Archive by Author | Dae Bogan

Dae Bogan To Moderate Keynote Panel “Academia + Industry Action” at Music Biz’s #NEXTGEN_U

I look forward to moderating the keynote panel “Academia + Industry Action” at Music Biz’s #NEXTGEN_U, an event exclusive to students, recent grads, and faculty members taking place
Wednesday, August 12, 12pm PST / 3pm EST.

Keynote Panel: Academia + Industry Action
The intersection of academia and real-world experience is a constant hot topic for students. What’s more important: getting an A on your publishing split sheet project or making yourself available to intern an extra day a week? How do students effectively balance their workload while not missing out on the opportunities that await them outside the classroom? How important are these opportunities? What are professors doing to bring these experiences back into the classroom? Guest speakers are cool, but what else is academia doing to keep students engaged, learning, and thriving in the competitive music business ecosystem? And lastly, what opportunities exist, outside of internships, where brands and music companies are embedding students and their next-gen ideas into their business plans?

Moderator: Dae Bogan, Head of Third-Party Partnerships, Mechanical Licensing Collective (MLC) and Adjunct Professor, UCLA
• Marcie Allen, President & Founder, MAC Presents and Adjunct Professor, New York University
• Perry Bashkoff, Head of Music, Instagram
• Tonya Butler, Chair of Music Business, Berklee College of Music
• Todd Goodwin, SVP / Head of °1824, Universal Music Group

Join Dae Bogan AMA “Ask Me Anything” Today At 11am PST / 2pm EST On Music Tectonics App

Join me today at 11am PST / 2pm EST for my AMA “Ask Me Anything” session going down today on the @musictectonics App. Get the app at https://app.musictectonics.com (App Store or Google Play)

This is your chance to ask me about trends in music rights technology, @mlc_us new tools to fight messy data, music business tips for music creators during pandemic scale backs and shutdowns, and why I support getting rid of the term “Urban Music,” among other topics.

During The Coronavirus Pandemic, Dae Bogan Has Helped DIY Musicians Unlock Tens of Thousands Of Dollars In Unclaimed Music Royalties – Here’s How

Dae Bogan is a music creators’ rights advocate, music publishing and copyright administration technologist, and music royalties forensics expert who currently serves as the Head of Third-Party Partnerships at The Mechanical Licensing Collective (The MLC) and teaches music industry entrepreneurship at the UCLA Herb Alpert School of Music.

For over twelve years I have helped thousands of DIY musicians administer and monetize their copyrights to be properly accounted to and paid for the use of their musical works and sound recordings in the United States and abroad. To date, I’ve helped self-published songwriters and self-released artists collect millions of dollars in royalties that would have otherwise gone unclaimed and eventually forfeited and/or redistributed due to a confusing web of regulations and company policies surrounding the fragmented music licensing ecosystem.

I’ve also helped background vocalists, session musicians, and music producers understand how their contributions, while often detached from copyright ownership, generates entitlements that yield royalties that often go unclaimed for many years. I am passionate about the issue of remuneration for music creators and have published research, built technology platforms, and have spoken at the Library of Congress on the topic.

Dae Bogan speaks at the US Copyright Office’s Unclaimed Royalties Study Kickoff Symposium at the Library of Congress in Washington, D.C.

A few years ago I wrote the free ebook “The DIY Musician’s Starter Guide To Being Your Own Label And Publisher” for the non-profit creator advocacy group CreativeFuture as a checklist for DIY musicians who own their publishing and/or masters. The ebook has helped many DIY musicians to get setup with US music rights organizations to collect their royalties. I’ve also written dozens of articles on specific issues surrounding royalty collection that have been published on my blog DaeBoganMusic.com and other websites.

“The DIY Musicians’s Starter Guide To Being Your Own Label & Publisher” free download.

All of this to say that for over a decade I have been championing, educating, advocating for, and empowering DIY musicians and yet I still feel that so many of them are underserved and missing out on their own earnings.

