC)

9/28 – Dae Bogan Music Popup Meetings in Brooklyn (Schedule a meeting at http://wp.me/P2GxIU-Yx)

9/29 – Dae Bogan Music Popup Meetings in New York City (Schedule a meeting at http://wp.me/P2GxIU-Yx)

9/30 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass in Brooklyn (Free tickets at http://wp.me/p2GxIU-XW)

10/14 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in San Francisco (Free tickets at http://wp.me/p2GxIU-XW)

10/14 – Dae Bogan Music Popup Meetings in Oakland (Schedule a meeting at http://wp.me/P2GxIU-Yx)

10/16 – Dae Bogan Music Popup Meetings in San Francisco (Schedule a meeting at http://wp.me/P2GxIU-Yx)

10/17 – TuneRegistry hosts Open Music Initiative SF Music Tech Summit Coffee Hour (Details at http://wp.me/p2GxIU-WZ)

10/17 – Dae Bogan speaks at SF MusicTech Summit in San Francisco (Details at http://wp.me/p2GxIU-WZ)

10/21 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in Cleveland (Free tickets at http://wp.me/p2GxIU-XW)

10/25 – Music Business Association presents “Demystifying Black Box Royalties – Practical Solutions For Unlocking Your Royalties” webinar by Dae Bogan Music (Members to receive details via email from MBA)

10/26 – SoCal Music Industry Professionals Meetup Hosted by Dae Bogan Music. Location TBD. (Details at www.meetup.com/scmiponline)

10/28 – “DIY Musician’s Starter Guide To Being Your Own Label & Publisher” Ebook Launch Webinar presented by TuneRegistry and CreativeFuture(Follow TuneRegistry on Facebook, Twitter, or Instagram for more details)

11/18 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in Los Angeles (Free tickets at http://wp.me/p2GxIU-XW)

*INFORMATION SUBJECT TO CHANGE

Royalty Claim’s Full Presentation At The Music Industry Research Association Conference

Royalty_Claim_Founder_Dae_Bogan_at_MIRA_Conference

Royalty Claim attended the Music Industry Research Association‘s first inaugural MIRA Conference at the UCLA Luskin Conference Center this week. Royalty Claim’s Founder and Chief Researcher, Dae Bogan, MIA, had the honor of presenting a preview of our in-progress The State of Unclaimed Royalties and Music Licenses in the United States report before an audience of economists, sociologists, and researchers from universities and institutions from around the world, as well as music industry executives representing firms such as Nielsen, Pandora, Universal Music Group, and Warner Music Entertainment.

For the first time, updated statistics regarding the filing of “address unknown” Section 115 NOIs on the US Copyright Office during the first half of 2017 was revealed. Insights included an overview of the organizations that have utilized the procedure, including Amazon, Google, Spotify, iHeart Communications, and Microsoft. However, those large music users were expected. Interesting inclusions to the list were The Recording Academy and the Christian music service, TheOverflow and interesting omissions from the list are platforms that boast millions of tracks — Apple and Tidal — but may not be reaching every independent rightsowner that may have compositions available on those platforms.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

The presentation also discussed the nature and causes of so-called “Black Box royalties”. A black box is an escrow fund in which music royalties are held due to an organization’s inability to attribute the royalties earned to the appropriate payee. Examples were given, including unattributed advances from DSPs to music companies, the US’s limitations on sound recording rights, and other issues.

A slide from the “[Preview] The State of Unclaimed Royalties and Music Licenses in the United States” presentation at MIRA Conference.

 

The presentation concluded with a video demo of the Royalty Claim Platform, which received positive reviews from conference attendees. The full presentation is  here.

Speaker

Dae_Bogan_5

If you’re interested in having me at your upcoming music industry event or school, feel free to contact me here. I currently focus on music rights & royalties, metadata & data pipelines, DIY musicians, publishing & licensing, technology & innovation, entrepreneurship & startups in the music industry.

Upcoming Speaking Engagements:

  • 10/03/18 – Panelist – “The Future of Data” at A3C Conference (October 3-5) at Loudermilk Conference Center in Atlanta, GA (Details).
  • 10/05/18 – Panelist – “DIY Tools And Financing For Artists” at RightsTech Summit at New York Media Festival (October 4-5) at The Museum of Jewish Heritage in New York, NY.

