I hope you had a wonderful holiday break. I enjoyed time with family and friends for two weeks, but now I am back full swing!
I wanted to share a few exciting updates and make several announcements regarding my various projects and involvements:
1. TuneRegistry announces new clients Nettwerk Music Group and Jammber. Last year was a pivotal moment for TuneRegistry as we went through the legal battle to re-acquiring our business. We succeeded. In Q4, we launched our enterprise edition and have been working hard to on board new clients such as Repost Network, Vydia, and Create Music Group. Today we announced the addition of Nettwerk Music Group and Jammber (among many others). We are expanding the platform to offer new services in Q1 2019. Here’s the official press release.
2. The website for my consulting firm is now live. Through Rights Department, I provide consulting, coaching, and advisory services to founders of music, tech, and digital media companies. I also provide career coaching and advice to music entrepreneurs (DIY musicians, artist managers, indie label owners, music publishers, etc.). Visit www.RightsDepartment.com for details.
3. I return this week to UCLA Herb Alpert School of Music. I am so excited to return to UCLA to teach “Music Industry Entrepreneurship and Innovation.” The course has grown in popularity within the department, so I believe it will be offered in the Spring as well. This class is very special to me because I get to help bright young future entrepreneurs and business leaders realize their potential as entrepreneurs.
4. My speaking engagements are starting to solidify. I will be speaking at the Digital Entertainment World on Feb. 4th, Balanced Breakfast Music Summit on Feb. 9th, and SXSW on Mar. 14th. More on speaking engagements can be found here.
6. Webinar for A2IM Members. I will be conducting a webinar on neighboring rights royalties for A2IM members on February 6th at 1pm EST. More details to come on this.
5. SoCal Music Industry Professionals Music Industry Happy Hour 13th Edition. I will be hosting the next meetup in February on the 20th or 27th. Stay tuned at www.meetup.com/scmiponline or www.facebook.com/groups/scmiponline.
Thank you for following my blog. I am looking forward to a busy 2019. I’ll be sure to keep this community updated from time-to-time.
I am pleased to announce that Apple has selected my Billboard-recognized class, Music Industry Entrepreneurship and Innovation, at UCLA Herb Alpert School of Music as a preferred source to recruit aspiring music industry professionals into its college internship programs at Apple Music.
Upon successful completion of an internship and graduation from UCLA, recent grads may become eligible for full-time employment at Apple music divisions.
An Apple Worldwide Recruiting representative will visit my class in January 2019 to promote their internship program to my students and answer any questions that students might have.
I am pleased with Apple’s decision to partner with universities and educators that deliver best-in-class education and experiences to students who may become tomorrow’s music industry leaders.
In reviewing my class students have shown great appreciation for the course and the speaker series that I curate throughout the quarter:
Hi Dae, Just wanted to thank you for an awesome class. This was one of the few classes at UCLA where I felt I was taught skills, not just about the subject matter but in how to go about achieving my career goals, that were applicable to my endeavors and will be used for the rest of my life. I got more out of it than I had with any other course here and I would highly recommend your class to to anyone interested in a music industry career.
– Student testimonial, Winter Quarter 2018
Without a doubt one of the most useful classes I have taken in my undergraduate career at UCLA. Professor Bogan has so much real world knowledge and knows how to convey that knowledge in a classroom setting immensely well. All the course material was invaluable to my progression and aspirations of being in the music industry. Every lecture was extremely well-prepared, with amazing guest speakers and information that I will be using for the rest of my life. Professor Bogan did a phenomenal job and I will be recommending this class to all my friends interested in music or starting their own company. Can’t say enough good things about this class.
– Student testimonal, Winter Quarter 2018
In addition to the relationship with Apple, I am excited to announce that I’ve established a relationship with music tech start-up accelerator Techstars Music that allows me to recommend student and alumni owned start-ups for consideration to receive seed investment and to participate in its accelerator program.
I look forward to continuing to add value to my course to offer students one of the best experiences in their academic careers at UCLA.
Some music industry executives believe that my position on many issues affecting music creators is too bullish. They dismiss my analyses as sensationalism. They believe, or are at least silent on the notion, that demanding the fair and equitable treatment of middle-class songwriters and recording artists should come with exceptions that disproportionately benefit corporations: major publishers and digital service providers.
