Live Online Workshop: Introduction to Music Royalties Forensics (May 18th and May 19th)
About Me: I am a music rights and royalties tech entrepreneur (original founder of music rights administration platform, TuneRegistry, and the world’s first search engine of unclaimed royalties and music licenses, RoyaltyClaim), music creators’ rights advocate, and lecturer of music industry entrepreneurship at UCLA Herb Alpert School of Music. I have helped hundreds of music creators and rightsholders find and unlock hundreds of thousands of dollars in unpaid music royalties from around the world. And my research on the state of unclaimed music royalties was used by US Congressional Budget Office in its analysis of the Music Modernization Act of 2018.
9 Questions – 90 Minutes – $90
The 9 questions this workshop will answer:
- What are your rights, entitlements, and income participations as a music creator and/or rights-holder?
- What are the most common royalty streams generated from a variety of music usage types and where do those royalties flow?
- How are music royalties allocated and distributed by music rights organizations?
- What are niche funds and sub-funds that often generate unmatched so-called “black box” royalties and how do you check for your records?
- How to track music usage to leverage usage and detection reports to reconcile or audit royalty statements?
- What are some tools and resources to help you search for, identify, and claim unclaimed royalties and music licenses?
- What are the requirements to properly setup to be accounted to and paid royalties from previously unaffiliated sources going forward?
- What are some tips for managing your music rights affiliations?
- What are some tips for preparing your music rights and royalties for beneficiaries?
REGISTER
Register for Sat. May 18th @ 9am PST
Register for Sun. May 19th @ 9am PST
Register for Mon. May 20th @ 9am PST
If you can’t make either dates, register anyway to receive the full replay video.
Songwriters Are Owed Nearly $2B In Unclaimed Royalties!!! — Maybe More — I’ve Been Saying This For Some Time Now (Against Pushback), But Finally The Press Has Confirmed It
Over the last few years, I’ve been researching and sounding the alarm on the growing problem of unclaimed music royalties or so-called “black box” royalties.
I’ve estimated the value of the collective black box to be nearly or above $2B. I’ve presented research, have written extensively and have spoken publicly about this problem, which disproportionately affect independent and legacy songwriters.
Despite my fanfare, industry insiders and stakeholders have shrugged or have blatantly called my estimates a gross overstatement and have held that unclaimed royalties are at best a few hundreds of thousands of dollars and mostly owed to “long-tail artists” who do not quite understand how the music industry works. This is a very myopic, company-focused view. These talking heads tend to speak from their position of administering one right for some music licensees. My estimates are looking at multiple rights administered by multiple entities, which would make the collective black box exponentially greater than the escrow account of a single entity.
Also Read: State of Unclaimed U.S. Music Royalties and Licenses
Yesterday, Variety published an article on the Music Modernization Act where a very important fact was tucked away on a single sentence in a paragraph near the end of the piece:
The DSPs are holding some $1.5 billion in unmatched mechanical royalties. If the MMA passes, that money would be passed through to the MLC which would match it to the songwriters and publishers. [bold and underline added for emphasis]
via Variety
$1.5B of royalties (I still believe this number is higher) is sitting in, probably, interest-bearing escrow accounts while songwriters and small-to-medium sized music rights holders struggle to understand how and why.
Last year I founded RoyaltyClaim, the world’s first search engine of unclaimed music royalties and licenses, which has recently been acquired by Made In Memphis Entertainment. We’ve helped DIY musicians and rights-holders identify thousands of unclaimed entitlements in just a few months, with one paricular music producer uncovering nearly $150k in unclaimed royalties due to him.
The problem is huge. The system is not transparent. And the people in charge could do a better job communicating these things to rights-holders.
Also Read: I’m Working On A Side Project Addressing ‘Black Box’ Royalties
I’ve been on many panels at music industry conferences where I’ve maintained my position that DIY musicians and small-to-medium sized rights-holders are owed hundreds of millions of dollars, if not several billion, and often my co-panelists have taken a position that my claims are sensational and overstated.
