Posts tagged #Manage Ad Music

Say Hey to Jené and Diana: Talking Diversity and DJing with Noche Libre

Creative Music Coordinators, Jené Etheridge and Diana Suarez — photography by    Kale Chesney

Creative Music Coordinators, Jené Etheridge and Diana Suarez — photography by Kale Chesney

Jené Etheridge and Diana Suarez are two of Marmoset’s Creative Music Coordinators by day, swooping in to support clients with music searches and clearances for every kind of project under the sun. By night, the two host one of the most buzz-worthy dance nights in Portland —Noche Libre.

Assembled of Jené, Diana and six other DJs, the Latinx collective’s mission challenges Portland’s mainstream nightlife scene, where typically only a small demographic is made to feel seen, welcome and safe. Instead Noche Libre cultivates community, creating space for Black, Brown and Indigenous groups.

Illustration by Noche Libre collective member,    Yuriko Xolotl

Illustration by Noche Libre collective member, Yuriko Xolotl

Spinning everything from cumbia and quebradita to dancehall and perreo, the inclusivity starts with the collective’s music selection. “We’re not super genre specific,” says Jené. “We definitely have a vibe but we’ll still play hip hop and a lot of different genres, there’s really something for everyone.”

It’s a reflection of their own musical tastes, everything they enjoy jamming to while also encompassing and honoring their Latin heritage and upbringings.

“I think what's really cool about something like Noche Libre is it’s just part of Latin culture — to get together and listen to music with your family and friends,” says Diana. “I really feel like it just feels like family get-togethers, everybody's just here for each other and here for a good time.”

The importance of Noche Libre’s presence — other than hearing mixes en fuego — is its movement toward building opportunities and spaces for artists of color within the music industry. With Jené leading Marmoset’s internal Diversity & Inclusion Team and Diana supporting the team’s overarching initiatives, their mission is to disrupt problematic systems to pave way for new processes.

From redefining how composers are brought onto creative projects to integrating diversity focused mixers into marketing trips — the team leads objectives that not merely benefit the underrepresented, but the entire company. It’s endless work, but indicative of genuine desire for positive change within an industry that upholds barriers for those who are non-binary or people of color.

Jené and Diana daily facilitate interpersonal conversations with other teams, including music producers and members of leadership (among community leaders). There’s a lot of work to be done, but it’s mindful development toward progression.

A floral shrine created by Diana (IG photo credit: @    stoneanvil     )

A floral shrine created by Diana (IG photo credit: @stoneanvil)

When not attending workshops and programs like Partners in Diversity’s Say Hey night or DJing around town as Noche Libre, Jené and Diana keep busy with their side creative missions. Diana being an experienced florist, she’s responsible for cultivating Y La Bamba and Sávila’s dreamy stage designs — the floral arrangements while laborious, only add to the feat of strength that both Latin American musical groups deliver through their performances. You can also catch Jené co-hosting Everyday Mixtapes on XRAY.FM every Saturday night from 5:00-6:00PM (PDT) — listeners will be pulled in with a mix of throwbacks from R&B, hip hop to funk and vintage gems.

So if passing through Portland and catching Noche Libre in action, what can one expect when out on the dance floor?

“We find a way to fit it altogether. Like I’ll play an Asian psych song and then a chicha song, which leads to a cumbia song,” says Diana. “Because we’re all so different and made up of so many different experiences, that’s what makes it interesting.”

Part of Noche Libre’s mission statement is “to celebrate our family’s roots and rituals by carrying on the tradition of puro pinche pari” — it’s an embodiment of finding strength in identity and to not only live in it, but to celebrate it.

5 Important Things You Should Know About Performing Rights Organizations, Royalties and Registering Copyrights

Panel speakers [from left to right]: Nan Wilson, Tracie Verlinde, Ehren Ebbage and Ryan Wines (Photo by Brandon Day)

Panel speakers [from left to right]: Nan Wilson, Tracie Verlinde, Ehren Ebbage and Ryan Wines (Photo by Brandon Day)

On Wednesday, we hosted an Artist Education event at Marmoset HQ, focused on everything you should know about copyrights and Performance Rights Organizations. The event featured a panel of experts in the field including successful singer songwriter and composer, Ehren Ebbage, Nan Wilson of Manage Ad Music and Tracie Verlinde of BMI, with our Co-Founder, Ryan Wines, leading the discussion. And with aim to share the knowledge from the event, we have answers to five commonly asked questions about the copyright and royalties world.