Past Speaking Engagements:

  • 06/20/18 – Panelist – “Future of Rights Technology” at A2IM Indie Week (June 18-21) at Clemente Soto Velez Cultural and Educational Center in New York, NY.
  • 05/14/18 – Moderator – “Shining A Light On The Black Box: Best Practices For Reducing Unclaimed Royalties” at Music Biz 2018 (May 14-17) at Omni Hotel Nashville in Nashville, TN.
  • 5/09/18 – Panelist – “New Industry. New Rules: The Songwriter’s Guide to Earning a Living in the Digital Age” at ASCAP “I Create Music” Expo (May 7-9) at Lowes Hotel in Hollywood, CA.
  • 5/07/18 – Panelist – “Revolutionizing Rights Management for Artists” at ASCAP “I Create Music” Expo (May 7-9) at Lowes Hotel in Hollywood, CA.
  • 04/06/18 – Presenter – Music Royalties & Data Workshop for MS, Business Analytics at USC Marshall School of Business in Los Angeles, CA.
  • 04/05/18 – Panelist – “Tracking Your Music in the Digital Age” at Society of Composers and Lyricists event at American Film Institute in Los Angeles, CA.
  • 03/15/18 – Panelist – “How Tech Can Save the Music Industry” at SXSW (March 9-18) in Austin, TX.
  • 03/07/18 – Panelist – “Monetizing Your Music” at Alliance for Women Film Composers event at ASCAP in Los Angeles, CA.
  • 01/17/18 – Panelist – “Match Game: The Problem of Matching Music Recordings to Compositions” at Copyright & Technology Conference 2018 — Fordham University School of Law, Lincoln Center Campus in New York, NY.
  • 11/18/17 – Instructor – “Music Industry Entrepreneurship Masterclass Tour 2017” at SAE Institute in Los Angeles, CA.
  • 10/28/17 – Presenter – Music Business Virtual Talk with Albright University.
  • 10/26/17 – Presenter – “Demystifying Black Box Royalties – Practical Solutions For Unlocking Your Royalties” Webinar hosted by Music Business Association
  • 10/25/17 – Guest – “Waldman’s World” Music Biz Radio Show on idobi Radio.
  • 10/24/17 – Guest – “The Facts Machine” Radio Show on Accelerated Radio in Inglewood, CA.
  • 10/24/17 – Panelist – “Bang Your Head! Helping Musicians To Recover Unpaid Royalties” at Los Angeles County Bar Association – Entertainment Law And Intellectual Property Section CLE Event in Los Angeles, CA.
  • 10/17/17 – Panelist – “The Business of Data” at SF MusicTech Summit — Habuki Hotel in San Francisco, CA.
  • 09/27/17 – Panelist – “View From The Top: The Future Of Machine-To-Machine Rights Management” at RightsTech Summit at New York Media Festival — The Museum of Jewish Heritage in New York, NY.
  • 08/11/17 – Presenter – “The State of Unclaimed Royalties and Music Licenses in the United States” at Music Industry Research Association Conference at UCLA (Los Angeles, CA)
  • 06/08-10/17 – Panelist – “Digital Rebellion Pt. 2: Navigating the World of Music Streaming” at Urban Network Digital & Music Industry Quarterly Magazine (MIQ) Business of Music Conference. (Woodland Hills, CA)
  • 05/13/15 – Mentor – Game Changers Youth Empowerment Summit. (Hollywood, CA)
  • 04/04-05/17 – Panelist – “Musicology: How Emerging Artists Use Data and Analytics to Grow and Monetize Their Fanbases” at XLIVE Event Data & Analytics Summit. (Beverly Hills, CA).
  • 03/27/17 – Moderator – “Building Your Brand in this digital age Panel + Interactive Workshop” at ArtistMAX. (Hollywood, CA)
  • 03/15/17 – Moderator – “Rights & Metadata in Evolving Digital Music Space” at SXSW Music. (Austin, TX)
  • 03/17/17 – Mentor -SXSW Music Conference 2017. (Austin, TX)
  • 01/13/17 – Panelist – “Music and Technology” Panel at Independent Music Industry Conference. (Los Angeles, CA).
  • 01/09/17 – Keynote – Los Angeles Songwriters Collective at TeaPop. (North Hollywood, CA).
  • 11/19-21/16 – Panelist – “Content Marketing: Why Festivals Have A Leg Up” at FestForums. (Santa Barbara, CA)
  • 11/16/16 – Instructor – “Pride Music: A Music Business Workshop for LGBTQ Music Creators” at Brotherhood Impact Fund. (West Hollywood, CA)
  • 11/09/16 – Host & Moderator – “TuneRegistry’s Music Business for Producers & Engineers” at SAE Institute. (Hollywood, CA)
  • 10/20/16 – Moderator – “Infrastructure: Building New Pipes, New Rights, and New Micropayment Systems” at Music 2020 Day at Digital Hollywood. (Los Angeles, CA)
  • 10/17-18/16 – Speaker – “Rights & Money for Film and TV Composers Roundtable at Production Music Conference. (Santa Monica, CA)
  • 09/29/16 – Exhibitor (TuneRegistry– Association of Independent Music Publishers (AIMP) and the California Copyright Conference’s (CCC) Music Industry Toolbox. (Los Angeles, CA)
  • 08/24/16 – Presenter – “How To Protect And Market Your Talent” at Artist Launch’s Virtual Music Business Summit. 