I disagree.
When those on the panel talk about black box we are talking about the aggregate of unclaimed royalties that occur because of any number of factors,’ and not just limited to one service or one collection society, explained moderator Dae Bogan, CEO of TuneRegistry.”
via Billboard
Source: https://www.billboard.com/articles/business/8456271/black-box-royalties-myths-panel-music-biz-2018
Read the Variety article here.
Check out my commentary on black box royalties here.
ETLA, The Research Institute Of The Finnish Economy, Publishes Report On State Of Digital Music Infrastructure – Calls For Transparency And Addresses “Black Box” Issues
I had the honor of being interviewed by researcher and author, Derek Sellin, for his industry report “Digital Music Industry – Background Synthesis” for ETLA Working Papers No. 48, published by Elinkeinoelaman Tutkimuslaitos – The Research Institute of the Finnish Economy.
Black boxes materialize for many reasons, including but not limited to: the inability to identify rights holders despite payments made for the use of their compositions; the lengthy time required for filing domestic and ultimately international copyrights, often begun only when a recording is actually released; multiple claims for the same rights exceeding 100% of ownership, resulting in indefinite disputes; international collaborations with less than all creators asserting their rights; international legal inconsistencies regarding what type of performances result in payments (most visible in the fact that radio play does not generate royalties for recording artists in the United States); and the slow and often manual processes to report usage and clear payments under international reciprocal agreements. – Dae Bogan
You can download the report at https://www.etla.fi/en/publications/digital-music-industry-background-synthesis/.
About ETLA
The Research Institute of the Finnish Economy (Etla) is engaged in applied economic research with emphasis on topics that are important from the Finnish point of view. The main focus is on issues that relate to productivity and drivers of its growth, to the functioning of the labour market, as well as to challenges in maintaining a balanced macro economy including sound public finances. Etla monitors economic development, compiles forecasts as well as assesses economic policy and comments on it.
Etla is a private non-profit organisation. Its operations are backed by the supporting association, the members of which comprise the Confederation of Finnish Industries and the Confederation of Finnish Industry and Employers (TT) Fund. The funding from the background organisations covers more than a third of the institute’s budget and forms a solid base for its operations. Read more.
A Curated List Of My Thoughts On The Music Modernization Act (And Related Topics)
I am a very vocal music creators’ rights advocate and copyright purist. Often, I have the opportunity to share my *opinions* on topics within and circling the music industry that impact the ways in which music creators — especially DIY musicians — navigate and thrive in the United States.
Over the last ten months I have been especially vocal about the Music Modernization Act. I’ve been quoted in Billboard, Rolling Stone, Pitchfork and Digital Media News. I’ve been invited to panel discussions at music industry conferences and keynotes at universities. And I have written several think pieces (and rants) on the bill, which is now law, and related issues.
Still, I am asked what my thoughts are on the MMA.
I’ll summarize my thoughts by saying that I believe the intent of the MMA is good and admirable on its surface — that is, to improve the way rightsholders are accounted to and paid for the use of their music. I believe there is some good stuff in the MMA; particularly, the entirety of Title 2 (The CLASSICS Act) and Title 3 (The AMP Act). However, I feel that there is still work to be done. I also feel that some compromises, at the expense of DIY music creators, were made too easily (this is partially based on private discussions that I’ve had with individuals with privileged knowledge of the negotiations and dealings that took place during the drafting and subsequent amending of the MMA). That being said, I also believe that the soon to be formed Mechanical Licensing Collective has the opportunity to prove to songwriters that this law was truly about them.
Only time will tell.
