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.
I am thrilled to announce that I will be returning to UCLA for the 5th year to teach my course “Music Industry Entrepreneurship” at the UCLA Herb Alpert School of Music.
In 2017, I was honored to be recognized by Billboard in its 15 Best Music Business Schools of 2017 and later named to the Billboard 2019 Digital Power Players list for my work as a serial entrepreneur at the intersection of music copyrights, royalties, and technology. While updating my curriculum to fit a 100% online format will be a challenge, I look forward to guiding my international students in their exploration of entrepreneurship and innovation in the music industry.
This upcoming Winter ’21 quarter will coincide with my role as Head of Third-Party Partnership at The Mechanical Licensing Collective, which is the non-profit organization designated by the U.S. Copyright Office to issue and administer the newly created blanket digital audio mechanical license in accordance the Music Modernization Act of 2018. The historic passage of the MMA made it the most significant update to the U.S. Copyright Act in decades. To this end, I was honored to advise the U.S. Congressional Budget Office during its economic analysis of the bill and was humbled to be invited by Copyright Royalty Judge Hon. Steve Ruse to participate in the unclaimed royalties study symposium and speak at the Library of Congress on the ways in which The MLC could reach, engage, and support self-administered songwriters and small and emerging music publishers in the United States and abroad.
In a word, I don’t think I could be happier about where my hard work, accomplishments, and setbacks have lead me since deciding this time of year 17 years ago to pick up and relocate to Los Angeles from Cleveland, OH as a homeless, unemployed 18-year-old aspiring musician. While I pivoted from being the talent to supporting the talent early own, my passion for empowering and educating music creators and music entrepreneurs has never been stronger.
I can’t wait to see what this next chapter has to offer!
Yo! I am excited to announce that SoundCloud is launching its own channel on livestreaming platform Twitch, with a slate of original programming that includes panel conversations, music sets and more…and I will be moderating the premiere of “Could Bar”.
On Thursday, May 7th, Soundcloud will begin airing its three-hour weekly live chat series “Cloud Bar,” where creators, industry execs and influencers will take on topics, like how to build a career in music, and look at new trends in music discovery, culture and more.
From self-care to the state of live music today, we’re going deep on the issues and topics that matter most to artists today. Get advice, insight and hear personal stories from the SoundCloud team and a range of experts. Check the calendar below to find out who’s on each week and what time we’re going live.
Tune in every Thursday if you want to learn more about self-care, the music media landscape and the future of “live” events – or to share some your own thoughts & advice.
This week’s guests include CAA music agents, Zach Iser and Caroline Yim; artist managers Byron Wilson, Matthew Burnett and Jordan Evans; Dae Bogan of The Mechanical Licensing Collective; XXL’s Editorial Director Georgette Cline; hip-hop entrepreneur Roger Gengo; recording artist, activist and entrepreneur, Vic Mensa; and founder and CEO of Biz 3 Publicity and ICF certified Personal/Professional Coach, Kathryn Frazier.
I am thrilled to announce that I have joined The Mechanical Licensing Collective as the Head of Third-Party Partnerships.
Over the last 15 years, I have supported the independent music community as an indie artist/songwriter/producer/DJ manager, indie label owner, indie music publisher, music retailer, live music producer, educator, writer, advisor/consultant to digital media companies and rights-holders, and as a serial entrepreneur of music tech startups.
In 2018, after many years of music industry negotiations, Congress passed the Music Modernization Act (MMA) to update the way in which music creators are accounted to and paid in the United States. In 2019, the Register of Copyrights designated the Mechanical Licensing Collective (MLC) as the non-profit organization responsible for administering the blanket mechanical license—issuing licenses to digital music services such as Spotify, Apple, Amazon Music, Deezer, and Tidal—and paying out royalties to songwriters.
I’ve been involved in the MMA x MLC conversation for several years; from conducting research into the metadata issues impacting mechanical licensing in the United States in 2015 (which led to me founding TuneRegistry and RoyaltyClaim), to helping to promote a bill in 2016 that became Title 3 of the MMA, to partnering with HFA to open up more access to self-published songwriters in 2017 and streamlining that process in 2018, to speaking at the MMA Symposium in D.C. in 2019 on how the MLC can reach and serve self-published songwriters.
Now, I will serve the independent music community as Head of Third-Party Partnerships at The Mechanical Licensing Collective (The MLC) where I will lead the organization’s strategy for engaging third-party entities to support initiatives in rights administration, data management, operations, and education.
I look forward to continuing my mission to support songwriters while effecting and empowering innovation within the music industry.
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.
Music Creators’ Rights Advocate
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.
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 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
I am super excited about this!
I’ve been a fan of Marcus and Jammber, and they of me/TuneRegistry, since I first learned of Jammber. Over the last few years, TuneRegistry has been empowering thousands of songwriters, artists, and publishers while Jammber has been empowering producers, engineers, studios and labels. By bringing our expertise and resources together, we believe to have established the first economical end-to-end music business platform for music creations and workflow management, rights administration, and royalty processing for all music creators and rights-holders.
In the coming months, we will be working to integrate TuneRegistry into the Jammber product suite as well as beefing up the Los Angeles-based music rights administration department under my direction as Jammber’s Senior Vice President, Global Music Rights. I look forward to continuing to empower music creators and rights-holders with effective tools and resources to self-administer their catalogs via Jammber’s suite of products.