November 18, 2010

ASCAP's Night School Demystifies Management and Explains Royalties

ASCAP, Music Unites, Harry Fox and SoundExchange Show Night School the Money

ASCAP's Marc Emert-Hutner got to the bottom of the different types of royalties, who pays them to you, and how they differ from one another during Show Me The Money, the final installment of ASCAP's Night School in New York. The panel featured John Raso of the Harry Fox Agency and Neeta Ragoowansi of SoundExchange in discussion with Emert-Hutner. The evening came to a close with a stellar live performance by Rachel Brown, a participant and winner in the 2010 ASCAP Foundation Paul Cunningham Workshop, and winner of the ASCAP Foundation Robert Allen Award.


Post Hoc Management, Hoseb Management, In De Goot Management, and Pilot Creative Services Join ASCAP and Music Unites for Night School

The third of the four ASCAP Night School sessions, Managers: When and why you need them, took place January 18 at Manhattan's Norwood Club. During the panel, industry insiders from Post Hoc Management, Hoseb Management, In De Goot Management, and Pilot Creative Services discussed their individual takes on the stages in an artist's career when management is necessary and how to find the right manager when that time comes. Rebecca Jordan and her band wrapped the evening up with a live performance.


EMI, Downtown, Shapiro Bernstein and Savoir Adore Educate at ASCAP's Night School

Copyrights, co-publishing, exploitation, synchronization; these are some of the terms that were thrown around throughout the first class of ASCAP and Music Unites' Night School series. The joint endeavor, created to provide support and accessibility to emerging musical artists, kicked off Tuesday night at New York's Norwood Club with ‘Music Publishing 101'. The dimly lit fourth floor parlor served as classroom, and the professors; a panel of publishing management from Downtown, Shapiro Bernstein and EMI. ASCAP's Director, Pop/Rock and Film & TV Music Marc Emert-Hutner guided the casual discussion, allowing the panel to share their diverse experiences within the industry with the room of 50 participants. Those in attendance were mostly writers and performers but the group also included managers and lawyers.

Marc introduced the panel and talked a little about the series, "Working with Music Unites on the Night School project seemed obvious, given our organizations' common interests in supporting songwriters. As a writer myself, and someone with several years inside the industry, I'm excited to help create an opportunity to pass knowledge on to artists who need it."

The nearly two hour crash course included an overview of the anatomy of the changing industry, the anatomy of a song, and the varied structures, pros and cons of different kinds of publishing deals. Participants received tips for success including the kinds of songs that are most sought after for specific uses, to the importance of negotiating creative credit to avoid post- collaborative legal pitfalls. The discussion was followed by a Q&A session which included queries about the requirements of staff writers' contracts, the availability of specific kinds of deals today versus five years ago, and the best ways to shop content to publishing companies.

After the Q&A the group moved down to the third floor lounge for networking and cocktails, and an intimate performance by Brooklyn's Savoir Adore.

Melissa, an independent artist from the Lower East Side said, "I thought it was a great event overall. The panel was diverse and they covered a range of important topics."

Michelle Edgar, Founder and Director of Music Unites shared her thoughts on the evening. "Based on tonight, I'm even more excited about the upcoming classes. I think Night School is a useful forum; the participants and the panelists seemed really engaged in the discussion.”

Event coverage courtesy of Music Unites.