I wish there was a device that counted how many excuses we made in a day, a week, a month, and a year and could calculate the cost of opportunities lost.
“I want to, but…”
“It’s too difficult.”
“I will get around to it after…”
“I’m not like you. We’re just different.”
How much time do we lose in our lives telling ourselves that we can’t achieve something? That we’re not good enough? We’re not smart enough? We don’t know where or how to start, so why even bother?
If we add that time up it is probably enough time to accomplish something small, then something medium, then something big, then something life-changing.
I remember when I told myself that I didn’t have time or didn’t need to (because I enjoyed where I was at in my career) go to graduate school.
Then, I was abruptly laid off of my $65k per year job.
I decided to take the time to go back to graduate school and I found a nights and weekends program at CSUN Music Industry Administration that fit my schedule.
That was a life-changing decision.
As a result, I had the availability and took an opportunity to teach at a college; and now I develop and teach a Billboard-recognized course at UCLA Herb Alpert School of Music.
As a result, I took a music publishing and copyright administration class taught by Steve Winogradsky, which strengthen my interest in music rights, which evolved into a research-fueled obsession with conceptualizing strategies and solutions to a broken and seemingly unfair system, which became my area of expertise, which changed the focus of my profession as a music industry professional, and which shaped my achievements as a serial entrepreneur to the point that I’ve sold nearly $2M of my ideas in this space.
As a result, I’ve advanced my role as an executive and increased my pre-graduate school salary to post-graduate school salary by 115%.
As a result, I’ve been able to financially gift my family, claw myself out of debt, and afford certain life experiences.
As a result, I look at excuses differently now. I look at the cost of excuses differently now.
We can measure our achievements, but can we measure opportunities lost? The cost of putting it aside one more day?
How much will one of your excuses from this morning cost you?
I honestly believe that some people are so comfortable with struggling that they refuse to make uncomfortable changes in their lives that would see their outcomes improve in the future. It’s a “chasing immediate results” mindset that encourages them to think about and talk about how a better future could look; all the while simultaneously taking no actions that create long-term and lasting changes.
What is your 5 year goal?
What are your 2nd, 3rd and 4th year milestones?
What is your 12 month plan?
If you took stock of where you are today compared to where you were 5 years ago and have little to no measurable net improvement in income, wealth, professional or academic achievement, global life experiences, health and fitness, or relationship status (I don’t mean just single or taken, but rather does the new or existing relationship (or lack thereof) make you feel happier, more secure, better, more loved than this time 5 years ago?); then you need to think about breaking the cycle and making real changes.
Get used to doing things in phases, whereas a phase could be several months or years, and stop thinking in terms of quick and immediate results. Those generally prove not to be long-lasting.
I’ve completely changed my life outcomes by applying the above to myself. You can too.
[Podcast] Dae Bogan Reflects On His Career Journey On This Episode Of “Hey, How’d You Get That Music Job???”
I was invited to the podcast “Hey, How’d You Get That Music Job???” to talk about my journey into the music industry and growth as a music industry professional. This was quite the vulnerable discussion as I explored my past as far back as a child aspiring artist, my YOLO move to Los Angeles as a homeless teen, and the founding of my first music companies as a senior at a UCLA. If hearing how I navigated hurdles and barriers to entry to become a 3x exited music tech entrepreneur and Billboard recognized music business educator, have a listen to this podcast episode.
Nearly 10 years ago I founded my first music company. It was called Renaissance Artist Management (RAM Artist) and I managed DJs who I had for several years prior booked often to play club events that I produced while in undergrad at UCLA. Some of these DJs were also aspiring music producers, so later I launched Loft24 Records and Loft24 Publishing to help them collaborate with artists and topliners. I picked name Loft24 because I was 24 years old and I lived in a loft in Downtown Los Angeles, which had been a goal of mine since my youth (I have no idea why). I had also signed my first two live acts – a singer/songwriter and a rapper/songwriter — after producing a multi-city mall talent search tour for Reebok…they were the winners.
Prior to founding RAM Artist, Loft24 Records, and Loft24 Publishing, I had some music business exposure having grew up in a multi-generational music family and having been an aspiring musician myself, but my knowledge was nowhere near as expansive as it is today (insert a lot of self-teaching and an eventual masters degree in music business).
One of the things I was really good at as a manager and music entrepreneur was creating systems and processes to make workflows efficient. This was necessary considering all of the tasks I had to juggle as an artist manager, label owner, and music publisher. And I had a daytime job as VP of Marketing & Partnerships of a youth-targeted retail chain and founder/GM of its music division.
