May 4, 2020  

Dae Bogan to moderate new SoundCloud original show ‘Cloud Bar’ on Twitch Thur. May 7th at 2pm EST

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.

Soundcloud to launch live original programming on Twitch

April 30, 2020  

Dae Bogan Joins The Mechanical Licensing Collective

See article in Music Row

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.

♥️ Dae Bogan Music

March 13, 2020  

4 Ways To Offset Lost Income From Cancelled Tours & Gigs Right Now

In the wake of the world’s response to COVID-19, thousands of tours, club shows, concerts and festivals have been cancelled or postponed. This has directly impacted the livelihoods of music creators and the professionals who make it possible to bring these experiences to life. In these uncertain times, there is one thing for certain: there is financial assistance.

Here are 4 ways to offset lost income now:

1. RECEIVE DONATIONS – Post your lost gig on http://www.ilostmygig.com where good samaritans may donate to help you offset lost income (all roles matter; from artist/band to sound engineer to stage manager to caterer).

2. SELL MERCH – Sale unsold merch on http://www.missedtour.org

4. GET A GRANT – Apply for one of many grants and scholarships as MusiCares and Live Nation Music Forward Foundation, among others.

3. GET AN ADVANCE – Get an advance on future streaming royalties via Stem Scale at http://www.stem.is/scale or an advance on future performance and/or mechanical royalties at http://www.lyricfinancial.com

Take action now before these resources are overwhelmed and exhausted.

A lot more opportunities are being curated at IG @daeboganmsuic

March 10, 2020  

Dae Bogan To Move All 2020 Music Industry Talks, Lectures, Workshops To Online Format — Limited Passes Available Now

Due to the unfortunate cancellation of music industry conferences, university classes, and networking events where I was previously scheduled to speak, I will be reformatting and moving several of my talks, guest lectures, and workshops to online formats. This will allow me to reach more individuals in an economical and safe manner.

I will schedule up to 10 different online events to take place this Spring/Summer (April – July) on a variety of topics aimed at recording artists, artist managers, producers and engineers, DJs, background vocalists and session musicians, music company startup founders, and more.

I am offering three passes, which includes your ability to attend multiple online events from the available schedule of events (schedule will be announced on April 1).

Early bird pricing ends on March 31. Prices will increase after March 31.

DAE BOGAN 2020 MUSIC INDUSTRY ONLINE EVENT PASSES:

  • Silver Pass – $50 (100 available) – Attend up to 2 online events in 2020. (Get Pass Here)
  • Gold Pass – $100 (100 available) – Attend up to 5 online events in 2020. (Get Pass Here)
  • Platinum Pass – $250 (100 available) – Attend up to 5 online events in 2020 and schedule a 30 minute one-on-one consultation with me following any of the events. (Get Pass Here)

The schedule of events will be announced on April 1st, 2020.

Want to do a 1-on-1 with me now? Learn more here.

Learn more about Dae Bogan at http://www.daeboganmusic.com and http://www.rightsdepartment.com and http://www.linkedin.com/in/daebogan

February 26, 2020  

I Went 5 Years Purposely Avoiding Romantic Relationships: This Is What Happened To My Career

In 2015, a few months after ending my last romantic relationship and just as I was turning 30, I decided to try a social experiment on myself. I decided to see what I could achieve in my professional life by sacrificing something big in my personal life. I decided to make myself completely emotionally unavailable for a romantic relationship. I wanted to see what happens, for me, when I direct 100% of my cognitive energy to my professional life and zero to pursuing and developing a romantic relationship.

Here is what happened during my 5 years relationship hiatus:

I earned a masters degree in Music Industry Administration; I developed and sold 3 music tech startups; I paid off student loans for 3 degrees; I spoke at over 100 music industry conferences, podcasts, and web series; I wrote extensively on music business and music rights and have been syndicated, cited, or interviewed dozens of times in some of the top music industry magazines, blogs, and books; I developed and taught music industry curriculum and have guest lectured at universities; I conducted research that was used by the US government in its economic analysis on the most important piece of music industry legislation in decades (MMA) and was invited to speak at the Library of Congress for a US Copyright Office symposium; I was named a Billboard’s “Digital Power Players 2019” and appeared in its 125th anniversary issue with Paul McCartney on the cover; I helped hundreds of music creators, entrepreneurs, and rights-holders with their careers, businesses, and catalogs through mentorship, consulting, and creating free resources at daeboganmusic.com. And I’ve developed relationships with amazing music industry professionals in every sector of the industry from around the world.