Here’s a 2018 curated list of my “thoughts” on the Music Modernization Act (and related topics):
- (Oct 16, 2018) Here Are 10 Ways That The Music Licensing Collective (MLC) Can Set The Bar As A Collective Licensing Organization In The 21st Century – https://bit.ly/2RW9kW2
- (Sep 14th, 2018 in Pitchfork) Why So Many Hip-Hop Producers Are Putting Business Before Beats – https://bit.ly/2PEsi1x
- (Aug 19th, 2018) Another Music Modernization Act Opinion Piece – https://bit.ly/2NLp9LC
- (Aug 15th, 2018 in Rolling Stone) Why More Pop Songwriters Are Stepping Into the Spotlight – https://bit.ly/2ClAuAc
- (Jul 24th, 2018) Songwriters Are Owed Nearly $2B In Unclaimed Royalties!!! — Maybe More — I’ve Been Saying This For Some Time Now (Against Pushback), But Finally The Press Has Confirmed It – https://bit.ly/2CMR6Sp
- (May 15th, 2018 in Billboard) Black Box Royalties Myths, Common Misconceptions Debunked at Music Biz 2018 – https://bit.ly/2q4dhLD
- (May 7th, 2018 in Digital Music News) Is the Music Modernization Act Enabling ‘Legal Theft’ Against Smaller Artists? – https://bit.ly/2IugrCS
- (Apr 25th, 2018) 5 Ways The Music Modernization Act Could Be Fairer To ALL Music Creators – https://bit.ly/2Jzn1tb
- (Apr 20th, 2018) I Was Interviewed By The Congressional Budget Office Regarding The Music Modernization Act, And Now I’m Even More Concerned For DIY Musicians – https://bit.ly/2AdwpN0
- (Jan 17th, 2018) – My Thoughts On The MMA In Light Of The CRB Mechanical License Rate Decision – https://bit.ly/2P6bT98
Where do you stand on the MMA?
Dae Bogan’s Fall 2017 Appearences
9/27 – Dae Bogan to speaks at RightsTech Summit at New York Media Festival 2017 in New York City (Details at http://wp.me/p2GxIU-XC)
9/28 – Dae Bogan Music Popup Meetings in Brooklyn (Schedule a meeting at http://wp.me/P2GxIU-Yx)
9/29 – Dae Bogan Music Popup Meetings in New York City (Schedule a meeting at http://wp.me/P2GxIU-Yx)
9/30 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass in Brooklyn (Free tickets at http://wp.me/p2GxIU-XW)
10/14 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in San Francisco (Free tickets at http://wp.me/p2GxIU-XW)
10/14 – Dae Bogan Music Popup Meetings in Oakland (Schedule a meeting at http://wp.me/P2GxIU-Yx)
10/16 – Dae Bogan Music Popup Meetings in San Francisco (Schedule a meeting at http://wp.me/P2GxIU-Yx)
10/17 – TuneRegistry hosts Open Music Initiative SF Music Tech Summit Coffee Hour (Details at http://wp.me/p2GxIU-WZ)
10/17 – Dae Bogan speaks at SF MusicTech Summit in San Francisco (Details at http://wp.me/p2GxIU-WZ)
10/21 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in Cleveland (Free tickets at http://wp.me/p2GxIU-XW)
10/25 – Music Business Association presents “Demystifying Black Box Royalties – Practical Solutions For Unlocking Your Royalties” webinar by Dae Bogan Music (Members to receive details via email from MBA)
10/26 – SoCal Music Industry Professionals Meetup Hosted by Dae Bogan Music. Location TBD. (Details at www.meetup.com/scmiponline)
10/28 – “DIY Musician’s Starter Guide To Being Your Own Label & Publisher” Ebook Launch Webinar presented by TuneRegistry and CreativeFuture(Follow TuneRegistry on Facebook, Twitter, or Instagram for more details)
11/18 – Marcato Academy‘s Music Industry Entrepreneurship Masterclass Tour in Los Angeles (Free tickets at http://wp.me/p2GxIU-XW)
Royalty Claim’s Full Presentation At The Music Industry Research Association Conference
Royalty Claim attended the Music Industry Research Association‘s first inaugural MIRA Conference at the UCLA Luskin Conference Center this week. Royalty Claim’s Founder and Chief Researcher, Dae Bogan, MIA, had the honor of presenting a preview of our in-progress The State of Unclaimed Royalties and Music Licenses in the United States report before an audience of economists, sociologists, and researchers from universities and institutions from around the world, as well as music industry executives representing firms such as Nielsen, Pandora, Universal Music Group, and Warner Music Entertainment.
