Family, Tuesday's class started with a confession. Twelve songs got placed in a film project this summer. Ten of them are mine, two belong to other artists, and as the music supervisor I am responsible for clearing ALL twelve. Real money, real deadline. And when it came time to prove ownership on my own records, my own lawyer told me the sentence that built this whole class: "Kosine, I can't help you. I was never in the studio. Only YOU have this information." Twenty years in, multi-platinum, and the wall I hit was not talent, not access, not relationships. It was DATA. Mine and everybody else's. Now I am chasing writers, producers, splits, and sample answers across twelve records on a clock. So Tuesday we made sure nobody in this community ever hits that wall, from either side of the table. THE FOUNDATION: ONE SONG IS TWO PROPERTIES. Every song you make is not one thing. It is two. The COMPOSITION, the melody, lyrics, and chords, the pen, owned by the writers. And the MASTER, the actual recording of that performance, owned by whoever made or paid for the record. Two properties. Two owners possible. Two separate paychecks off the same three minutes. Most creators only ever knew about one. THEN WE COUNTED THE DOORS. ALL TWENTY. Nine doors on the pen side: streaming mechanicals through the MLC, writer and publisher performance royalties through your PRO, sync fees, covers, samples and interpolations, print and lyric licensing, international collections, grand rights. Eleven more on the master side: streaming and downloads, physical, master-side sync, SoundExchange, sampling of the recording itself, YouTube Content ID, social platform licensing, trailers and promos, compilations, neighboring rights, stems and remixes. When I asked the room how many doors they were actually collecting from, the honest answers were two. Sometimes one. Sometimes zero. That is not a talent problem. That is a paperwork problem, and paperwork problems are the cheapest problems to fix in this whole business.

Family, Class is LIVE tonight at 5 PM sharp. Pull up early, I'm breaking the ice with some music. Zoom link: https://us06web.zoom.us/j/89536201687?pwd=7bvHU6yqjfcvXBBajJDTERsas0LSRc.1 Sunday I told you every song you make has over twenty ways to pay you, for life plus 70 years, and that most creators leave eighteen of those doors locked. Tonight we count YOUR doors, one by one, and I'm giving you the five-minute habit that keeps every one of them open. Bring the one song you picked. Bring something to write with. This one you memorize like the commandments. And it gets bigger. Special guest in the building tonight: COUNTRY CHRIS. I met this man two weeks before the BET Awards. Not even two months ago. Since then: masterclass tour dates locked, a national TV spot we just swung on together, and a brotherhood my whole circle swears is 20 years old. He manages an artist signed to Sony Music Latin and he is headed to Japan. From Mississippi to major labels. You do not want to hear this story secondhand. If you have ever made a song and wondered where the money went, tonight is your class. 5 PM. Pull up. Kosine The intern never graduates.

Family, Tuesday's class might be the most important one we've done. I hit a wall this week. Had 12 of my own songs placed in a feature film, went to put them on screen, and my own lawyer told me: "Kosine, I can't help you. I was never in the studio. Only YOU have this information." That one sentence unlocked everything. Here's what I learned, and what I'm teaching you Tuesday: Every song you make is not one thing. It's TWO. And it has over TWENTY different ways to pay you, for the rest of your life plus 70 years after you're gone. Most creators only ever open two of those doors. They leave the other eighteen locked, and never even know the money was there. Tuesday we're covering: 1. What the data-saving process actually looks like the moment you make a song (the thing nobody teaches you) 2. How many revenue streams really come from ONE song (bring something to write with, this one you memorize like the commandments) I'm bringing my real situation, my real mistakes, and the exact system I'm building so this never happens to me or you again. Homework before class: pick ONE song you've made. Any song. Bring it in your mind. Tuesday you'll find out how many doors you opened, and how many you left locked. Tuesday. 5 PM. Don't miss this one. — Kosine The intern never graduates.

My apologies, everyone! I was working under a tight commercial deadline yesterday, and class completely slipped my mind. I’ll be traveling back from New York next week after taking my son home. I’m hopeful we can make class happen, but if not, we’ll be back stronger than ever on August 18! I’ll keep everyone posted. Thank you for your patience and understanding! 🙏🏾 If you have any questions, please feel free to message me directly. 🔔🔔🔔

YEEEERRRRR, Whats good & Hello World!!! 💯 Welcome to The Internz Academy. This is where we focus on the craft, the process, and the business behind it. Expect real feedback, industry game, and a space to keep improving your sound and your approach. Complete the steps below in order so you’re set up properly and ready to tap in. NEXT STEPS: Step 1️⃣: Watch the Welcome Video to see how everything works and get started 👀 Step 2️⃣: Download the Skool App so you never miss anything 📲 (iOS / Android) Step 3️⃣: Book Your Onboarding Call 📋This is where we learn your goals as an artist or producer and help map out your next moves. Step 4️⃣: Come back to this post and comment below ⬇️ -Your Name -Where You’re From -Artist or Producer -Link to Check Out Your Music -Your Current Goal (placements, streams, sync, etc.) 🔥 Pull up to the Weekly Live Trainings 🎧 Submit your music for feedback 💼 Tap into the business breakdowns and industry strategy 📈 Stay consistent and apply what you learn RULES: No promoting outside services in posts or DMs ❌ No spamming links or beats in random threads ❌ No negativity or ego ❌ Lock in. Create. Execute. Build your catalog.