Another placement in the books. Check out the newest season of Ru Paul's Drag Race "Latina Royale". I produced the track and created a custom version for Xunami Muse's performance. The show premiere today on the WOW Network

I have to give a special shout out to @Nanna Prip on landing her first Television placement on a song that we did together. Another cool note is the brief originated from this community. Keep an ear out for "Welcome to Ibiza" on ALLBLK and the new series D.O.P.E. UNIT dropping this August!

Hello everyone! I hope you've all been doing well. I wanted to apologize for not being as active in the community lately—I've been juggling several exciting projects that have kept me busy, but I'm happy to be back! I'm honored to announce that I'll be hosting an exclusive Sync First: Full Sail Edition—a sync licensing event and sync-focused songwriting/production camp on the Full Sail University campus for current Full Sail students and alumni. The attached flyer includes all the event details, eligibility requirements, and a QR code to submit your music if you qualify. The day will feature: - An educational sync licensing panel with industry guest speakers - A live listening session with additional music supervisors and industry professionals providing real-time feedback - An 8-hour curated songwriting and production camp featuring a select group of Full Sail students and graduates creating music specifically for sync opportunities If you're a current Full Sail student or alumni, I'd love for you to apply! Please fill out the Google Form using the QR code on the flyer. If you have any questions, feel free to reach out at [email protected]. I hope to see many of you there!

I thought we had a great listening session yesterday. Had about 35 people throughout the session, a lot of good gems and good music. Shout out Tom and Matt rocking out!

There’s a show I composed music for—my tracks were used throughout the entire season. At some point, I realized no cue sheets had been filed… which meant no backend royalties were being paid. With the level of usage, we’re talking hundreds, if not thousands, left on the table. And the wild part? This happens way more often than people think. I followed up with ASCAP and was told I had to wait 6 months after the final air date before they could investigate. I waited. Still nothing. Then I was told ASCAP had been trying to reach the network (a major one) with no response. Even after I provided airtimes, air checks, and detailed proof of usage—what was used, when, and for how long—they still couldn’t process anything without official cue sheets submitted by the network. I eventually tracked down the music supervisor, who sent me cue sheets for the full season… but they were labeled as drafts—what had been sent to the network for approval. Since they weren’t final, ASCAP couldn’t accept them. So now the responsibility somehow fell on me to get final cue sheets from a network I had zero contact with—not just for my music, but for every composer involved in the show. After months of back channeling, I finally got the finalized cue sheets and submitted them—over a year after the show aired. Only now can the process even begin for writers to receive their royalties… and it’ll still take months from here. It’s honestly crazy how difficult it can be for creatives to get paid what they’re owed. Stay on top of your cue sheets. Always.