But I am a copyright purist.
I believe that the authors of copyrighted musical works — songwriters — should have more say in the way in which their creations are valued and monetized in the marketplace. I do not believe in trickle-down economics or its promise that what’s best for the few at the top will benefit the majority at the bottom.
Greed disproves this all of the time.
Greed is asking songwriters to forgo the potential financial upside of bringing forward legitimate claims of past copyright infringement while simultaneously telling the songwriter community that monies that may become due to them could be redirected, by market share, to the few at the top who negotiated the preemptive dismissal of claims in the first place. Greed is telling artists to campaign for a piece of legislation that will reduce the number of entrants into the on-demand streaming market while simultaneously controlling/dominating the editorial opportunities of the DSP incumbents, greatly reducing opportunities that would otherwise be made available to emerging artists by startups that wish to partner with and elevate emerging artists.
I do believe that the Music Modernization Act will pass. I just hope that the decision-makers give some real thought to the millions of up-and-coming music creators who are not represented by the individuals who wrote the legislation that’ll change the way their copyrights will be exploited in the U.S.
Read the article here:https://www.digitalmusicnews.com/2018/05/07/music-modernization-act-mma-legal-theft/
Introducing, The American Society for Collective Rights Licensing (ASCRL) — The Organization That Wants To Help Visual Artists Collect Their Unclaimed ‘Black Box” Royalties
As many of you know, I’ve researched and have written extensively about unclaimed music royalties held in escrow or so-called “black boxes,” which are monies owed to music creators and rights-holders (and founded RoyaltyClaim to address this issue). Today, I want to draw your attention to a similar matter in the world of visual art (e.g. photography, illustration, stills, text design).
This morning I had the pleasure of speaking with Eugene Mopsik, the CEO of the American Society of Collective Rights Licensing (ASCRL). A successful corporate /industrial photographer with over 32 years of experience, Eugene was previously the Executive Director of the American Society of Media Photographers (ASMP).
Eugene and I talked about issues related to the representation and rights of visual artists and the monetization of their works outside of the United States. He and his co-founders of ASCRL are working to help visual artists claim their fair share of royalties that have long gone to the publishers of visual works.
Similar to musical works (aka compositions or songs) that earn mechanical royalties when the work is reproduced, visual works, in many cases, earn reprographic royalties. Whereas mechanical royalties outside of the U.S. are collected by mechanical rights organizations (MROs) in territories under the MRO’s jurisdiction, reprographic royalties are collected by reprographic rights organizations (RROs) in territories under the RRO’s jurisdication. And, much like the complex web of legal and regulatory issues that makes it challenging for songwriters to collect their ex-U.S. mechanical royalties, similar limitations make it challenging for visual artists to collect their ex-U.S. reprographic royalties.
Antitrust laws has made it difficult to form a collective licensing body. Consequently, the U.S. does not have a local RRO to enter into reciprocal agreements with foreign RROs for the purpose of passing through ex-U.S. reprographic royalties to be paid to U.S. visual artists. Once again, this is similar to the absence of a U.S. MRO for songwriters. Notably, however, the U.S. has made an exception for the collective licensing of performance rights in musical works.
Since 1914, songwriters and composers have been able to join a performance rights organization (PRO) for the collective licensing of performance rights and payment of performance royalties. In the United States, the American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music Inc. (BMI), SESAC, and Global Music Rights (GMR) are PROs that represent the performance rights of songwriters and publishers.
Currently, when reprographic royalties are earned outside of the United States, they are collected by RROs. RROs then distributes royalties to the publishers of visual works and authors of visual works (visual artists) who’ve joined the RRO. The RRO passes reprographic royalties for works due to members of foreign RROs to the RRO in the respective territory. In cases where the publishers or authors of works are unknown or if the author is an unrepresented U.S. visual artist, royalties are held in escrow and eventually distributed by market share to publishers. In the latter, royalties that are fairly owed to U.S. visual artists are being distributed to publishers. This is what the American Society of Collective Rights Licensing aims to address.
Joining ASCRL is free. Members can submit their works and use the ASCRL claiming portal to claim their entitlements and unlock unclaimed royalties. To learn more about ASCRL or to begin the process of joining, visit http://www.ascrl.org.