Right now tens of thousands of artists, songwriters, composers, lyricists, session musicians, background vocalists, and music producers have been hit hard by the closure of live music venues and slow down of music production during the coronavirus pandemic. Many have struggled to get financial assistance due to the gig economy nature of much of the work in the music industry. But the sad part is many DIY musicians may have money due to them from their music and contributions over the last 5 to 7 years!

Since the pandemic began, I’ve helped several DIY musicians uncover royalties that have been sitting in unclaimed royalties databases or so-called “black boxes” (Tip: Search “black box” in my search field above to find articles I’ve written on the topic) to the tune of tens of thousands of dollars (Note: I did this work prior to joining The MLC in May 2020 and I am not currently accepting clients due to the fact that I am 100% committed to my work at The MLC, but please continue reading to learn how to do this yourself).

Searching for unclaimed royalties is part of the royalty forensics process. Understanding what entitlements a musician has based on their contribution(s) to any given work, what royalties are due based on type of use and territory, and where the royalties flow to be accounted to and paid out can be a challenge. I did this work for my clients, but I also have a workshop on the topic (Tweet me @daeboganmusic to request FREE access to the workshop).

For example, my cousin, independent singer-songwriter Durand Bernarr had around $8k in unclaimed royalties for his contribution as a background vocalist on the song “Girl” by The Internet sitting unclaimed at just one organization in the United States. Although these royalties were due to him in 2018, the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund did not know who Durand Bernarr was or how to reach him. I helped Durand uncover these royalties during the coronavirus pandemic and the payment couldn’t have come at a more needed time.

Image of an April 2018 royalty check statement from AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund for royalties due to independent artist Durand Bernarr that had set in the unclaimed royalties database at the organization for over 2 years until Dae Bogan helped the artist uncover the unclaimed entitlement during the covid-19 pandemic.

Unclaimed royalties is a common problem for new and up-and-coming music creators (but it also affects emerging and established music creators) and it stems from poor metadata and production credits creation and distribution (this is why I founded TuneRegistry and RoyaltyClaim (I no longer own these companies)). It also stems from DIY musicians not being properly setup and registered everywhere (I cover this in my free ebook).

I now work at The Mechanical Licensing Collective (The MLC) as its Head of Third-Party Partnerships where I am building relationships between The MLC and a variety of organizations and companies to help self-administered songwriters and music publishers interface with us to unlock and collect digital audio mechanical royalties from the use to their songs in the United States by digital service providers such as Spotify, Apple, Amazon, Google, Pandora, Deezer, Tidal, SoundCloud and more.

Now is the time for DIY musicians to take the time to hunt down unclaimed royalties that may go back as far as 7 years. Check out my free ebook as a starting point!

Pro Tip: If you find unclaimed royalties in one place, there may be more and other places. Check with the organization where you find your royalties if those royalties are for the US only or the world. If for the US only, you may have counterpart unclaimed royalties for the same set of rights and types of usage in other countries!

Why I Support Abolishing The Term “Urban” Music

I think it is important to build and staff platforms that specifically address music creators from marginalized communities, which is why I want to ensure support for Black music creators, Latin music creators, LGBT music creators, and disabled music creators at The MLC.

Being intentional in recognizing and supplementing historically disadvantaged groups means to do the work to understand how these creators are often under/mis-represented, left behind, overshadowed, and disconnected (especially when it comes to the music business education and career resources gap that ultimately contributes to marginalized music creators being disproportionately overrepresented in unclaimed royalties pools).

Some firms have begun to announce Black music divisions. I am here for that.

Let’s not forget that since 1909, when music first earned federal copyright protection, the default for everything in society was White. We do not need to callout a “White music division” when the way in which all industries operate is to center whiteness. The de facto MO when we hear “mainstream” is that the audience is the White masses.

