I set down with Aljazeera news to talk music creators’ rights and the ownership of their intellectual property. Check out the piece via the link below. I first appear at 3:36.
Here’s Why Taylor Swift And Drake Don’t Own Their Music https://youtu.be/WHmy9lSML3c
[Video] Artist Managers Connect presents AMA About The Mechanical Licensing Collective with Dae Bogan
Is the blanket license royalty rate determined after the majors have negotiated their license with the DSPs?
Does registration with the MLC supersede registrations with HFA and MRI?
If a song was previously licensed under the voluntary license, does it now have a secondary revenue to coming from the blanket license, or do you have to choose one path over the other?
Will the MLC establish reciprocal mechanical collections with foreign mechanical CMOs such as MCPS and AMCOS?
Watch me answer these questions and many more from artist managers in my “Ask Me Anything About The Mechanical Licensing Collective”
[Video] Dae Bogan In Conversation With Damien Ritter of Music Entrepreneurship Club on BeatStars Live
Watch the recording of the conversation.
Damien Ritter interviews Dae Bogan on The Mechanical Licensing Collective for Music Entrepreneurship Club on BeatStars Live.
[Video] Songtrust Presents ‘Let’s Talk Music Publishing: The Mechanical Licensing Collective (The MLC)’ With Dae Bogan
Watch the recording of Songtrust’s webinar.
Description: With the beginning of the new year, as the initiation of The Mechanical Licensing Collective (The MLC) begins, songwriters have a lot of questions about how this will affect them in 2021 and beyond. Join the Songtrust team, along with special guest Dae Bogan, Head of Third Party Partnerships at The MLC, to discuss everything you need to know about The MLC and their relationship to Songtrust.
This is the first significant announcement that sheds light on the work I’ve been doing in my role as Head of Third-Party Partnerships at The MLC.
I am thrilled to announce the addition of four new partners to The MLC’s Data Quality Initiative (DQI); an initiative that enables music rightsholders to assess in bulk the state of their catalog data as it appears at a music rights organization.
The addition of Blokur, EXACTUALS LLC, Music Data Services, and TuneRegistry to the DQI demonstrates The MLC’s commitment to engage companies and organizations at all levels of the music rights ecosystem to ensure that songwriters and music publishers have the information and resources they need to more efficiently administer their musical works in the United States. These four companies are aligned with The MLC’s intent to improve the ways in which music data is managed between rightsholders and a music rights organization.
I look forward to announcing more partnerships across a variety of initiatives in the months and years to come as we develop The MLC into a leading 21st century music rights organization and improve the accuracy with which songwriters and music publishers are accounted to and paid US digital audio mechanical royalties.
On this day last year, at the invitation of the Honorable Steve Ruwe, a United States Copyright Royalty Judge, I went to Washington, D.C. to participate in the U.S. Copyright Office’s Unclaimed Royalties Study Symposium and speak at The Library Congress on strategies for the effective outreach and engagement of music publishers and independent songwriters. A few months later I joined The Mechanical Licensing Collective as its Head of Third-Party Partnerships to develop and execute strategies to reach and empower music publishers and independent songwriters, composers, and lyricists.