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
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)
How Blockchain And Cryptocurrency Can Speed Up Spotify International Publishing Royalty Payments To US Songwriters
There’s been a lot of talk about applications of blockchain technology and cryptocurrency payments in the music industry. In fact, there isn’t a single major music industry conference that doesn’t dedicate some programming to related topics. There are several projects and startups currently underway to address licensing, discovery, attribution, remuneration and more with blockchain, smart contracts, and cryptocurrency.
For those of us who aren’t blockchain developers, simply keeping up with the many applications of blockchain in the music industry is the closest we’ll get actually knowing how this all (could) works.
I’ve been thinking about how blockchain and cryptocurrency could speed up the process of paying U.S. songwriters, who wait upwards of 1.5 years to get paid for the use of their songs on Spotify outside the U.S.
The current state of the flow of international publishing income to U.S. Independent Songwriters who own their publishing and use traditional publishing administrators to collect in the U.S. is quite depressing.
As an example, Tommy released a song on Spotify in January 2018. In the United Kingdom, the song earned $100 “publisher share” Spotify UK digital public performance royalties.
Here’s the breakdown:
START: $100 “publisher share” of Spotify UK digital performance royalties in January 2018.
1. PRS collects Tommy’s publishing income in the UK ($100) in January 2018.
2. PRS retains 10% admin fee and remits the balance ($90) to ASCAP in October 2018.
3. ASCAP retains 12% admin fee and remits the balance ($79.20) to the Publishing Administrator in February 2019.
4. Publishing Administrator retains 20% admin fee and pays Tommy ($63.36) in July 2019.
END: Tommy is paid $63.36 for his Spotify UK “publisher share” income (earned $100) after waiting 1.5 years and experiencing a reduction of 37% of his royalties. Imagine $1,000 reduced to $633.60 or $10,000 reduced to $6,336.00.
Had Spotify used blockchain technology to dynamically identify Tommy as the rightsholder in his song and paid him instantly at the close of the month with cryptocurrency, Tommy would have already spent his $100 on studio time!
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