On Helping African And Caribbean Artists
A collage of Blackman, a rapper from Congo to whom I provided career advice. Photos from his Facebook fan page.
Thanks to my buddy Mark Adato, and his work with the organization Africa New Day, I got to help two African independent artists from Congo with career advice. This year, through my mentorship work at SXSW and through AND, I’ve been honored to give career advice to artists in the Caribbean and Africa.
Independent artists in the United States take for granted our relatively easy and abundant access to information and resources related to the music business. Many of the artists in Africa and Carribean do not even know how to get their music on iTunes. They want desperately to share their music. I’m proud that I’ve been able to help a few get started on the right path.
I’ve even used my in-store music video network, which plays in all Shiekh Shoes stores across the United States, to showcase artists from Africa and the Caribbean to my 3 million viewers.
Connecting the diaspora through music, demonstrating our similarities through musical storytelling, and showing that entertainment defies boarders has been a humbling experience.
If you are reading this and you are an artist from Africa, reach out to Africori, which describes itself as a Pan-African music company for artists and labels. Their website is http://africori.com. They may be able to help with getting music distributed. Also, learn about copyrighting your music and collecting music royalties in your territory. You can find more information by talking to Music In Africa foundation. Their website is http://musicinafrica.net.
DOJ 100% Licensing Rule: An UnFair Tax on Hip Hop and Works With Samples?
I often use Hip-Hop and Pop songs in my classes and workshops when discussing rights, income participation, publishing splits, and royalties because these two genres tend to have the most writers per song on average. With the recent DOJ ruling to enforce 100% licensing, songwriters have been trying to understand its impact on their careers. In his blog, TheTrichordist.com, David Lowery presents a compelling argument that the 100% licensing ruling is a “tax” on Hip-Hop music creators and rights-holders. He uses a DJ Khaled song as an example to demonstrate how the 100% licensing rule could impose unfair cost, administrative, and time prohibitive requirements on writers and publishers.
Let’s look at the implications of the DOJ 100% rule for the writers of the 5th most popular Hip Hop Song in the US this week.
These are the four samples in For Free, by DJ Khaled featuring Drake. Each of those sampled songs also has multiple writers. Consequently the list of writers for the composite work is quite long. In this case there are 13 Songwriters, 4 BMI publishers and at least 3 non BMI publishers. 6 writers use ASCAP to license performing rights. 6 writers use BMI and one writer is Canadian so they use SOCAN. As is always the case with works composed of samples, these writers have a co-writer agreement to spell out ownership percentages and then an agreement that specifies each party will license and collect it’s own fractional share. “You do your business and collect your money, I do…
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Music Industry Announcements
A few music industry announcements:
1. I am giving a talk and mini-workshop on Saturday, August 13th at 11am at the Indie Entertainment Summit titled “Music Metadata Matters: How Metadata Impacts Your Income & Opportunities” followed by speaking on a panel on YouTube video monetization for DIY indie artists and bands. Get deats and tickets at http://www.IESfest.com.
2. I am organizing and hosting the Southern California Music Industry Professionals’ August Music Industry Mixer on Thursday, August 18th form 6pm to 9pm at The Federal Bar. We have a special guest speaker, Tiamo Vettori De Vettori, Founder/CEO of Musicpreneur Academy and a Music Success Coach (www.TiamoMusic.com), will give a talk “Secret High Paying Gigs: 5 Lucrative Markets for Musicians in the NEW Music Industry.” This event is FREE. Join SCMIP at http://www.meetup.com/SCMIPonline and RSVP for the mixer at http://www.SCMIP-August.eventbrite.com.
3. I have a panel submitted for SXSW 2017 on music rights and metadata in the ever evolving digital music space featuring panelists from Music Reports, BuzzAngle, TuneRegistry, and Crunch Digital. Vote for the panel and leave comments at http://panelpicker.sxsw.com/vote/62361.
4. I am now the full-time CEO of TuneRegistry, an easy-to-use music catalog and metadata management platform with built-in music administration tools for the independent music community. TuneRegistry helps music creators and rights-holders organize their music catalog and streamline administrative tasks such as registering with rights organizations. Our goal is to have 1,000 music creators and rights-holders using TuneRegistry by the end of 2016. Please tell your music industry friends and send them to http://www.tuneregistry.com for details.
To stay up-to-date about my projects, work, involvements, and my upcoming appearences subscribe to my blog at http://www.daeboganmusic.com, follow me on Twitter @daeboganmusic, and like my Facebook page Dae Bogan Music.
Please Vote For My SXSW Panel Idea
For the past two years, I’ve been mentoring music and music tech entrepreneurs at SXSW. From music app founders to indie bands to artist managers, I’ve given my time to provide advice and guidance to awesome people working to improve their careers or businesses.
Over the last year, I’ve focused a great deal of my time on the issues surrounding rights and metadata in the music industry. My research and work has culminated in the launch of my startup, TuneRegistry, which enables music creators and rights-holders to manage their music catalogs and register their rights and metadata all in one place. We believe that by empowering music creators with a tool to organize accurate metadata and streamline the rights registrations processes, the music industry as a whole will be better accountable to artists and writers.
