Erin Rogers is a super-talented composer and saxophonist who I’ve known for a couple of years. We met for the first time over lunch many years ago while I was in the early stages of writing the Composer’s Guide, where we had a wonderful conversation about publishing and composer career issues that has always stuck with me. Our paths haven’t crossed much in the intervening years, so I was glad to have a reason to reconnect with Erin by inviting her on the show. And boy was I glad I did!
This is the first show that I’ve done not just live, but in-person, as well! We attempted to broadcast as per usual, but I discovered after the fact that Google Hangouts stopped actually broadcasting after the first 20 minutes…leaving another 70 that never went out to YouTube! Fortunately, as I’ve learned about doing this whole podcasting thing, I’ve started recording the audio on my own end (and asking my guests to record theirs, as well), so the entire conversation was captured on my laptop, and wasn’t lost due to the screw-ups of our Google Overlords.
After we stopped our broadcast, Erin and I hung out for several more hours, still talking along the same lines as on the show. We poured ourselves another drink and kept talking at my apartment, then went out for dinner, and kept the conversation going there. A part of me wishes we’d “kept the cameras rolling” as it were, because we covered lots of fertile ground.
During our recorded conversation, however, we managed to talk about:
Copyright is the bedrock of every artist’s career – it secures rights and offers protections that allow us to build careers on solid ground without undue worry of our works being stolen or exploited without our knowledge or consent. The Founding Fathers of the United Stated thought it so important that they wrote it into Article I of the Constitution. Every artist should have a working knowledge of current copyright law – they should know the basic rights and protections that they’re afforded, and how they can remedy any infringement on their rights.
It’s with this in mind that I invited my friend Marc Ostrow, an entertainment/IP lawyer and songwriter, to be on the show.
In our conversation, we talked about:
(* – these are important points!)
Marc is slated to come back in July to go into more depth with Fair Use and the seemingly endless misconceptions that people seem to have about it.
Composer Chris Cresswell and I have known each other for a couple of years, and we never fail to to have long, rambling, fun conversations. Today was no different in this trans-Atlantic chat about self-doubt, finding joy in composing, and mental health for artists.
In this episode:
Third time's a charm! After a sudden scheduling conflict and a Google Hangouts technological nightmare, Jenn Jolley and I finally sat down to talk about her music, her blog, and the opera company that she helped to found.
In this episode, we touched on:
To kick off the Music Publishing Podcast, I sat down to chat with Alex Shapiro, a fantastic composer and friend who writes and speaks regularly about composers’ career issues, and is a Writer Member of the ASCAP Board of Directors.
Appropriately enough, we sat down on April 15 – usually tax day, except that we got a reprieve this year to procrastinate for a few more days.
In our wide-ranging conversation, we talked about:
So you're in the concert music world, and you're looking to improve your career.
Maybe you're a composer who's heard a bit about self-publishing, but you're not totally sure what that fully means, or what you should be doing.
Maybe you're a performer who'e pretty good at getting gigs, and you're starting to think about making a recording, but aren't sure of where to start.
Or maybe you're thinking of starting your own concert series or putting together an ensemble or getting a little opera company off the ground, but feel daunted by the logistics of it.
Enter the Music Publishing Podcast.
In Ep. 0, meet composer, vocalist, and MPP host Dennis Tobenski, and learn what the show is about.