For the first time, updated statistics regarding the filing of “address unknown” Section 115 NOIs on the US Copyright Office during the first half of 2017 was revealed. Insights included an overview of the organizations that have utilized the procedure, including Amazon, Google, Spotify, iHeart Communications, and Microsoft. However, those large music users were expected. Interesting inclusions to the list were The Recording Academy and the Christian music service, TheOverflow and interesting omissions from the list are platforms that boast millions of tracks — Apple and Tidal — but may not be reaching every independent rightsowner that may have compositions available on those platforms.
.jpg)
The presentation also discussed the nature and causes of so-called “Black Box royalties”. A black box is an escrow fund in which music royalties are held due to an organization’s inability to attribute the royalties earned to the appropriate payee. Examples were given, including unattributed advances from DSPs to music companies, the US’s limitations on sound recording rights, and other issues.
.jpg)
The presentation concluded with a video demo of the Royalty Claim Platform, which received positive reviews from conference attendees. The full presentation is here.
Speaker
If you’re interested in having me at your upcoming music industry event or school, feel free to contact me here. I currently focus on music rights & royalties, metadata & data pipelines, DIY musicians, publishing & licensing, technology & innovation, entrepreneurship & startups in the music industry.
Upcoming Speaking Engagements:
- 2/14/23 – American Bar Association Copyright and Emerging Technology Committee presents “Technology-Powered Partnerships to Empower Music Creators”
- 2/21/23 – MusExpo Creative Summit presents “Global Music Publishing Forum: Copyrights & Beyond”
Past Speaking Engagements:
- 1/20/23 – Florida Songwriters Association Roundtable presents “Music Rights & Royalties for DIY Music Creators”
- 2020-2022 Various online conferences and webinars.
- 2/7/20 – Panelist – RightsTech Summit “Tools For DIY Artists” at Digital Entertainment World Expo at Marina del Rey Marriott in Marina del Rey, CA.
- 12/6/19 – Panelist – US Copyright Office Symposium for Unclaimed Royalties Study at the Library of Congress in Washington, D.C.
- 10/29/19 – Moderator – “Rethinking Royalties: How the Entertainment Industry Can Modernize Payments” at Music Tectonics Conference in Los Angeles, CA.
- 09/12/19 – Moderator – “Next Gen Tech and Emerging Business Models” at Music Finance Forum at Skirball Cultural Center in Los Angeles, CA.
- 08/25/19 – Speaker – “Models of Success” at Black Arts @ Western Arts Alliance Pre-Conference Symposium in Leimert Park, Los Angeles, CA.
- 06/2/19 – Presenter – NLAD Group Artist Development Pro Sessions in West Hollywood, CA
- 05/27/19 – Speaker – Studia Musique’s Songwriter Workshop at Voltiv Sound Studio in Los Angeles, CA
- 05/15/19 – Moderator – “Music Tech Investors and Incubators — Investing in the LA Music Tech Scenes” at UCLA Center for Music Innovation’s Amplifying Music in Our Los Angeles Conference at Charles E. Young Research Library Auditorium, UCLA North Campus in Westwood, CA.
- 05/07/19 – Presenter – “Music 2020: The Next Era of Innovation in the Music Industry” at Music Biz 2019 (May 5-8, 2019) at JW Marriott Nashville in Nashville, TN.
- 05/03/19 – Moderator – “Learn To Earn: New Royalty Opportunities For Musicians, Vocalists, Producers and Engineers” at ASCAP “I Create Music” Expo (May 2-4, 2019) at Loews Hollywood Hotel in Hollywood, CA.
- 03/14/19 – Panelist – “Right On! – Real developments in rights technology” at SXSW in Austin, TX.
- 02/11/19 – Presenter – “Music 2020: The Next Era of Innovation in the Music Industry” at Cal Lutheran University’s Lundring Events Center in Thousand Oaks, CA.