This summer I had the honor of teaching a course at the UCLA Music Innovation Summer Institute on the music tech business. During the program, I curated and moderated a panel on rights and metadata and invited representatives from Music Reports, Crunch Digital, BuzzAngle Music, and the co-founder of TuneRegistry to speak on the challenges we’re seeing in the digital music space. The panel went so well that I was encouraged to submit the panel to SXSW.
I am happy to say that the panel, along with the original speakers — Bill Colitre (Music Reports), Keith Bernstein (Crunch Digital), Jim Lidestri (BuzzAngle Music), and Jesse Morris, Esq. (TuneRegistry) — is up for consideration for SXSW 2017.
Please take a moment to check out the panel idea, comment, and vote at http://panelpicker.sxsw.com/vote/62361.
TuneRegistry – Music Catalog for Artists, Labels, and Publishers
My team has spent over a year building a platform that will help independent music creators simplify their careers. It’s called TuneRegistry and today we open to the public!
Execs From TuneRegistry, Music Reports, Crunch Digital, And BuzzAngle Music To Co-Panel Discussion On Music Rights & Metadata At UCLA
The UCLA Herb Alpert School of Music’s Center for Music Innovation presents an evening panel “The Significance of Rights and Metadata in the Evolving Digital Music Ecosystem.”
As the music industry continues to be shaped and advanced by digital innovations, stakeholders face new and unforeseen business challenges. From rights holders to music licensees, data has become significantly more important to the accrual, collection, and distribution of royalties to income participants. This panel will discuss the issues relating to music rights and metadata in the digital music age and evaluate some of the ways in which these issues are being addressed by companies, music creators, and collective societies in the United States and abroad.
When: Thursday, July 7th at 6pm
Where: UCLA Herb Alpert School of Music
Panelists:
Jesse Morris, Morris Music Law/TuneRegistry
Bill Colitre, Music Reports
Keith Bernstein, Crunch Digital
Jim Lidestri, BuzzAngle/Border City Media
Moderator: Dae Bogan, TuneRegistry; Lecturer, UCLA Herb Alpert School of Music
Register for free at https://www.eventbrite.com/e/the-significance-of-rights-and-metadata-in-the-evolving-digital-music-ecosystem-tickets-25898722777
Breaking Bread, Giving Bread Crumbs: The Challenge Facing Beyoncé, Drake, And 150 Other People
Between Beyoncé’s “Lemonade” and Drake’s “Views” albums, there are over 150 writers and producers credited across their combined 32 tracks.
I can only imagine the music compensation nightmare that will ensue over the next 12 months as streaming, DPD, and airplay royalty checks start to go out to the multi-national team of creators and rights holders.
Who is responsible for ensuring the accuracy of rights holder information across all tracks? Who is checking that digital music services have complete metadata to match sound recordings to their underlying compositions? Who is accounting to the background vocalists and session musicians?
Did every producer and engineer secure letter of directions from Beyoncé and Drake to properly claim a portion of Pandora payouts? Who is looking after the contributors who do not have multinational publishers? Will they capture their piece of neighboring rights, DART royalties, or Spotify mechanicals?
Who will lose out due to inefficiencies? Who will have money left on the table due to an inability to properly claim and collect?
These are the questions that we ask ourselves at TuneRegistry and why we’ve built the next-generation music rights & metadata management platform to empower creators and rights holders.
Lukas Graham And Digital Music’s New Fan Conversion Funnel
Screenshot of Lukas Graham’s self-titled debut album cover art posted on Lukas Graham’s Facebook page; accompanied by the comments section.
The image featured above is a screenshot of a post on recording artist Lukas Graham‘s Facebook page. This blog entry is about the idea of the Digital Music’s New Fan Conversion Funnel as illustrated by a comment posted in the comments section by Lukas Graham fan, Stacy Angus.
But first, a quick crash course on conversion funnels.
[Podcast] My Interview About Music Data On UCLA Center for Music Innovation’s “Innovating Music” Podcast
I had the honor of being a guest on UCLA Center for Music Innovation’s “Innovating Music” podcast where I talked about music rights and meta data, which is the epitome of our work at TuneRegistry. Check out my episode, “Life as a ‘Data Nerd’: Dancing with Music Data.”
The podcast can be found and followed at http://musicinnovation.libsyn.com/, as well as at the following podcast sites:
iTunes: https://itunes.apple.com/us/podcast/innovating-music/id1107854634
Google Play: https://play.google.com/music/listen?u=0#/ps/I5b6f4qdhfugvkpv5aopo6istga
Stitcher: http://www.stitcher.com/podcast/fullcast/innovating-music
Grammy Winning Engineers Launch Digital Mastering Service For DIY Musicians, eMastered
Using an intelligent mastering engine built from analyzing thousands of hit songs, eMastered gives musicians an easy and affordable way to master tracks from the comfort of their own homes.
Grammy Award-winning engineer Smith Carlson and hit EDM singer/producer Collin McLoughlin announce the launch of eMastered, an online tool redefining the way musicians approach audio mastering. eMastered enables users to instantly master recordings online, making what is traditionally a complex and expensive process much more simple, affordable, and accessible to musicians worldwide.
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