I had previously built database-driven e-commerce systems at two companies where I had worked in marketing; and with a history of event production, I was generally a very logistical and process-oriented person.
At the time that I was managing artists, DJs, producers, songwriters and marketing music, I was unaware of software that would make my life easier in these administrative tasks. So, I built my own.
I had previously developed a checklist of everywhere that I was aware of where my client’s music needed to be registered before it was released. I used this “Song Processing Checklist” for every work in our catalog. I’d manually login to ASCAP and the Copyright Office systems to register works and record confirmation numbers. It was daunting!
To pitch our catalog, I built an internal platform called “Music Licensing Portal” (basically an early version of what DISCO or SourceAudio is today). I’d invite music supervisors to search our catalog and initiate sync license requests.
Then I built what would be my first music tech startup, SongBank, a marketplace where A&R’s could shop for unpublished songs using an audio fingerprint of a reference songs. SongBank was described as a robust cloud-based project management platform developed specifically for songwriters and record label A&Rs (I’m still unaware of anything like it on the market). I wanted to help undiscovered songwriters get placements on major label projects after my experience pitching my writers to A&Rs. I had brought on advisers who were A&Rs or VP of A&R at Hollywood Records, Island Def Jam Music Group, Roc Nation, and Atlantic Records. I later stopped working on SongBank to launch Maven Promo (formerly ChazBo Music), which is an in-store independent music video network, which I sold to EMPIRE Distribution last year to fund the development and launch of RoyaltyClaim, the world’s first search engine of unclaimed music royalties, which I later sold to Haawk Inc and then to Made In Memphis Entertainment this year.
All of this leads me to this: TuneRegistry.
TuneRegistry is a software like no other. I conceptualized it based on all of the above experience (although I had been working on it prior to RoyaltyClaim). What started as a Word Doc checklist of places to register my client’s songs has evolved into a robust software to streamline the process of registering works across rights organizations, delivering music metadata across the music industry, the management of disputes and conflicts, and the insurance of royalty accountability, all in one place.
We had a setback for a few months, when I had to buy the company back from a company that had acquired it in 2017, but will be launching an new and improved platform on October 1st and I can’t wait
(Photos below are of the tools and platforms that I referenced above. I built these in my early twenties to operate my music companies and manage my clients’ careers more efficiently.)
What Can The Socioeconomic Context Of The Culture From Which Hip-Hop Is Derived Tell Us About How The Biggest Genre In The World Gets The Shitty End Of The Royalty Stick?
Streaming services are a beast that needs constant feeding. Younger hip-hop artists, already accustomed to providing sites such as SoundCloud with a constant stream of mixtapes and features, have adjusted to its demands more quickly than artists from other genres, and have thrived accordingly. At the heart of rap’s streaming dominance is something more ephemeral: Some songs just stream better than others, for reasons that no one can really explain yet. Hip-hop streams better than other types of mainstream music, and trap music streams better than other types of hip-hop. – The Washington Post (April, 2018)
R&B/hip-hop music was the year’s biggest genre, accounting for 24.5 percent of all music consumed….R&B/hip-hop genre represented 24.5 percent of all music consumption in the U.S. — the largest share of any genre and the first time R&B/hip-hop has led this measurement for a calendar year. (The 24.5 percent share represents a combination of album sales, track equivalent album units and streaming equivalent album units — including both on-demand audio and video streams.) — Billboard Magazine (January, 2018)
The statistic presents the number of on-demand music streams worldwide in 2016 and 2017, by genre. According to the source, the number of urban [Hip-Hop and R&B] on-demand streams rose from 55.9 billion in 2016 to 100.34 billion in 2017 – Statista (2018)
A few months ago, I set down with music manager and “dad jokes” extraordinaire, Scott Waldman, to discuss my personal journey into the music industry. I got pretty candid as I discussed going from being homeless and unemployed to founding music tech start-ups.
You can listen to the episode here.
Direct link: https://idobi.com/podcast/057-dae-bogan/
Ikigai is the Japanese concept meaning “reason for being.” I’ve just heard of this, but it speaks volumes to me as an entrepreneur, educator, and advocate focusing on DIY musicians. I absolutely love what I do and I think “Ikigai” is why.
Find your Ikigai and you’ll never “work” a day in your life.
Read more on this concept here.