In 5 years, I transformed my career and have accomplished professional milestones that I never could have imagined. That was an incredibly overwhelming, stressful, challenging, and exhilarating ride.

Today I turn 35. 🥳 I’ve amassed an incredible amount of knowledge and contacts in the music industry and will be spending the coming weeks deciding what I will do next (something moderate).

Also, I’m back on the market. 😎

February 12, 2020  

On To The Next – Dae Bogan Departs TuneRegistry

Photo: Launch of TuneRegistry at SXSW Pitch Stage

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.

Passionately Yours,

Dae Bogan

Music Creators’ Rights Advocate

December 11, 2019  

Photos: Unclaimed Royalties Study Kickoff Symposium at The Library of Congress

Last week, I joined dozens of music industry experts to discuss important topics related to the operations of the forthcoming Mechanical Licensing Collective at the U.S. Copyright Office’s Unclaimed Royalties Study Kickoff Symposium at The Library of Congress in Washington, D.C.

December 5, 2019  

Off To Washington D.C. For Unclaimed Royalties Study Symposium

I’m looking forward to joining music industry colleagues in Washington, D.C. tomorrow to discuss issues related to the implementation of the Music Modernization Act at the Library of Congress.

November 18, 2019  

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

November 15, 2019  

So You Received A Notice From Music Reports Or Harry Fox Agency?

Earlier this week a number of artist managers in a Facebook group posted photos of letters that their clients received from Music Reports Inc. on behalf of Amazon. They asked what the notices meant and if they were legit.

I am sharing my post, which was shared to a number of other music industry groups:

In the last couple of days, several of you have posted about receiving a notice from Music Reports Inc. and questioned whether or not you should act on the letter.

Let me clarify what you’re receiving, why you’re receiving them, and what you should do about it.

The short answer: Unless your client is signed to a major music publisher or major indie (e.g. Kobalt) OPT IN TO ALL DIRECT LICENSES!

Who is sending these notices?

Music licensing clearing houses such as Music Reports Inc. and the Harry Fox Agency (via it’s service Rumblefish) are hired by digital music services (including the big ones like Amazon, Apple, and Spotify; as well as hundreds of small startups like what musically was but is now TikTok) to help the digital service to secure proper licenses (compulsory or direct) to use music in their service, to calculate royalties, and to make payments and remit statements to the proper copyright owners.

What are you receiving?

What you are receiving are opportunities to opt-in to a predetermined (generally nonnegotiable) direct license, alongside every other non-major / non-major-indie publisher in the world, to license your copyrights to a digital platform within the United States (sometimes the deal is worldwide, which can be problematic, but I don’t want complicate this post). There are also Section 115 NOIs, which goes out for every track released on a DSP for the US mechanical license for the underlying composition (this process is being disrupted by the Mechanical License Collective beginning Jan 1, 2021).

Why are you receiving the notice?

You’re receiving the notice because the agent has your information as the copyright owner (or authorized agent of the copyright owner) for copyrights (generally compositions) that have been matched to sound recordings that the digital service either already has or has access to. THIS IS A GOOD THING. This means that the digital service, via their agent’s (MRI, HFA, etc) database of song ownership information, knows who to pay once the copyright begins to earn royalties (or in the case of a one-time payment, they know who to pay from the pro rata advance pool). The flip side is if they do not have your ownership info, the copyright would not be properly licensed and the creators would not be paid — the royalties earned against their copyright would go into the so-called “black box” or the content will be blocked from the service altogether (e.g. notice that your music isn’t on or monetized on Facebook, Instagram, and Oculus?). Also, if the agent does not have your info for certain uses covered by Section 115 of the US Copyright Act, the notice is currently being remitted to the US Copyright Office.

How do you respond?

Review the license and decide if you want to opt-in or not. For most copyright owners, opting in is really your only shot at being licensed by the service. Up-and-coming artists are not going to be able to do a separate direct license with the service as the service has zero incentive to administer a separate agreement with you. They will do a deal with the major publishers and major-indie publishers and a unicorn artist here or there.

How to make sure that your contact information is readily available to these agents to ensure that they can contact you with licensing opportunities and have your payee info for royalties?

You can hire a pub admin (they’ll earn a 15% to 25% commission on all royalties collected) or you can do it yourself and keep 100% of your royalties in North America via TuneRegistry. See this article as an example of DIY.

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