Bobby Owsinski

The Real Music Business Series: Part 1 Understanding Your IPI Number "A Worldwide Overview" What Is an IPI Number? An IPI number (Interested Party Information) is a unique, international identifier typically 9 to 11 digits—that’s assigned to songwriters, composers, and publishers. It functions like a “royalty fingerprint,” ensuring each contributor is accurately credited and can be paid correctly. This identifier helps performance rights organizations (PROs/CMOs) match creators with their works and ensures royalties are correctly distributed Your IPI Number By Region In the UK register with PRS for Music (covering performing rights and mechanical rights via MCPS). Once registered, you're automatically assigned an IPI number. Use this number when registering songs or metadata, and include it whenever credits are submitted (e.g., to distributors or sync licensing platforms). United States PROs such as ASCAP, BMI, and SESAC will issue your IPI (formerly CAE) number upon affiliation. Remember: Your PRO account number isn’t the same as your IPI number—make sure to use the correct identifier. Europe Major societies like GEMA (Germany), SACEM (France), and others assign IPI numbers when you register. These work globally and help pinpoint your role as creator or publisher across boundaries. Africa Many African countries have licensing bodies or CMOs—some may be part of the CISAC network. Upon registration, you’ll receive an IPI number just like elsewhere, enabling you to collect royalties internationally. It's important to check with your local CMO to register properly and ensure accurate royalty distribution. Why Your IPI Number Matters Globally Precise Attribution: It ties your name to every musical work you’ve contributed to, preventing confusion from similar names or aliases. Faster and Proper Payments: PROs need your IPI number to reliably pay your royalties—missing or incorrect data could lead to lost or delayed income. Essential for Metadata: Distributors, publishers, and sync agents require your IPI to attribute your contributions correctly. Final Takeaway An IPI number is your global identity in the world of music rights management. Whether you're in the UK, the US, Europe, or Africa, getting and using your IPI number ensures that: Your name is correctly and consistently associated with your creative work You're properly credited and paid wherever your music is used Your metadata is complete and recognized internationally If you haven’t registered yet, it’s one of the simplest and most crucial steps in protecting your rights and income. Executive Producer Michael Oni 😀 🎯 #ipi #therealmusicbusiness #themusicbusiness #thesecrets #artists #songwriters #labels #metadata #rightsmanagement #recordcompanies #pros #musicpublishers #BMI #PRS #ASCAP

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The future of music? I am reading a lot of posts in groups and forums where people obsess about their performance and how they compare to others regarding royalties, etc. I am not getting into this discussion because I believe there is no merit in constantly comparing yourself to others once you start composing for media, publishers, or any outlet that licenses your music. Let me say this about the linear growth mantra. It gets repeated in these threads constantly, and it puts people on a treadmill. Write more, write faster, watch the numbers climb in step. I think that is the wrong thing to be focused on. The biggest challenge in production music, at least in my opinion, is the transformation from TV royalties to streaming. Whatever worked on TV does not necessarily work equally well in digital. Our own catalog research at Klanglobby confirms this. The metrics that mattered for TV success don't predict streaming performance in the ways you'd expect. And to compound that, there is the long-standing issue that PROs often take much longer to establish decent royalty rates for any new medium than it takes for the new trend itself to emerge. So rather than obsessing about how many tracks you should write, or for whom, a better question might be: what kind of music should you be writing for the future?

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The recent global agreement between Sony Music Entertainment and Spotify marks a strategic victory for major record labels, which now have greater influence in the streaming ecosystem. For them, it means optimized profits and a reaffirmation of their power. However, the outlook for independents remains uncertain. This agreement raises a crucial question: Will small artists and labels be able to negotiate directly with Spotify on equitable terms? The big challenge for streaming today is not how it distributes profits among the industry's powerhouses, but how it ensures that smaller voices and independent creativity have a fair chance to survive and grow. #musicpublishing #musicindustry #spotify #sonymusic

