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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

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.

WHY FAKE BEYONCÉ MUSIC ON SPOTIFY AND APPLE MUSIC HIGHLIGHTS STREAMING’S WIDER LICENSING TROUBLES

I shared my thoughts on the Beyonce fake album controversy in this piece by Amy X. Wang for Music Business Worldwide.

The various checks that are supposed to be in place are not working or being followed,” says Dae Bogan, a music licensing expert who founded TuneRegistry, a management platform that deals with song metadata.

It’s concerning not only that fake albums are passing, but that they’re presumably affecting the overall value of other streams that day. Because there’s no per-stream rate in royalties — royalties are based on cumulative performance of total music releases — people could assume Beyoncé has released a new project, flock to her account and dramatically affect the royalties for other people’s streams.

Read the full story here: https://www.musicbusinessworldwide.com/why-fake-beyonce-music-on-spotify-and-apple-music-highlights-streamings-wider-licensing-troubles/

Why So Many Hip-Hop Producers Are Putting Business Before Beats

I shared my thoughts on music business for Hip-Hop producers in this piece by Cherie Hu for Pitchfork:

“The way many of these companies are trying to match and verify their data? Hundreds of emails,” says Dae Bogan, founder and CEO of TuneRegistry, a rights management platform for indie artists. “Many labels are still using old software and systems to manage their digital catalog, and their rights department is different from the one responsible for metadata, which is different from the one responsible for collecting royalties. There’s a lot of bureaucracy involved.”

Read the full piece here.

Why More Pop Songwriters Are Stepping Into the Spotlight

I shared my thoughts on the status of income-earning for songwriters in today’s streaming landscape in this piece by Elias Leight for Rolling Stone:

“But regardless of whether you’re an upper-echelon songwriter living large or a middle-class one struggling to pay rent, the new system encourages writers to ‘think creatively about how to get more income streams,’ says Dae Bogan, Founder and CEO of the music-rights administration platform TuneRegistry.

If songwriters are indeed feeling the crunch, pushing for artist credit when possible is a natural response – it gives them access to money on the master’s side of recordings. Historically, “we get paid on publishing, the the words, the lyrics, the melody, the staff music written on a page,” explains Watt. “The master is the physical recording: Justin Bieber’s voice and DJ Snake’s production on ‘Let Me Love You.’ The master is where the money is. When a song is sold to a label, they buy the master. If the label gives that to an act, they make sure they own part of that master, otherwise in the streaming world, they’re not making any money.”

Now, Bogan says, “songwriters can say, I write hits; this is gonna be a hit for you; I want a piece of the master’s side.” That’s especially true if hit writers are in a position of leverage relative to the singer – “if it’s a young artist or an artist who’s been stagnant.”

This is in some sense a form of poetic justice for writers. “I used to manage songwriters, and we’d write for a number of artists who would demand that they get 10 percent of the publishing even though they didn’t write a single lyric,” Bogan says. “For decades, artists would dip into publishing to diversify their income stream. So now it’s like, let’s take that model and flip it on its head.”

Read the full article: https://www.rollingstone.com/music/music-features/benny-blanco-eastside-pop-songwriter-credit-711061/

Congress Is Giving Musicians First Chance of Fair Pay in Decades


“‘The MMA gives a digital service like Spotify or Amazon a more convenient way of licensing songs,’ Dae Bogan, founder of music management platform TuneRegistry and a longtime music rights advocate and executive, explains. ‘And it opens a potential windfall of income to legacy artists who were left out of the digital boom.’ But Bogan adds that the legislation doesn’t come close to fixing all, or even most, of the problems in music royalties for labels, publishers and musicians; the simplified processes just make it more likely they’ll get the money they’re due.” via RollingStone

Read the full piece here: https://www.rollingstone.com/music/news/congress-is-giving-musicians-first-chance-of-fair-pay-in-decades-w520301

Billboard Highlights Dae Bogan’s Course At UCLA Herb Alpert School Of Music Among Its “15 Best Music Business Schools In 2017”

billboard dae bogan ucla herb alpert school of music

Billboard today published its list of “The 15 Best Music Business Schools In 2017” and among them, UCLA Herb Alpert School of Music was recognized for the work it’s doing to launch a new hybrid musicology and music business degree program.

The article also highlighted the “Music and Entrepreneurship” course that will be developed and taught by me in Winter 2018.

I am honored to be mentioned among the many other programs and educators represented in the article. This comes on the eve of my free music industry entrepreneurship masterclass tour taking place in Brooklyn (9/30), Oakland (10/14), Cleveland (10/21), and Los Angeles (11/18) and the launch of a series of online music business courses that I will be developing under my brand Marcato Academy.

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Read the full article here.

[VIDEO] Independent Music Industry Conference Panel Live Video

imi-conference

If you missed the inaugural Independent Music Industry Conference, produced by Mike Ziemer, producer of the So What Music Festival, you missed a very cool and informative boutique event. But, don’t worry! Below are the live videos from the Record Label panel and the Music + Technology panel, both moderated by me.

Record Label Panel

Music + Technology Panel

If you can’t view this video, click here.

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