Overnight Success in Only 25 Years

Overnight Success in Only 25 Years

When I was in grade school, starting at 14 years old, I used to go to the library and for fun I hacked the library computers. I never modified or took documents, but I loved exploring coding with no formal training.

In high school, I purchased my first laptop with money that I earned from my summer job at an amusement park called Geauga Lake in Greater Cleveland, OH and I purchased the Adobe Photoshop software. I taught myself graphic design and website design with no formal training. I was 16 years old.

After high school, when I was 18, I took $600, my laptop, and some clothes and went to Los Angeles to pursue a career in the music industry. I arrived homeless and unemployed, but I interviewed for a job as the personal assistant of an Emmy Award-winning director and was able to beat out all of the older experienced PAs because I pitched him my graphic design and website management skills and became his digital marketing and e-commerce manager (dot-com businesses were still booming). Amazon Web Services had just launched and cloud computing was in its infancy.

By 24 years old, after working several jobs to pay my way through college, I earned a bachelor’s degree from UCLA and launched a music industry company called Loft24 Records and Loft24 Publishing. I was 24 years old and lived in a loft in Downtown Los Angeles. There, I developed my first music technology platform to pitch my artists’ songs to music supervisers and advertisers for synch opportunities. Again, I was not formally trained on music licensing or software development.

In my late twenties, I conceptualized and incorporated a song pitching and A&R platform called SongBank, launched an in-store music video and artist promotion network called ChazBo Music (later acquired by EMPIRE), and I began graduate school.

At 30 years old, I graduated CSUN Music Industry Administration with a master’s degree in music industry administration and a focus in music publishing and copyright administration and was awarded the Future Executive Award. Steve Winogradsky and Andrew L. Surmani were my professors who encouraged me to think critically about ways in which the music rights space could be innovated. I conducted a ton of independent research in this regard, which later became the basis of two startups.

At 31 years old, I became the first Innovation Fellow at the UCLA Center for Music Innovation where I developed a summer intensive on entrepreneurship at the intersection of music, technology, and innovation. A year later, I was hired as an adjunct professor to teach my course to students at the UCLA Herb Alpert School of Music. Billboard recognized my course, “Music Industry Entrepreneurship,” in its list of “The 15 Best Music Business Schools in 2017.”

At 32 years old, I launched TuneRegistry, the world’s first platform that enabled self-published music creators to manage and self-administer their music copyrights in the United States, and RoyaltyClaim, the world’s most comprehensive search engine of unclaimed royalties and music licenses.

In 2019, at 34 years old, Billboard named me a Digital Power Player and the US Copyright Office invited me to speak at it’s Unclaimed Royalties Kick-off Symposium in Washington, D.C. to share my thoughts and advice on how the recently designated The Mechanical Licensing Collective ought to go about conducting partnerships and outreach to identify, reach, and engage independent music creators in accordance with the recently passed Music Modernization Act.

In 2020, at 35 years old, I became the Head of Third-Party Partnerships at The MLC responsible for, among other things, developing and implementing initiatives related to the recommendations that I had made months prior at the symposium.

In 2022, at 37 years old, I built and launched the Distributor Unmatched Recordings Portal (DURP) which is a first-of-its-kind platform enabling independent music distributors from around the world to gain visibility into the recordings they’ve released for which The MLC has royalties on hold for their artists. The first artist who was identified and paid nearly $20,000 in back royalties was RØNIN in Perth, Australia.

And in 2024, at 39 years old, I am honored to have been nominated as a Maestro of Metadata finalist for the upcoming Music Business Association’s Bizzy Awards (it’s like the GRAMMYs for music industry professionals).

This nomination culminates my life’s work (so far).

This is what “overnight success” looks like.