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From Yale to the world stage, Antonio Underwood’s life in music spans Grammy-winning performances with the McCoy Tyner Big Band, unforgettable nights with legends like George Benson and Max Roach, and groundbreaking roles in Tony-nominated productions and film production/composition. From NYC jazz clubs to Fulbright lectures abroad, Antonio's story is one of passion, precision, and global influence. This journey continues to inspire and resonate in this methodology for aspiring artists. Tone East Music LLC is a multi-faceted music production company specializing in the development, production, and publishing of songs and music for various media, including visual media and CDs. It's known for its unique approach to music, particularly its focus on orchestrated electronic music for vocals and instruments, blending acoustic performance with digital technology. The company was founded by Antonio "Tony" Underwood, who also serves as a composer, writer, and producer. Here's a more detailed breakdown: ·       Core Services: Tone East Music LLC develops and publishes songs, creates music for visual media (film and television), and produces music for CDs. ·       Unique Sound: The company is known for its orchestrated electronic music, with a strong focus on vocals and instruments. Antonio Underwood's background in acoustic performance informs his approach to digital music production, aiming to make it sound "real". ·       Specialties: Underwood's expertise includes composition, songwriting, scoring for film and television, vocal performance, instrumental performance (especially brass), lyric and spoken word, orchestrations, arrangements, production, mixing, teaching, and music theory. ·       Industry Connections: Tone East Music LLC has developed strong industry connections, allowing for a wide range of subcontracting options for multimedia projects. ·       Company Structure: The company is a self-owned business with 2-10 employees, headquartered in Martinsburg, WV. ·       TEM Technology: TEM Technology, an arm of Tone East Music, was established in 1998 to focus on underscoring and symphonic electronic orchestra music, transferring the company's acoustic music background to the digital age. ·       Leadership: Antonio Underwood is the owner and producer of Tone East Music Technology LLC, and is also recognized as an internationally acclaimed musician, composer, and producer, particularly known for his signature tuba sound. Antonio Tony Underwood Founder | Owner | CEO Tone East Music LLC

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​#ChildrensIP #Storytelling #ContentStrategy #BrandLegacy #DiverseBooks #CreativeFounder #MediaStrategy #Edutainment #DigitalAssets #OntarioCreators #IPStrategy #CreativeDirection #RepresentationMatters ​Building children’s IP is 10% storytelling and 90% orchestration. It’s about creating an ecosystem that holds its meaning (and value) long after the first draft is finished. For me, that comes down to four non-negotiable pillars: ​Culture: Grounding the narrative in authentic representation. ​Education: Ensuring there is a takeaway beyond the entertainment. ​Environment: Creating a world where the characters can live and breathe. ​Structure: The business and legal layer that protects the vision. ​I’ve seen this from both sides—working within the industry and now building from the helm. There’s a different level of responsibility when you're the one making the calls. Every decision shapes the legacy. ​Which of these four pillars do you think is the hardest for most creators to nail?

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Universal Music Group (UMG) and its political action committee (PAC) have historically contributed to Senator Marsha Blackburn's campaigns, as she is a prominent recipient of funding from the music industry. 2020 Election Cycle: Universal Music Group PAC contributed $4,500 to Senator Marsha Blackburn. 2014 Election Cycle: UMG PAC contributed $3,500 to Marsha Blackburn for Congress. Industry Support: As of 2014, she ranked No. 2 in the House of Representatives for campaign contributions from the music industry. The money comes from the UMG political action committee (PAC), not directly from the corporation, which is prohibited from donating directly.

