Archive by Author | Dae Bogan

4 Ways To Offset Lost Income From Cancelled Tours & Gigs Right Now

In the wake of the world’s response to COVID-19, thousands of tours, club shows, concerts and festivals have been cancelled or postponed. This has directly impacted the livelihoods of music creators and the professionals who make it possible to bring these experiences to life. In these uncertain times, there is one thing for certain: there is financial assistance.

Here are 4 ways to offset lost income now:

1. RECEIVE DONATIONS – Post your lost gig on http://www.ilostmygig.com where good samaritans may donate to help you offset lost income (all roles matter; from artist/band to sound engineer to stage manager to caterer).

2. SELL MERCH – Sale unsold merch on http://www.missedtour.org

4. GET A GRANT – Apply for one of many grants and scholarships as MusiCares and Live Nation Music Forward Foundation, among others.

3. GET AN ADVANCE – Get an advance on future streaming royalties via Stem Scale at http://www.stem.is/scale or an advance on future performance and/or mechanical royalties at http://www.lyricfinancial.com

Take action now before these resources are overwhelmed and exhausted.

A lot more opportunities are being curated at IG @daeboganmsuic

Dae Bogan To Move All 2020 Music Industry Talks, Lectures, Workshops To Online Format — Limited Passes Available Now

Due to the unfortunate cancellation of music industry conferences, university classes, and networking events where I was previously scheduled to speak, I will be reformatting and moving several of my talks, guest lectures, and workshops to online formats. This will allow me to reach more individuals in an economical and safe manner.

I will schedule up to 10 different online events to take place this Spring/Summer (April – July) on a variety of topics aimed at recording artists, artist managers, producers and engineers, DJs, background vocalists and session musicians, music company startup founders, and more.

I am offering three passes, which includes your ability to attend multiple online events from the available schedule of events (schedule will be announced on April 1).

Early bird pricing ends on March 31. Prices will increase after March 31.

DAE BOGAN 2020 MUSIC INDUSTRY ONLINE EVENT PASSES:

  • Silver Pass – $50 (100 available) – Attend up to 2 online events in 2020. (Get Pass Here)
  • Gold Pass – $100 (100 available) – Attend up to 5 online events in 2020. (Get Pass Here)
  • Platinum Pass – $250 (100 available) – Attend up to 5 online events in 2020 and schedule a 30 minute one-on-one consultation with me following any of the events. (Get Pass Here)

The schedule of events will be announced on April 1st, 2020.

Want to do a 1-on-1 with me now? Learn more here.

Learn more about Dae Bogan at http://www.daeboganmusic.com and http://www.rightsdepartment.com and http://www.linkedin.com/in/daebogan

I Went 5 Years Purposely Avoiding Romantic Relationships: This Is What Happened To My Career

In 2015, a few months after ending my last romantic relationship and just as I was turning 30, I decided to try a social experiment on myself. I decided to see what I could achieve in my professional life by sacrificing something big in my personal life. I decided to make myself completely emotionally unavailable for a romantic relationship. I wanted to see what happens, for me, when I direct 100% of my cognitive energy to my professional life and zero to pursuing and developing a romantic relationship.

Here is what happened during my 5 years relationship hiatus:

I earned a masters degree in Music Industry Administration; I developed and sold 3 music tech startups; I paid off student loans for 3 degrees; I spoke at over 100 music industry conferences, podcasts, and web series; I wrote extensively on music business and music rights and have been syndicated, cited, or interviewed dozens of times in some of the top music industry magazines, blogs, and books; I developed and taught music industry curriculum and have guest lectured at universities; I conducted research that was used by the US government in its economic analysis on the most important piece of music industry legislation in decades (MMA) and was invited to speak at the Library of Congress for a US Copyright Office symposium; I was named a Billboard’s “Digital Power Players 2019” and appeared in its 125th anniversary issue with Paul McCartney on the cover; I helped hundreds of music creators, entrepreneurs, and rights-holders with their careers, businesses, and catalogs through mentorship, consulting, and creating free resources at daeboganmusic.com. And I’ve developed relationships with amazing music industry professionals in every sector of the industry from around the world.

In 5 years, I transformed my career and have accomplished professional milestones that I never could have imagined. That was an incredibly overwhelming, stressful, challenging, and exhilarating ride.

Today I turn 35. 🥳 I’ve amassed an incredible amount of knowledge and contacts in the music industry and will be spending the coming weeks deciding what I will do next (something moderate).

Also, I’m back on the market. 😎

On To The Next – Dae Bogan Departs TuneRegistry

Photo: Launch of TuneRegistry at SXSW Pitch Stage

After five passionate years of developing and operating one of the most important music rights administration companies that empowered thousands of DIY music creators and small to medium-sized rights-holders from around the world to “take back their rights” and unlock millions of dollars in unclaimed and unmatched royalties, I am humbled to announce that my journey with TuneRegistry has come to an end.

