Last year, my work focused on deep infrastructure: learning how to embed metadata properly, and writing it with archival precision. Two albums went through weeks of meticulous metadata creation at Library of Congress standards. I also registered my releases for U.S. and international royalties through ASCAP, SoundExchange, MLC, and Songtrust. That work culminated in submitting the projects to the rigor of the Recording Academy’s screening committees for three separate Grammy® consideration applications.

This year is about reconciliation. I’m aligning my full catalog — released and unreleased — so it’s clean, consistent, and findable in Songview, the industry’s shared database.

Next comes locking down the associated trademarks with the guidance of Ryan Schmidt, one of the sharpest music rights attorneys working today. The stakes are higher now, and so are the expenses. I’ve put real skin in the game. The ownership is higher too.

I’m here for legacy — informed, intentional, and rights-aware — in a way independent artists historically weren’t able to be. I’m especially grateful to Liz Kamlet, whose openly shared, deeply informative posts helped make this level of clarity possible.

With gratitude to: @lizkamlet @ryanschmidt.esq

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