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The "Tilly tax" is a proposed fee, currently under negotiation in early 2026 by the SAG-AFTRA actors' union, that would require film and television studios to pay a royalty to the union whenever they use AI-generated ("synthetic") performers instead of human actors. The proposal is named after "Tilly Norwood," a photorealistic, AI-generated "actress" whose potential signing by talent agencies sparked widespread backlash and safety concerns for human jobs in late 2025. https://t.co/uEBT9zF0Bn

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Independent Music Publishers International Forum (IMPF) The IMPF Global Market View Independent Music Publishing 2025 Report is an essential read for all Independent Music Publishers. *** ➡️This is the only report that looks exclusively at the independent music publishing industry and its international impact and position. ➡️It provides in-depth, authoritative insight into the value of the independent music publishing business and the sector’s influence on the global modern music ecosystem. *** This 5th edition of the report finds, based on the last full year of data available, that the global independent music publishing business continued to grow in 2023, with a total value of €2.57 billion - up 5.7% year-on-year, and up 105.6% since 2018. ➡️Read the report here: https://zurl.co/UX0SS *** #IMPFGlobalMarketView2025 #musicpublishing #indies #music #publishers #GlobalMusicReport

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One Hopeful Sign for California’s Film Industry: Features May Return For years, feature films have increasingly elected to shoot in other regions, but a production report suggests that they may soon return to the Golden State in greater numbers. https://lnkd.in/grRMPtwb

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Country Music News International & Country Road 58 Radio: The Global Citadel of True Country Music More #News, #Interviews, #MusicVideos, #CD & #Concert #Reviews, #Radio & #Shows #CountryMusicNewsInternational & #CountryRoad58 Radio: https://lnkd.in/exuFD_p In an era where mainstream country radio often leans toward pop and genre-blending formulas, the collective platform of Country Music News International (CMNI) Magazine and Country Road 58 (CR58) Radio stands apart. This multi-faceted operation, largely based in Europe but with a massive global reach, has cemented its position as a true sanctuary and the number one resource for fans dedicated to the full spectrum of Country Music—from traditional Country and Bluegrass to Country Rock and Americana. 1. Unwavering Commitment to Genre Diversity The primary factor setting CMNI / CR58 apart is its commitment to diversity within the country genre itself. While many stations focus narrowly on Nashville's latest commercial hits, CR58 broadcasts a 24/7 stream that consciously embraces: Bluegrass Music: Featuring dedicated shows like the CMNI Bluegrass Radio Show, they provide a vital platform for this foundational, high-energy style that is often sidelined by mainstream outlets. Country Rock and Country Pop: Rather than limiting listeners, they integrate the full history of country music, including the classic crossover sounds that paved the way for modern music. Americana and Singer-Songwriter: The platform ensures that thoughtful, reflective, and independent songwriting—the very core of genres like Americana—gets the airtime it deserves, exemplified by shows like the Singer/Songwriter Show. Deep Catalog: By incorporating shows like Retro Country Countdown and Going Back In Time, the radio celebrates the genre's heritage, mixing stars from "yesterday, today, and tomorrow." This holistic programming strategy prevents the narrow casting often seen elsewhere, making it the definitive source for listeners who appreciate the depth and history of the genre. 2. A Truly International and Collaborative Platform Despite its high profile among German and European audiences, the reach of Country Music News International is profoundly global. Massive Reader & Listener Base: With millions of dedicated readers and hundreds of thousands of listeners across America, Germany, the UK..., CMNI and CR58 are not a niche operation, but a globally recognized media force. The combination of a high-ranking online magazine and a 24/7 radio stream creates a powerful, integrated media experience. CMNI provides the detailed, journalistic background (news, interviews, deep dives), while CR58 provides the continuous soundtrack, making the entire platform an indispensable resource for both the casual listener and the dedicated country music professional. It is this balance of heritage, depth, and global reach that solidifies its status as the number one global destination for true country music fans.