These types of platforms give firms a dedicated channel through which partnerships can be forged in marginalized communities where we can reach marginalized creators to effectively communicate opportunities to advance their careers. It also creates a two-way pipeline for receiving input that can be applied to improve the firm’s communications and operations to better serve these communities with nuance.

I fully support Black music divisions at music companies; and yes this term is important and intentional, just like Black Music Month, which is this month of June.

The term “urban music” no longer reflects the demographic of the creators who create within the genres that are typically encompassed in the term “urban” (R&B and Hip Hop). Music creators of all racial and ethnic makeup create “urban music”. The intent of the term was to specifically focus on Black artists. But there are Black artists who create pop, country, rock, and EDM. These artists are underrepresented within those genres and are often dismissed to “shouldn’t you be making urban music?”

The urban music category was intended to represent music made by Black artists from the inner-city. It was to create a platform and ensure resources were allocated to Black artists, but that isn’t accomplished when #1 everybody makes Hip Hop (eg G Eazy, Macklemore) and R&B (eg JoJo, Justin Beiber), #2 Black artists are not being prioritized in non-urban genres (e.g. edm, country, rock, pop), and #3 Black artists aren’t limited to the inner-city.

If the goal is to empower Black artists, we need to do so across all genres. Abolishing the genre-limited term “urban music,” which represents only two genres begins to open the platform to Black artists who create any genre of music.

And yes, it is important to specifically call out Black artists as their careers matter. It is the same reason why we have Black Lives Matter. The “I don’t see color” BS disregards the decades of institutionalized racism that suppressed Black artists and set a tone for them getting shitty record deals and smaller marketing budgets.

Black music platforms are not about genres, it’s about music created by Black artists regardless of genre. It’s about ensuring that resources and budgets are allocated equitably to Black artists.

Abolish “urban music” and stand up “Black music” divisions. Fund Black artists across all genres!

‪Urban Music = Hip Hop and R&B‬

‪Black Music = Music created by Black artists regardless of genre. The focus is on the creator and not the genre.‬

#abolishurbanmusic #standupblackmusic‬

Dae’s Short Essays on Racial Injustice

I’d like to share with my readers a few short essays, statements and visuals that I’ve published to social media over the weekend surrounding the George Floyd protests, the riots and racial injustices in general (www.twitter.com/daeboganmusic).

You’ll find them below.

I’ve also been out in peaceful protests and have seen first hand how unaffiliated bad actors, including those who may be members of white supremacy groups, incited vandalism and looting. Unfortunately, the media focused 75% of its coverage on the bad and 25% on the peaceful protests. Here is a collection of photos and videos of those bad actors at work.

Selection of short essays and statements:

Burn it all Down: Riots as the Uncontrollable Reaction to the Dismissal Of Peace

For those who ask “how is a riot supposed to help?”

Answer: It’s not meant to.

Let me make this very clear: Riots are not meant to help. Riots are meant to destroy. Riots are the imminent reaction to destruction caused by institutions of power when peace isn’t enough to prevent the abuse and oppression endured under those institutions of power. Stop asking how a riot is supposed to help and start asking how do we avoid the violence onto citizens so that a violent reaction isn’t incited.

Asking how a riot is supposed to help is asking for reason — you’re trying to make sense of something that is not meant to make sense. A riot is a reaction. It is uncontrollable. It is damaging. It is violent. It is the release of pinned up anger and frustration. It’s point is to release a force, not to effect change.

Peaceful protests are supposed to effect change. But they haven’t, so here is the chaotic outcome for which the only purpose it has is to destroy. Yes, there is collateral damage. And yes livelihoods will be affected. It’s a ball of energy that affects everything when it explodes.

The goal should be to prevent that explosion; not to try and make sense of its aftermath.

When peaceful protests do not effect change; when peaceful protests are not answered with justice for victims riots are the consequence. 

