Nearly 10 years ago I founded my first music company. It was called Renaissance Artist Management (RAM Artist) and I managed DJs who I had for several years prior booked often to play club events that I produced while in undergrad at UCLA. Some of these DJs were also aspiring music producers, so later I launched Loft24 Records and Loft24 Publishing to help them collaborate with artists and topliners. I picked name Loft24 because I was 24 years old and I lived in a loft in Downtown Los Angeles, which had been a goal of mine since my youth (I have no idea why). I had also signed my first two live acts – a singer/songwriter and a rapper/songwriter — after producing a multi-city mall talent search tour for Reebok…they were the winners.
Prior to founding RAM Artist, Loft24 Records, and Loft24 Publishing, I had some music business exposure having grew up in a multi-generational music family and having been an aspiring musician myself, but my knowledge was nowhere near as expansive as it is today (insert a lot of self-teaching and an eventual masters degree in music business).
One of the things I was really good at as a manager and music entrepreneur was creating systems and processes to make workflows efficient. This was necessary considering all of the tasks I had to juggle as an artist manager, label owner, and music publisher. And I had a daytime job as VP of Marketing & Partnerships of a youth-targeted retail chain and founder/GM of its music division.
I had previously built database-driven e-commerce systems at two companies where I had worked in marketing; and with a history of event production, I was generally a very logistical and process-oriented person.
At the time that I was managing artists, DJs, producers, songwriters and marketing music, I was unaware of software that would make my life easier in these administrative tasks. So, I built my own.
I had previously developed a checklist of everywhere that I was aware of where my client’s music needed to be registered before it was released. I used this “Song Processing Checklist” for every work in our catalog. I’d manually login to ASCAP and the Copyright Office systems to register works and record confirmation numbers. It was daunting!
To pitch our catalog, I built an internal platform called “Music Licensing Portal” (basically an early version of what DISCO or SourceAudio is today). I’d invite music supervisors to search our catalog and initiate sync license requests.
Then I built what would be my first music tech startup, SongBank, a marketplace where A&R’s could shop for unpublished songs using an audio fingerprint of a reference songs. SongBank was described as a robust cloud-based project management platform developed specifically for songwriters and record label A&Rs (I’m still unaware of anything like it on the market). I wanted to help undiscovered songwriters get placements on major label projects after my experience pitching my writers to A&Rs. I had brought on advisers who were A&Rs or VP of A&R at Hollywood Records, Island Def Jam Music Group, Roc Nation, and Atlantic Records. I later stopped working on SongBank to launch Maven Promo (formerly ChazBo Music), which is an in-store independent music video network, which I sold to EMPIRE Distribution last year to fund the development and launch of RoyaltyClaim, the world’s first search engine of unclaimed music royalties, which I later sold to Haawk Inc and then to Made In Memphis Entertainment this year.
All of this leads me to this: TuneRegistry.
TuneRegistry is a software like no other. I conceptualized it based on all of the above experience (although I had been working on it prior to RoyaltyClaim). What started as a Word Doc checklist of places to register my client’s songs has evolved into a robust software to streamline the process of registering works across rights organizations, delivering music metadata across the music industry, the management of disputes and conflicts, and the insurance of royalty accountability, all in one place.
We had a setback for a few months, when I had to buy the company back from a company that had acquired it in 2017, but will be launching an new and improved platform on October 1st and I can’t wait
(Photos below are of the tools and platforms that I referenced above. I built these in my early twenties to operate my music companies and manage my clients’ careers more efficiently.)
Dae Bogan To Join Panel On Artist Management In The Streaming Era At The Business Of Music Conference
- Dae Bogan, Founder & CEO at TuneRegistry
- Erika Bennett, Global Head of Marketing, Original Content at YouTube
- Neil Dominique, Artist Management (Bryson Tiller, Ayo the Producer, Partison Fontaine)
- Nolan Smith, Artist Management (Super Duper Kyle)
- Ronette Bowie, Enigma Music Management
- Shari Hoffman, CEO at Transparence Entertainment Group
Dae Bogan To Join Panel On Blockchain At Guild Of Music Supervisor’s State Of Music In Media Conference
I am looking forward to speaking at the Guild of Music Supervisor’s ‘State of Music in Media’ Conference on September 15th at University of Southern California.
Along with Erin Collins (SESAC) and Thomas Golubić (Music Supervisor), I will be discussing on the panel “View From Here” blockchain technology and the possible impact it may have on how artists are paid, how performance royalties are tracked, what impact it may have on music licensing and other issues that may emerge from this exciting new technology.
I am looking forward to joining a roster of amazing people across four (4) different panels at SXSW 2019. But this is only possible with your help. Please check out the panels and vote here.
Artists, managers, labels, and the entire industry has shifted its obsession with radio programming to playlist curation; and in doing so has lost its collective respect for the craft of songwriting, the art of music production, and the deep connection that comes from a truly engaged and evangelical fan base.
Has the industry become so obsessed with virtual real estate (placement/positioning on playlists), metrics, and convoluted KPIs such as followers and saves that we’ve killed the spirit of why we do what we do?
Asking for 1 Million aspiring artist friends around the world who’ve yet to be jaded by what’s happening to our industry.
Let’s talk honestly about the culture and ethos of what we’re building in this great Digital Streaming Music Era…
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.