- 02/09/19 – Panelist – “How to Treat it Like a Business” at BB Music Summit 2019 at PianoFight in San Francisco, CA.
- 02/05/19 – Panelist – “Rightstech: Tools for DIY Artists” at Digital Entertainment World Expo at Marina del Rey Marriott in Marina del Rey, CA.
- 02/04/19 – Speaker – Entertainment Networking Night at UCLA in Los Angeles, CA.
- 01/12/19 – Speaker – The Nest Society in Compton, CA.
- 11/01/18 – Panelist – “New Perspectives: Meet-Up Event for Music Managers and the Industry” at The Music Managers Forum-US at BMI in Los Angeles, CA.
- 10/25/18 – Presenter – Association of Independent Music Publisher’s Music Industry Toolbox at Mears Hall (First Presbyterian Church campus) in Hollywood, CA
- 10/12/18 – Presenter – “Music 2020: The Next Era of Innovation in the Music Industry” at the College of the Canyons in Santa Clarita, CA.
- 10/18/18 – Panelist – House of Blues Music Forward’s All Access Festival – Technology in Music Event at The Wiltern in Los Angeles, CA
- 10/10/18 – Presenter – “Music 2020: The Next Era of Innovation in the Music Industry” at California State University, Northridge in Northridge, CA.
- 10/10/18 – Panelist – “Don’t leave Money on the table! Monetizing your Music” at GameSoundCon (October 9 & 10) at Millennium Biltmore Hotel in Los Angeles, CA
- 10/05/18 – Panelist – “DIY Tools And Financing For Artists” at RightsTech Summit at New York Media Festival (October 4-5) at The Museum of Jewish Heritage in New York, NY.
- 10/03/18 – Panelist – “The Future of Data” at A3C Conference (October 3-5) at Loudermilk Conference Center in Atlanta, GA
- 9/27/18 – Panelist – Association of Independent Music Publishers’ “UNCONVENTIONAL MONEY: Royalty Sources You Might Not Think Of” luncheon at Lawry’s The Prime Rib in Beverly Hills, CA.
- 9/15/18 – Panelist – “Managing Artists in the Streaming Era” at the Business of Music Conference at The Westin Los Angeles Airport in Los Angeles, CA.
- 9/15/18 – Panelist – “View From Here: View From Here: Industry Pioneers Predict the Future – in ART, in COMMERCE, in TECHNOLOGY, and CULTURE” at Guild of Music Supervisors’ ‘State of Music in Media’ Conference at the University of Southern California in Los Angeles, CA.
- 06/20/18 – Panelist – “Future of Rights Technology” at A2IM Indie Week (June 18-21) at Clemente Soto Velez Cultural and Educational Center in New York, NY.
- 05/14/18 – Moderator – “Shining A Light On The Black Box: Best Practices For Reducing Unclaimed Royalties” at Music Biz 2018 (May 14-17) at Omni Hotel Nashville in Nashville, TN.
- 5/09/18 – Panelist – “New Industry. New Rules: The Songwriter’s Guide to Earning a Living in the Digital Age” at ASCAP “I Create Music” Expo (May 7-9) at Lowes Hotel in Hollywood, CA.
- 5/07/18 – Panelist – “Revolutionizing Rights Management for Artists” at ASCAP “I Create Music” Expo (May 7-9) at Lowes Hotel in Hollywood, CA.
- 04/06/18 – Presenter – Music Royalties & Data Workshop for MS, Business Analytics at USC Marshall School of Business in Los Angeles, CA.
- 04/05/18 – Panelist – “Tracking Your Music in the Digital Age” at Society of Composers and Lyricists event at American Film Institute in Los Angeles, CA.
- 03/15/18 – Panelist – “How Tech Can Save the Music Industry” at SXSW (March 9-18) in Austin, TX.
- 03/07/18 – Panelist – “Monetizing Your Music” at Alliance for Women Film Composers event at ASCAP in Los Angeles, CA.
