Music Subscriptions Passed 100 Million In December. Has The World Changed?

Brief, yet interesting, data-driven analysis on the impact of streaming.

Mark Mulligan's avatarMusic Industry Blog

In streaming’s earlier years, when doubts prevailed across the artist, songwriter and label communities, one of the arguments put forward by enthusiasts was that when streaming reached scale everything would make sense. When asked what ‘scale’ meant, the common reply was ‘100 million subscribers’. In December, the streaming market finally hit and passed that milestone, notching up 100.4 million subscribers by the stroke of midnight on the 31st December. It was an impressive end to an impressive year for streaming, but does it mark a change in the music industry, a fundamental change in the way in which streaming works for the music industry’s numerous stakeholders?

Streaming Has Piqued Investors’ Interest

The streaming market was always going to hit the 100 million subscriber mark sometime around now, but by closing out the year with the milestone it was ahead of schedule. This was not however entirely surprising as the…

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Dae Bogan’s New Year 2017 Announcements

2017

I am excited to share with you some new developments and updates for 2017:
 
– My music rights tech startup, TuneRegistry, will launch version 1.1 with new features in the coming weeks. Learn more at http://www.tuneregistry.com.
 
– I have joined the advisory board of two interesting music industry startups: ethr (ethr is a live feed service, allowing anyone to listen to the same music – friends, influencers, or celebrities are listening to, live, in real time. Learn more at http://www.ethrmusic.com) and Spectrvm (The Spectrvm pack lets you physically feel live music by vibrating the bass frequencies throughout your body in real time. Learn more at http://www.spectrvm.co).
 
– I am an advisor to the founder of FestEvo (Our app centralizes all the tools FestivalGoers need to have their best festival yet.Explore lineups, discover artists, customize schedules #FestivalBetter. Learn more at http://www.featevo.com) on a number of music festival related ventures.
 
– I have co-developed and will co-instruct a class on innovation and entrepreneurship in the music industry to graduate students earning a master of arts degree at CSUN Music Industry Administration.
 
– I will expand my role as Innovation Fellow at the UCLA Center for Music Innovation and I will potentially develop and teach a new course on music industry entrepreneurship at UCLA Herb Alpert School of Music for Summer 2017.
 
– I will launch a series of online music business courses and a DIY music business workshop series in Spring 2017.
 
– I will provide business and career mentorship to indie artists and music entrepreneurs, and I will moderate a panel on music rights and metadata at SXSW. If you’re going to SXSW Music, add my panel to your schedule http://schedule.sxsw.com/2017/events/PP62361.
 
– I will organize more gatherings this year for Southern California Music Industry Professionals, a network of music industry professionals that I lead.
 
– I will increase my work with The Recording Academy / The GRAMMYs, specifically in the Advocacy division where we focus on music creator rights and supporting legislation that enhances the livelihood of music creators.
 
– My website www.DaeBoganMusic.com will get a complete design overhaul.
 
Here’s to 2017!
 
Dae Bogan

Announcing Music Business Workshop Focusing On LGBTQ Music Creators

UPDATE: I’ve announced the first services of workshops – “PRIDE MUSIC: A Music Business Workshop For LGBTQ Creators”. Read the announcement.

When I came to LA as an aspiring artist, there weren’t many “out” recording artists being marketed in mainstream music. When I stopped pursuing music and began to build my career on the business side, I learned that there were plenty of LGBTQ folks in the music industry behind the scenes and many who weren’t ready to live their truth already in mainstream.

Over the 13 years I’ve been here, we’ve seen acceptance grow and artists like Ricky Martin and Lance Bass come out. We’ve seen Sam Smith, Adam Lambert, Frank Ocean, and many others own their truths and break records while doing it.
Nevertheless, there are still many artists who need the support and tools to be their authentic selves in the music industry.

I have taught many music business and marketing classes and workshops. I’m putting these pilot programs together because in all of the many music industry conferences and programs in which I’ve participated, there hasn’t been a unified approach to covering the fundamental complexities of music industry AND the unique needs of LGBTQ creators.

This is why I am excited to announce that I will be developing and teaching two pilot music business workshops focusing on the unique needs of LGBTQ music creators at the new Brotherhood IMPACT Fund space in West Hollywood (aka Brotherhood Clubhouse).

SAVE THE DATES: 11/16 (7p to 9p) and 12/17 (3p to 5p)

The workshops will consist of 1 hour of my signature music industry insights and education and 45 minutes of the issues that relate to LGBTQ creators (e.g. touring in countries where homosexuality is illegal, spousal/beneficiary grants of residual music royalties (thanks Marriage Equality), dealing with social media bullying, authenticity when creating music for the masses, storytelling and distribution of audiovisual works depicting LGBTQ relationships, gay baiting, and more.

As a gay music industry professional who now works with creators and professionals at all levels, it is important to me to give back and help the next generation to be more empowered creators.

More details to come. Follow my Facebook page for the event info http://www.facebook.com/DaeBoganMusic

The Elephant In The Room: Unclaimed / Undistributed Royalties

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In the United States, there are several “unclaimed / undistributed royalties” funds held by music rights organizations. These funds collectively consist of tens of millions of dollars in undistributed earnings generated by the use of music within the greater music industry, from legislative appropriations imposed on manufacturers of audio home recording media, and from agreements with foreign entities.

Some of the organizations (SoundExchange, AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, Film Musicians Secondary Markets Fund, Live Television Videotape Supplemental Market Fund, and although this is not royalties per say, the US Copyright Office has a Section 115 NOIs Filing database that can be used to track down missing mechanical royalties) have created public databases so that music creators can search to see if they have royalties sitting in these funds. However, the biggest funds do not have public databases and often music creators can not be reached by any of these funds to be notified that they have unclaimed royalties.

I am working on a side project called RoyaltyClaim.com to address this issue of unclaimed / undistributed royalties. The goal is to get each of these funds to join the RoyaltyClaim.com Disclosure Program and to encourage them to submit very basic information to us on a periodic basis regarding the income participants who are due royalties. We will then aggregate these disclosures and maintain one searchable public database accessible for free by music creators and income participants.

By aggregating these lists of unclaimed / undistributed royalties information, we can aid income participants — including songwriters, recording artists, publishers, labels, musicians, background vocalists, composers, and beneficiaries (in the event of musician parents or spousals who passed away, but their music still generates royalties) — in locating and claiming their monies.

If you are a music creator, you should signup at RoyaltyClaim.com to be notified of our launch. We are currently in conversations with the various funds to get them to cooperate and help creators and their families.