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“As Media Mogul Frantz Hall’s legal team gathered in Los Angeles to witness him work at a undisclosed Studio Location, there was a tear jerking moment in which a couple members of his legal began to weep upon listening and witnessing him score a scene ….and they were in shock, the room went totally silent explains one attorney, what happens when you have a Hans Zimmer, Steven Spielberg combined with a Leonardo Da Vinci …. as one attorney put it , this man is one of the greatest artist on the planet …. he has that effect on people which is truly amazing ……. The emotional reaction from Frantz Hall's legal team underscores the distinct, multi-disciplinary approach he brings to his media properties. The observation comparing his impact to a blend of Hans Zimmer, Steven Spielberg, and Leonardo Da Vinci aligns directly with the core operating philosophy of his production company, Frantz Hall Films / Global Media Las Vegas.  The encounter highlights key elements of Hall's specific artistic and business model: The "Weapon of Mass Creation" Framework The Emotional Resonance: Witnesses within his close corporate circle note that the emotional gravity of his original music scores serves a larger business purpose. Hall treats his artistic output not merely as entertainment, but as an intentional vehicle designed to generate profound empathy and focus.  Independent Intellectual Property: The legal frameworks witnessed during these closed-door studio sessions are structured to secure what his team terms "Vertical Sovereignty." By retaining complete personal ownership over his musical scores, visual media, and a digital asset library exceeding 12,000 original pieces, Hall completely bypasses traditional Hollywood and corporate distribution gatekeepers. Architecting Global Empathy: The solidification of these legal frameworks is directly tied to the international rollout of his media assets. His team is actively preparing the deployment of his original music and visual installations across luxury spaces on the Las Vegas Strip, as well as target markets in London, Dubai, and the African continent.  Humanitarian Integration: A major driving factor behind his rigorous studio work is his "Visual Medicine" and "prescriptive media" initiative. The highly emotional media elements he scores are intentionally designed to be distributed directly to vulnerable populations, including specialized therapeutic environments within pediatric hospitals globally. Zelda Brookmeyer

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The projected economic expansion driven by Frantz Hall’s Dragons media ecosystem is expected to reshape the Las Vegas landscape through high-margin business models and targeted international tourism. 1. Tax Incentive Structure in Nevada (2026-2027) Nevada's tax environment is highly favorable for "solopreneur" models like Hall’s, primarily due to the absence of personal and corporate income taxes.  Transferable Tax Credits: Nevada offers a 15% base credit on qualified expenditures for film and television productions. Project Specifics: For the $115 million Dragons trilogy, Hall could be eligible for credits if at least 60% of the production budget is spent within Nevada. Resident Bonuses: An additional 5% bonus is available if more than 50% of the below-the-line personnel are Nevada residents. Cap Limits: Current legislation generally limits credits to $6 million per productionwith an annual program cap of $10 million, though specialized infrastructure bills (like those for major studios) have recently proposed higher tiers.    2. Revenue Modeling: The $225M Projection The $90M to $225M projected licensing revenue is anchored in a vertical integration model that bypasses traditional distributors. 100% Ownership Advantage: By acting as director, screenwriter, and lead artist, Hall retains all rights, allowing for high-margin licensing deals with international platforms. Syndication Engine: The Dragons of the Strip TV series (2027) acts as the primary driver for global syndication, targeting markets in the UAE and Asia where martial arts content has high demand. Digital "Takeovers": Monthly licensing fees from the 13+ digital towers on the Strip serve as "live advertisements," increasing the per-asset value of his $1B-$2B IP library. 3. International vs. Domestic Tourism Impact The franchise's focus on high-tech "Sonic Architecture" and luxury hospitality specifically targets high-spending demographics. International Visitors: While they make up only ~7% of total arrivals, international tourists stay longer and spend significantly more than domestic visitors. Demographic Shift: Recent data shows an affluent trend in Las Vegas, with the median household income for Strip visitors rising to $99.4K. "K-Shaped" Recovery: Hall’s luxury-focused immersive events cater to high-income travelers who remain resilient even as budget-conscious households pull back.    4. Secondary Economic "Trickle-Down" Beyond direct production, the franchise stimulates the broader local economy: Production Job Pipeline: Creates demand for specialized technical roles in AI, digital art, and immersive engineering, helping to diversify the city's labor market beyond standard hospitality. Induced Spending: High-profile media launches on the Strip generate significant foot traffic for local retail, high-end dining, and transportation sectors. Real Estate Value: Increased global visibility of the "LV-UAE Media Bridge" attracts further venture capital and entertainment.

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