- 01/17/18 – Panelist – “Match Game: The Problem of Matching Music Recordings to Compositions” at Copyright & Technology Conference 2018 — Fordham University School of Law, Lincoln Center Campus in New York, NY.
- 11/18/17 – Instructor – “Music Industry Entrepreneurship Masterclass Tour 2017” at SAE Institute in Los Angeles, CA.
- 10/28/17 – Presenter – Music Business Virtual Talk with Albright University.
- 10/26/17 – Presenter – “Demystifying Black Box Royalties – Practical Solutions For Unlocking Your Royalties” Webinar hosted by Music Business Association
- 10/25/17 – Guest – “Waldman’s World” Music Biz Radio Show on idobi Radio.
- 10/24/17 – Guest – “The Facts Machine” Radio Show on Accelerated Radio in Inglewood, CA.
- 10/24/17 – Panelist – “Bang Your Head! Helping Musicians To Recover Unpaid Royalties” at Los Angeles County Bar Association – Entertainment Law And Intellectual Property Section CLE Event in Los Angeles, CA.
- 10/17/17 – Panelist – “The Business of Data” at SF MusicTech Summit — Habuki Hotel in San Francisco, CA.
- 09/27/17 – Panelist – “View From The Top: The Future Of Machine-To-Machine Rights Management” at RightsTech Summit at New York Media Festival — The Museum of Jewish Heritage in New York, NY.
- 08/11/17 – Presenter – “The State of Unclaimed Royalties and Music Licenses in the United States” at Music Industry Research Association Conference at UCLA (Los Angeles, CA)
- 06/08-10/17 – Panelist – “Digital Rebellion Pt. 2: Navigating the World of Music Streaming” at Urban Network Digital & Music Industry Quarterly Magazine (MIQ) Business of Music Conference. (Woodland Hills, CA)
- 05/13/15 – Mentor – Game Changers Youth Empowerment Summit. (Hollywood, CA)
- 04/04-05/17 – Panelist – “Musicology: How Emerging Artists Use Data and Analytics to Grow and Monetize Their Fanbases” at XLIVE Event Data & Analytics Summit. (Beverly Hills, CA).
- 03/27/17 – Moderator – “Building Your Brand in this digital age Panel + Interactive Workshop” at ArtistMAX. (Hollywood, CA)
- 03/15/17 – Moderator – “Rights & Metadata in Evolving Digital Music Space” at SXSW Music. (Austin, TX)
- 03/17/17 – Mentor -SXSW Music Conference 2017. (Austin, TX)
- 01/13/17 – Panelist – “Music and Technology” Panel at Independent Music Industry Conference. (Los Angeles, CA).
- 01/09/17 – Keynote – Los Angeles Songwriters Collective at TeaPop. (North Hollywood, CA).
- 11/19-21/16 – Panelist – “Content Marketing: Why Festivals Have A Leg Up” at FestForums. (Santa Barbara, CA)
- 11/16/16 – Instructor – “Pride Music: A Music Business Workshop for LGBTQ Music Creators” at Brotherhood Impact Fund. (West Hollywood, CA)
- 11/09/16 – Host & Moderator – “TuneRegistry’s Music Business for Producers & Engineers” at SAE Institute. (Hollywood, CA)
- 10/20/16 – Moderator – “Infrastructure: Building New Pipes, New Rights, and New Micropayment Systems” at Music 2020 Day at Digital Hollywood. (Los Angeles, CA)
- 10/17-18/16 – Speaker – “Rights & Money for Film and TV Composers Roundtable at Production Music Conference. (Santa Monica, CA)
- 09/29/16 – Exhibitor – Association of Independent Music Publishers (AIMP) and the California Copyright Conference’s (CCC) Music Industry Toolbox. (Los Angeles, CA)
- 08/24/16 – Presenter – “How To Protect And Market Your Talent” at Artist Launch’s Virtual Music Business Summit.