I want to thank every DIY music creator and artist manager who’ve flooded my inboxes with questions about music publishing, copyright administration, royalties, and licenses over the years. Your curiosities became source material for the ways in which my products evolved over time. From launching our relationship with Harry Fox Agency to enable you, for the first time, to unlock your Spotify mechanical royalties to onboarding Gracenote and TiVo to help you deliver and enrich your metadata in the digital music ecosystem, if it weren’t for the valid challenges that you faced and the ways in which you felt dismissed or overlooked by the music industry establishment I would have never had the courage and strength to found TuneRegistry and RoyaltyClaim.

We were disruptors.

I will be spending the coming weeks reflecting on the work that we did over the years, which led to my being named a Billboard “Digital Power Players 2019,” and explore opportunities where my journey may take me next.

Passionately Yours,

Dae Bogan

Music Creators’ Rights Advocate

Dae Bogan Named A Billboard’s 2019 Digital Power Player

I am honored to announce that I have been named a Billboard’s 2019 Digital Power Players for my work in empowering thousands of independent music creators with the tools and resources to self-administer their music copyrights and unlock millions of dollars in royalties all while retaining 100% of their copyrights and 100% of their royalties.

Billboard November 2019 issue. 125th Anniversary Issue featuring Paul McMartney on the cover.

In two weeks, I will be joining fellow music industry executives and experts at the United States Library of Congress in Washington, D.C. to speak at the US Copyright Office’s Symposium for Unclaimed Royalties Study in advance of the launch of the government-sanctioned Mechanical Licensing Collective, which will administer music royalties for the global songwriter community when their songs are streamed in the United States. I am charged with helping the government frame its messaging, outreach and communications strategy to the thousands of songwriters who are often left out of the conversations. I can’t wait to create a seat at the table for them — for the indies!

You can view the entire Billboard 2019 Digital Power Players list in the November 16 issue of the printed publication and online here: https://www.billboard.com/articles/business/8543390/2019-digital-power-players-list

So You Received A Notice From Music Reports Or Harry Fox Agency?

Earlier this week a number of artist managers in a Facebook group posted photos of letters that their clients received from Music Reports Inc. on behalf of Amazon. They asked what the notices meant and if they were legit.

I am sharing my post, which was shared to a number of other music industry groups:

In the last couple of days, several of you have posted about receiving a notice from Music Reports Inc. and questioned whether or not you should act on the letter.

Let me clarify what you’re receiving, why you’re receiving them, and what you should do about it.

The short answer: Unless your client is signed to a major music publisher or major indie (e.g. Kobalt) OPT IN TO ALL DIRECT LICENSES!

Who is sending these notices?

Music licensing clearing houses such as Music Reports Inc. and the Harry Fox Agency (via it’s service Rumblefish) are hired by digital music services (including the big ones like Amazon, Apple, and Spotify; as well as hundreds of small startups like what musically was but is now TikTok) to help the digital service to secure proper licenses (compulsory or direct) to use music in their service, to calculate royalties, and to make payments and remit statements to the proper copyright owners.

What are you receiving?

What you are receiving are opportunities to opt-in to a predetermined (generally nonnegotiable) direct license, alongside every other non-major / non-major-indie publisher in the world, to license your copyrights to a digital platform within the United States (sometimes the deal is worldwide, which can be problematic, but I don’t want complicate this post). There are also Section 115 NOIs, which goes out for every track released on a DSP for the US mechanical license for the underlying composition (this process is being disrupted by the Mechanical License Collective beginning Jan 1, 2021).

Why are you receiving the notice?

You’re receiving the notice because the agent has your information as the copyright owner (or authorized agent of the copyright owner) for copyrights (generally compositions) that have been matched to sound recordings that the digital service either already has or has access to. THIS IS A GOOD THING. This means that the digital service, via their agent’s (MRI, HFA, etc) database of song ownership information, knows who to pay once the copyright begins to earn royalties (or in the case of a one-time payment, they know who to pay from the pro rata advance pool). The flip side is if they do not have your ownership info, the copyright would not be properly licensed and the creators would not be paid — the royalties earned against their copyright would go into the so-called “black box” or the content will be blocked from the service altogether (e.g. notice that your music isn’t on or monetized on Facebook, Instagram, and Oculus?). Also, if the agent does not have your info for certain uses covered by Section 115 of the US Copyright Act, the notice is currently being remitted to the US Copyright Office.

How do you respond?

Review the license and decide if you want to opt-in or not. For most copyright owners, opting in is really your only shot at being licensed by the service. Up-and-coming artists are not going to be able to do a separate direct license with the service as the service has zero incentive to administer a separate agreement with you. They will do a deal with the major publishers and major-indie publishers and a unicorn artist here or there.

How to make sure that your contact information is readily available to these agents to ensure that they can contact you with licensing opportunities and have your payee info for royalties?