  • 08/13/16 – Moderator – “Music Metadata Matters: How Metadata Impacts Your Income & Opportunities” panel at Indie Entertainment Summit. (North Hollywood, CA)
  • 07/07/16 – Moderator – “The Significance of Rights & Metadata in the Evolving Digital Music Ecosystem” panel at UCLA Summer Music Innovation Institute. (Los Angeles, CA)
  • 06/21/16 – Moderator – “A Chat With Millennial Music Tech Founders” panel at UCLA Summer Music Innovation Institute (Los Angeles, CA).
  • 03/11-20/16 – Mentor – South By Southwest (SXSW) 2016 (Austin, TX).
  • 12/13-15/15 – Moderator – “What’s Trending? The Latest in Festival Technology” panel at International Music Festival Conference 2015 (San Diego, CA).
  • 11/10/15 – Press – SF MusicTech Summit 2015 (San Francisco, CA ).
  • 08/08/15 – Moderator – “Independent Artists & Tech Startups: Getting In On The Ground Floor Of The Next Big Music Platform” panel at Indie Entertainment Summit 2015 (North Hollywood, CA).
  • 07/19-22/15 – Mentor – SXSW V2V 2015 (Las Vegas, NV)
  • 05/07/15 – Panelist – “Global Business of Music” panel at BMI presents Gamechangers Music Seminar II (Beverly Hills, CA)
  • 04/25/15 – Mentor – Game Changers: An Urban Movement at Private Location (North Hollywood, CA)
  • 04/08/15 – Panelist – “Rise To Fame: Inside the Bruins Studio” panel at UCLA Career Center (Los Angeles, CA)
  • 03/19/15 – Mentor – SXSW Music Conference 2015 (Austin, TX)
  • 02/11/15 – Moderator- “Online Video & Music-Related Content: Promotion and Monetization Strategies” panel at Digital Entertainment World 2015 (Los Angeles, CA)
  • 01/28/15 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2015 (Los Angeles, CA)
  • 01/17/15 – Panelist – “Making The Most Out Of Your Music Projects 2015″ panel at thecoolschool (North Hollywood)
  • 11/11/14 – Press – SF MusicTech Summit 2014 (San Francisco, CA ).
  • 10/25/14 – Instructor – “Music Publishing & Copyright Administration in the Internet Age” workshop at the Independent Music Conference 2015 (Hollywood, CA)
  • 08/22/14 – Moderator – “Social Media In A Changing Music Industry” panel at SAE Institute’s 3rd Annual Tech Expo (Hollywood, CA)
  • 08/09/14 – Moderator – “Video Distribution & Monetization” panel at Indie Entertainment Summit 2014 (North Hollywood, CA)
  • 07/10/14 – Moderator – “Indie Music Matters: Making Moves With Music Videos” panel at The Los Angeles Film School (Hollywood, CA)
  • 04/26/14 – Panelist – “Careers In The Entertainment Industry” panel at Entertainment Industry Career Marketplace 2015 (Studio City, CA)
  • 03/27/14 – Moderator – ASCAP’s “Finding Alternative Financial Revenues For Your Music” at SAE Institute (Hollywood, CA)
  • 01/29/14 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2014  (Los Angeles, CA)
  • 10/21/13 – Instructor – “Music Licensing for the DIY Indie Artist” workshop at Independent Music Conference 2013 (Hollywood, CA)
  • 10/19/13 – Instructor – “Music Copyrights & Publishing” workshop at Independent Music Conference at SAE Institute (Hollywood, CA)
  • 09/28/13 – Panelist – “Indie Music Business” at The 4th Annual Western Awareness Conference (Los Angeles, CA)
  • 09/14/13 – Moderator – “Networking & Building Your Brand with The Midi Mafia” panel at iStandard Producer’s Beat Camp Los Angeles 2013 (Hollywood, CA)
  • 09/14/13 – Panelist – “Social Media 101” panel at iStandard Producer’s Beat Camp Los Angeles 2013 (Hollywood, CA)
  • 08/17/13 – Panelist – “Music, Social Media And How To Use It Effectively” panel at SAE Institute’s 2nd Annual Music Tech Expo (Hollywood, CA)
  • 08/08/13 – Guest Lecturer– “Copyrights & Publishing Basics” lecture at Entertainment Business Class at The Los Angeles Recording School (Hollywood, CA)
  • 08/08/13 – Panelist – “Opportunities for Rock in Today’s Market” panel at Indie Entertainment Summit 2013(North Hollywood, CA)
  • 08/07/13 – Guest Lecturer– “Music Business for Music Producers” lecture at Entertainment Business Class at The Los Angeles Recording School (Hollywood, CA)
  • 09/24/12 – Guest Speaker – Third Quarter Impact Record Pool Music Conference 2012 (Los Angeles, CA)
  • 02/18/12 – Panelist – “Music Marketing & Artist Promotions” panel at Industry Connects Music Seminar & Workshops (Los Angeles, CA)
  • 05/26/11 – Panelist – PenUp’s “Songwriter Networking Event” at Musician’s Institute (Hollywood, CA)
  • 04/21/11 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2011 (Los Angeles, CA)
  • 11/11/10 – Executive Producer – Reebok’s “Rip The Mic Music Conference” (Burbank, CA)
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