- 08/13/16 – Moderator – “Music Metadata Matters: How Metadata Impacts Your Income & Opportunities” panel at Indie Entertainment Summit. (North Hollywood, CA)
- 07/07/16 – Moderator – “The Significance of Rights & Metadata in the Evolving Digital Music Ecosystem” panel at UCLA Summer Music Innovation Institute. (Los Angeles, CA)
- 06/21/16 – Moderator – “A Chat With Millennial Music Tech Founders” panel at UCLA Summer Music Innovation Institute (Los Angeles, CA).
- 03/11-20/16 – Mentor – South By Southwest (SXSW) 2016 (Austin, TX).
- 12/13-15/15 – Moderator – “What’s Trending? The Latest in Festival Technology” panel at International Music Festival Conference 2015 (San Diego, CA).
- 11/10/15 – Press – SF MusicTech Summit 2015 (San Francisco, CA ).
- 08/08/15 – Moderator – “Independent Artists & Tech Startups: Getting In On The Ground Floor Of The Next Big Music Platform” panel at Indie Entertainment Summit 2015 (North Hollywood, CA).
- 07/19-22/15 – Mentor – SXSW V2V 2015 (Las Vegas, NV)
- 05/07/15 – Panelist – “Global Business of Music” panel at BMI presents Gamechangers Music Seminar II (Beverly Hills, CA)
- 04/25/15 – Mentor – Game Changers: An Urban Movement at Private Location (North Hollywood, CA)
- 04/08/15 – Panelist – “Rise To Fame: Inside the Bruins Studio” panel at UCLA Career Center (Los Angeles, CA)
- 03/19/15 – Mentor – SXSW Music Conference 2015 (Austin, TX)
- 02/11/15 – Moderator- “Online Video & Music-Related Content: Promotion and Monetization Strategies” panel at Digital Entertainment World 2015 (Los Angeles, CA)
- 01/28/15 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2015 (Los Angeles, CA)
- 01/17/15 – Panelist – “Making The Most Out Of Your Music Projects 2015″ panel at thecoolschool (North Hollywood)
- 11/11/14 – Press – SF MusicTech Summit 2014 (San Francisco, CA ).
- 10/25/14 – Instructor – “Music Publishing & Copyright Administration in the Internet Age” workshop at the Independent Music Conference 2015 (Hollywood, CA)
- 08/22/14 – Moderator – “Social Media In A Changing Music Industry” panel at SAE Institute’s 3rd Annual Tech Expo (Hollywood, CA)
- 08/09/14 – Moderator – “Video Distribution & Monetization” panel at Indie Entertainment Summit 2014 (North Hollywood, CA)
- 07/10/14 – Moderator – “Indie Music Matters: Making Moves With Music Videos” panel at The Los Angeles Film School (Hollywood, CA)
- 04/26/14 – Panelist – “Careers In The Entertainment Industry” panel at Entertainment Industry Career Marketplace 2015 (Studio City, CA)
- 03/27/14 – Moderator – ASCAP’s “Finding Alternative Financial Revenues For Your Music” at SAE Institute (Hollywood, CA)
- 01/29/14 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2014 (Los Angeles, CA)
- 10/21/13 – Instructor – “Music Licensing for the DIY Indie Artist” workshop at Independent Music Conference 2013 (Hollywood, CA)
- 10/19/13 – Instructor – “Music Copyrights & Publishing” workshop at Independent Music Conference at SAE Institute (Hollywood, CA)
- 09/28/13 – Panelist – “Indie Music Business” at The 4th Annual Western Awareness Conference (Los Angeles, CA)
- 09/14/13 – Moderator – “Networking & Building Your Brand with The Midi Mafia” panel at iStandard Producer’s Beat Camp Los Angeles 2013 (Hollywood, CA)
- 09/14/13 – Panelist – “Social Media 101” panel at iStandard Producer’s Beat Camp Los Angeles 2013 (Hollywood, CA)
- 08/17/13 – Panelist – “Music, Social Media And How To Use It Effectively” panel at SAE Institute’s 2nd Annual Music Tech Expo (Hollywood, CA)
- 08/08/13 – Guest Lecturer– “Copyrights & Publishing Basics” lecture at Entertainment Business Class at The Los Angeles Recording School (Hollywood, CA)
- 08/08/13 – Panelist – “Opportunities for Rock in Today’s Market” panel at Indie Entertainment Summit 2013(North Hollywood, CA)
- 08/07/13 – Guest Lecturer– “Music Business for Music Producers” lecture at Entertainment Business Class at The Los Angeles Recording School (Hollywood, CA)