You can hire a pub admin (they’ll earn a 15% to 25% commission on all royalties collected) or you can do it yourself and keep 100% of your royalties in North America via TuneRegistry. See this article as an example of DIY.

Dae Bogan To Join Other Music Industry Experts At US Copyright Office Symposium On Unclaimed Royalties Study in Washington, D.C.

I am honored to announce that on December 6th, three weeks from today, I will be representing the US independent music creators community at a symposium in Washington, D.C. at the The Library of Congress.

A few weeks ago, I was invited by the newly appointed Copyright Royalty Judge, Steve Ruwe, to speak at the Copyright Office’s symposium on unclaimed royalties at The Library of Congress. As a CRJ, Mr. Ruwe is among just three judges who are responsible for setting the royalty rates that all songwriters in the world are paid for the use of their songs in the United States.

Last year, my 2016/2017 research titled “The State of Unclaimed Royalties and Music Licenses in the United States,” — research that led me to founding the world’s first search engine of unclaimed music royalties and licenses and a gateway to initiate claims, RoyaltyClaim (acquired by HAAWK Inc.) — was referenced, and I was personally consulted, by the United States Congressional Budget Office during its analysis of the economic impact of the then-current bill, Music Modernization Act. That bill became law in October 2018 and is now known as the Orrin G. Hatch–Bob Goodlatte Music Modernization Act 2018 (MMA or Music Modernization Act for short).

I have been fighting to ensure that independent and unsigned self-published songwriters are recognized, empowered, and represented in the US music industry for over a decade now. My first break-through was conceptualizing and co-founding TuneRegistry, which enables self-published songwriters to administer their catalog and unlock performance and mechanical royalties while keeping 100% of their copyrights and 100% of their royalties. TuneRegistry has helped thousands of self-published lyricists, composers, producers, and singer-songwriters protect their copyrights and unlock hundreds of thousands, if not millions, of dollars in unpaid and current royalties as well as enter into direct licensing deals with digital music services and social media platforms.

I look forward to discussing how the Copyright Office will develop outreach and messaging strategies to reach and engage self-published music creators and I hope to ensure that these creators continue to have a voice in the room, if not a SEAT AT THE TABLE.

US Copyright Office Announcement: https://www.copyright.gov/newsnet/2019/784.html

Dae Bogan, Along With Marcus Cobb, Interviewed By Music Business Association

Music payment and workflow management startup Jammber has developed a series of mobile apps that helps artists eliminate guesswork from the process of recording music ownership, allowing them to focus on doing what they love: writing music. Last month, Jammber announced that it had acquired TuneRegistry, a move that would establish Jammber as a full-service solution for creatives to both report music ownership and manage rights administration. We sat down with Jammber CEO Marcus Cobb and the company’s newly appointed SVP of Global Music Rights, TuneRegistry co-founder and CEO Dae Bogan, to discuss the acquisition and what it means for both the future of the company and the industry.

Music Biz: Congratulations on the exciting acquisition! What inspired this move to unite Jammber and TuneRegistry’s offerings?

DB: Thank you! My co-founders, Kara McGehee and Shane Zilinskas, and I have been actively looking to bring our music rights administration platform into an environment where our strength in works registrations, copyright research, and managing relationships with music rights organizations could be complementary to a broader suite of services aimed to empower DIY musicians and small to medium sized rights-holders. We’ve been big fans of Jammber for several years now and recently Jammber became an Enterprise client of TuneRegistry. We took that opportunity to learn more about Marcus’ long-term vision for Jammber and all parties realized that our visions were quite aligned, so why not our products!

MC: There are three key steps to getting paid for your music: keeping track of the songs you work on and everyone you collaborate with; registering those songs, collaborations and ownership amounts; and finally collecting payment. TuneRegistry has spent the last five years perfecting the registration process with a focus on allowing publishers, distributors and creatives to easily register their songs across North America. By adding that service to the Jammber suite we’re able to bring payments closer to the creative process which in turn makes them more accurate and faster. That is the holy grail of music metadata and has the power to change so many lives.

 

Music Biz: How do creatives stand to benefit from adding TuneRegistry’s skillset to Jammber’s DIY platform? 

DB: What Jammber does well is to get in at the onset of the creative process to help creators to start capturing the necessary metadata that would be later required to properly protect and administer rights. Jammber is there early enough to encourage creators to think about the ownership splits and rights surrounding their musical project. What TuneRegistry does well is to simplify and streamline the rights administration process. It is a natural hand-off from Jammber to TuneRegistry that we’re working to make as seamless as possible in the creation-to-administration workflow.

MC: Exactly. It’s about simplifying the complexities of getting paid and credit in this industry. Dae is a foremost expert in song registrations and administration. There are splits apps and song registration platforms and payment platforms that already exist. But the only way to really make it as simple as possible is to bring everything together into a seamless experience for creatives. In order to make something simple you have to understand the complexities enough to know what can be taken away or changed. Having the TR team on board expedites our learning process. 

Read the full interview here.

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