Making a living as a musician can be a challenging and rewarding venture. Like any other form of art-meets-business, it's all about diversifying and closely managing your income streams. Royalty income can be a critical revenue source for many artists, and when managed well, it can also be one of the most powerful components to help spur and create a sustainable living. Copyrighting in also an essential, yet often neglected aspect, protecting and declaring ownership rights for the music you create. While we know this area of music isn't the sexiest of topics, it's an extremely important one and we're here to help advocate for you and your awesome jams. Please  send questions you have to

1. What is a Performing Rights Organization (PRO)?

A Performing Rights Organization (or PRO) helps songwriters, composers and musicians receive payment by collecting publishing revenue streams through "performance royalties." As a songwriter, composer, or lyricist, you’re owed what is called a “performance royalty” any time your music is played on radio stations (terrestrial, satellite, and internet), used on TV shows or commercials, or performed in live venues, in addition to many other traditional and emerging mediums. Performance royalties are paid by radio stations, venues, and TV networks to Performing Rights Organizations like ASCAPBMISESAC, and SOCAN (in Canada) who then distribute the money to their affiliated songwriters and publishers.  Royalties for streaming media (think Spotify, Pandora, iTunes Radio and others) and some other digital media are administered by SoundExchange.  PROs only collect for artists who register with them. It is free to register as a songwriter with both BMI and SESAC. ASCAP charges a $50 registration fee.

Photo by Brandon Day

Photo by Brandon Day

2. What kinds of royalties are available to collect?

By registering your tracks to a PRO, your music can work for you. One song can bring in multiple revenue opportunities. Here are three forms of royalties that you can receive:

  • Performance Royalties. When your song is played on the radio, the composer and publisher of the song are owed money.

  • Mechanical Royalties. Anything you can physically buy with your music on it. CDs, vinyl, a song on iTunes, a ring tone, cassette tape.

  • Digital Royalties. Music that you download and stream, like from Pandora. Royalties are pretty minimal associated with streaming platforms at this time.

  • Other RoyaltiesThere are other royalty sources available for artists, including those for artists who perform for musical recordings used in commercials, TV shows, films, stage productions and more. There's also royalties available for artists who are featured on camera while performing or who's voices are featured in commercials, TV shows, films, stage productions.  Artist rights organizations and unions in these areas include the Amercian Federation of Musicians, the Screen Actors Guild, and others. 

3. How important is having a publishing company?

When registering with a PRO, it’s important that you register as both a songwriter and a publishing company, if you are both the songwriter and publisher. If you don’t register as the publisher and are the publisher, the PRO can’t give you that portion of the royalty payout. This is true except for BMI -- if you register with BMI, you can claim both sides under just a writer's account. While registering as a publisher can have its benefits, it's not essential to claim both sides under that particular PRO. 

Photo by Brandon Day

Photo by Brandon Day

4. How do I register my music as a songwriter and publisher?

Copyrighting your music is a critical element in helping to create a sustainable career as a musician, and it's a relatively simple. It is easy to register as a songwriter. To register as a publisher, you need to pick a name for a publishing company, open up a bank account under that company name, and register your songs with the US Copyright Office. Note: This doesn’t mean you have to get a business license to start a publishing company -- you can register your publishing company through your social security number as an individual business.

5. Why is copyrighting my music important?

Copyrighting your songs protects your music and your livelihood as an artist. By registering your music, it creates a digital timestamp and holds up as legal proof if your music has been used without your knowing. Your music is sacred -- protect it.

If you have questions about any of this -- please reach out our Artist Relations Team at Marmoset. Our mission is to advocate, protect and work to restore value to artists. Give us a shout at