- 09/24/12 – Guest Speaker – Third Quarter Impact Record Pool Music Conference 2012 (Los Angeles, CA)
- 02/18/12 – Panelist – “Music Marketing & Artist Promotions” panel at Industry Connects Music Seminar & Workshops (Los Angeles, CA)
- 05/26/11 – Panelist – PenUp’s “Songwriter Networking Event” at Musician’s Institute (Hollywood, CA)
- 04/21/11 – Mentor – UCLA Alumni Association’s Entertainment Networking Night 2011 (Los Angeles, CA)
- 11/11/10 – Executive Producer & Speaker – Reebok’s “Rip The Mic Music Conference” (Burbank, CA)
What Can The Socioeconomic Context Of The Culture From Which Hip-Hop Is Derived Tell Us About How The Biggest Genre In The World Gets The Shitty End Of The Royalty Stick?
A young Talib Kweli on a New York City block as published on this Cuepoint article.
Streaming services are a beast that needs constant feeding. Younger hip-hop artists, already accustomed to providing sites such as SoundCloud with a constant stream of mixtapes and features, have adjusted to its demands more quickly than artists from other genres, and have thrived accordingly. At the heart of rap’s streaming dominance is something more ephemeral: Some songs just stream better than others, for reasons that no one can really explain yet. Hip-hop streams better than other types of mainstream music, and trap music streams better than other types of hip-hop. – The Washington Post (April, 2018)
R&B/hip-hop music was the year’s biggest genre, accounting for 24.5 percent of all music consumed….R&B/hip-hop genre represented 24.5 percent of all music consumption in the U.S. — the largest share of any genre and the first time R&B/hip-hop has led this measurement for a calendar year. (The 24.5 percent share represents a combination of album sales, track equivalent album units and streaming equivalent album units — including both on-demand audio and video streams.) — Billboard Magazine (January, 2018)
The statistic presents the number of on-demand music streams worldwide in 2016 and 2017, by genre. According to the source, the number of urban [Hip-Hop and R&B] on-demand streams rose from 55.9 billion in 2016 to 100.34 billion in 2017 – Statista (2018)
Rule Takers vs. Rule Makers: Congress Should Support Startups in the Music Modernization Act
Chris Castle eloquently expresses a view and sentiment on the MMA, in regards to its potential impact on startups and competition, with which I agree. One could also argue that antitrust regulations would suggest that the proposed MLC (Music Licensing Collective) ought to have competiton in much the way ASCAP directly competes with BMI. Ironically, though, I recently wrote about the antitrust regulations that prevent visual artists from entering into collective licensing mandates in the United States for their reprographic rights, which ultimately result in unclaimed “black box” reprographic royalties internationally.
If you read the current version of the Music Modernization Act, you may fine that it’s more about government mandates that entrench incumbents than a streamlined blanket compulsory license that helps startups climb the ladder. Yet in the weeds of MMA we find startups dealt out of governance by rule makers and forced as a rule taker to ante up payments by their competitors in a game that the bill makes into the only game in town.
Billboard reports that Senators Cornyn and Cruz suggested a fix for this flaw—allow private market competition alongside the MMA’s government mandate. (Vaguely reminiscent of the “Section 115 Reform Act” from 2006.)
Let’s review why this fix is necessary and how it could balance the roles of rule makers and takers.
It’s necessary because the problem doesn’t come from songwriters. It comes from the real rule makers—Amazon, Apple, Facebook…
View original post 777 more words
Free DIY eBook
CONNECT WITH ME
Dae Bogan Music 