The peaceful protests in response to the police murder of Michael Brown did not stop the police murder of Tamir Rice. The peaceful protests for Tamir Rice did not prevent the police murder of Freddie Gray. The peaceful protests for Freddie Gray did not stop the police murder of Philando Castile. The peaceful protests for Philando Castile did not prevent the police murder of Eric Garner…and so on.

###

The Purpose of Rage


“It’s all just senseless violence.” 😫

Senseless violence is senseless violence but rage is not senseless violence. 

Rage is something different. 

Rage is manifested. Rage is the forced suppression of anger that bubbles up over time only to explode into uncontrollable chaos. 

Rage has purpose and that purpose is to destroy and violence is its weapon.

You don’t get to sit idly by for a decade and watch unarmed Black men be beaten and murdered by institutions of power, do absolutely nothing substantial about it, then ask that the reaction to that trauma is controlled and directed. 

Catalysts of change are often never convenient for neither the constituents of change nor its opposition. Every revolution to which you benefit today was born at the cost of property and lives — but they all began with thoughtful asks and peace that were ignored and dismissed.

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I specifically wrote the following statement to address my White Gay friends who’ve remained silent on racial injustice or dismissed the protests as they would “interfere” with their LGBT Pride Month (begins today, June 1st) festivities:

To the White Gays whining about protests disrupting your forthcoming Pride parties: Here’s a reality check.

“Pride” isn’t a month. 

Pride represents the set of human rights that LGBT men and women, sparked by Black and Brown queer and trans folks, fought for — including rioting — so that one day you could openly live your life and dance around shirtless at pool parties without being stripped of your right to a peaceful existence. They fought and burned shit down so that one day you would no longer be unfairly harrassed and discriminated against by law enforcement and other institutions of government. Imagine going back 51 years and yelling at the people who were fighting for your rights to be treated as a human beings to “just be peaceful and don’t break anything.”

You don’t get to celebrate Pride by denouncing the type of actions that those men and women took to upend the oppression that would otherwise constrict your existence.

If you don’t understand why Black and Brown queer and trans people are today protesting injustices, you don’t deserve a Pride party.

###

The following are a few quick social media posts:

When the peace we offered wasn’t enough.

When they say “you lost my support when you started looting Target.”

Racial injustice and the policing of Black bodies did not begin last week.

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And on a lighter note, has anyone called Kendall Jenner yet? 😂

Pepsi commercial featuring Kendall Jenner ending a protest and police confrontation with a Pepsi.

Follow me on Twitter at www.twitter.com/daeboganmusic

What is the value of exposure when exposure is all there is?

Music Industry Blog

There is an existential debate going on at the moment, around whether streaming is paying artists enough. It may feel like a rerun of old debates but it is catalysed by COVID-19 decimating artist income. These are some of the key narratives: here, here and here.

In this piece I lay out the underlying economics of the argument. I also focus wholly on artist income as songwriter income is another topic entirely.

COVID-19 has reset the debate

The latest streaming royalty debate is not an isolated event. It is happening because COVID-19 has decimated live income, leaving many artists worrying about how to make ends meet. Last week, just before this whole debate kicked into gear I wrote:

“Live’s lockdown lag may have the knock-on effect of making artists take a more critical view of their streaming income. When live dominated their income mix, streaming’s context was…

View original post 1,102 more words

Dae Bogan Joins Speaker Lineup For Amp Music Summit Virtual Summit

I am thrilled to join the line-up for Amp Music Summit this Wednesday to contribute to the discussion of indie artists opportunities in the covid-19 era.

AMP MUSIC SUMMIT: MUSIC INDUSTRY VIRTUAL SUMMIT JOIN US FOR A FREE VIRTUAL SUMMIT FEATURING THOUGHT LEADERS FROM MUSIC, FINANCE, TECHNOLOGY, HR, VR, BUSINESS CULTURE, AND MORE

http://www.ampmusicsummit.com

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