Marci Schramm & Greg Schatz of French Quarter Festivals Inc. talk to Loyola University New Orleans students about coordinating French Quarter Fest events
Music industry veteran Kevin Coogan reflects on his experiences serving on the board of NARAS (National Academy of Recording Arts and Sciences), observing that his membership in the organization ultimately led him to becoming more involved in its operation, and discussing how the relationships he formed there have helped him in his career.
Joel C. High, a music supervisor based in Los Angeles, CA, discusses the process behind organizing and clearing the licenses for existing works of music that are used in a film or television project, and why if his job isnt done exactly right, production on a $100M film can come grinding to a halt.
Dina LaPolt, an entertainment lawyer based in Los Angeles, CA, explains what Sound Exchange is, and how that organization handles payment to artists of public performance royalties generated by digital play (streaming, webcasts, internet radio). She also compares this situation, created by the Digital Millennium Copyright Act of 1995, to how terrestrial radio operates, and to the public performance royalty structures in place in the rest of the developed world.
Producer, musician and label owner George Howard presents a career in a non-profit arts organization (such as Save the Music, ASCAP, and many, many others) as a good option for music-lovers who want a career in music. He discusses what a non-profit organization is, and how they collect money, pay salaries, generate revenue, and run their business, and lists several advantages to working in a nonprofit setting that a for-profit company cannot match.
Don Marshall, the executive directer of the New Orleans Jazz and Heritage Festival and Foundation, talks about the different ways they market the jazz festival and how it has impacted ticket sales.