A longtime friend to Urban Network, James Leach, who was recently promoted to Senior Director of Writer Publisher Relations, is one of the most visible execs on the West Coast. Staying in the loop is essential to his job; whether attending showcases while on the look-out for new talent, promoting and positioning SESAC's current stable of writers, or simply being a good will ambassador to the industry. We recently asked him a series of questions regarding the busy role he has at SESAC, as well as his thoughts on the shifting tides occurring in the music industry.

UN: Briefly describe your role at SESAC?
I am responsible for the acquisition of artists, songwriters and creators of music in a variety of genres: R&B, Hip Hop, Pop and Rock, as well as facilitating the needs of our current affiliate membership. I develop and implement educational workshops, seminars, panels and showcases aimed at informing our affiliates (as well as the music community at large) about the many revenues streams in the areas of Public Performance and Music Publishing. For those individuals that are new to the business, I try to provide a foundation of education resources that one can draw from as needed. I also attend various panels, seminars and workshops providing information about SESAC, the world of Performance Rights Organizations and aspects of Music Publishing.

How does SESAC differ from the other PROs?
Our size is our greatest asset. It allows us to focus on our objectives as a company and to provide a level of personal service for our membership that is difficult to achieve at a larger company. I believe it is our commitment to remain sensitive to the interests of our affiliates and users of SESAC repertory that makes us a preferred choice for many writers and publishers.

Many of today's urban music writers hail from the South or the East Coast. What are your observations since you are West Coast based?
Both regions have always been Mecca's for creativity (with the South finally getting its just due)…including the West Coast. There are many talented writers here that migrate South, to the East or wherever to pen hits as well. In the next few months we'll probably see a shift back towards the West Coast as new artists from this area start their climbs to success!

What is your take on the music industry today and the direction it is going?
I think as a whole the industry is trying to find its way in the digital marketplace…at least I hope it is! Many companies have just scratched the surface of the potential revenue streams within the Internet and the "convergence" of media promises to present opportunity and challenges to the entertainment industry as a whole.

SESAC seems to gravitate to a lot of neo-soul/alternative driven writers; why is that?
SESAC gravitates towards songs and songwriters period. The labels placed on music come and go with the trends. A quality song endures and will most often transcend the original genre in which it was created to receive exposure in other formats. SESAC singer/songwriters Chrisette Michele, N'Dambi and Leela James are perfect examples of artists that write great songs. If folks want to classify their music it should be easy…clearly, they write from their soul. The same can be said for SESAC writer/producers Nate "Danja" Hills, Kendrick "Wyldcard" Dean, Jason Perry, Greg Curtis, Adonis, and of course B. Cox. They write great songs for any genre of music that is requested of them!

Does SESAC have the ability to track music overseas?
ABSOLUTELY! We have reciprocal relationships with the majority of foreign performances rights societies and our London office assures the representation and collection of our affiliates works overseas! As I said earlier, SESAC is prepared to go the extra mile to facilitate the needs of our affiliates here in the States and overseas!

How do you go about attracting writers to SESAC, especially with such strong competition from the other performance rights organizations?
Truthfully? I draw on past experiences as a music publisher and try to reflect on the questions and situations my writers presented me with regarding the PRO's. I try to establish a rapport with a potential writer to determine if SESAC is the right fit mutually. It's very important that both parties' goals are understood so that neither party is disappointed! At SESAC, all of the Writer/Publisher representatives have an open door policy and are very accessible.

How instrumental are you in helping developing writers, and what advice do you normally give to your writers in today's uncertain climate?
I am extremely instrumental in assisting developing writers. I encourage all of the writers I communicate with to educate themselves about the music industry above and beyond the information that we may provide at our workshops or seminars or in my office for that matter. I provide a reading list of music industry texts for those interested and always encourage the writers to contact my office for any assistance they may need.

What's the biggest challenge you see facing songwriters today, and if you could change anything about the industry today what would it be?
The biggest challenge facing songwriters today would be to find the time and discipline to study as much available information about the structure of the music business (i.e. What is the difference between a Publishing Company and a P.R.O?; What does A&R mean, etc.) as possible, to learn the ‘craft' of songwriting" so that their career has longevity.