When I began my Entertainment Business master’s degree, I already knew what it felt like to release music independently. I had spent years building POET, making music videos, booking shows, and handling a lot of the work that happens behind the scenes. What I wanted to understand better was how to take that creative work and build a more sustainable business around it. For this publishing and distribution course, my working goal was to get more deliberate about how I release, present, protect, and pitch the work I create.
One of the biggest things I have taken from the course is that finishing a song or video is only one part of the process. Distribution gets the work into the marketplace, but it does not automatically create an audience or an opportunity. The strategy behind a release matters just as much: who it is for, how it is positioned, what supporting materials are ready, and what happens after it goes live. That distinction sounds simple, but it has changed how I look at projects I have already completed.
The assignments made that especially clear. I developed a professional inquiry aimed at music representation and then built supporting press materials for POET. Working on those pieces forced me to look at my project from someone else’s perspective. An agent or music supervisor does not have the same personal attachment to a song that I do. They need to understand the sound, the audience, the professional history, and whether the material fits an actual opportunity. I also realized that a polished press kit is not just a collection of photos and accomplishments. It should make the next step easier for the person reviewing it.
The discussion about aggregators was relevant because I have used digital distributors in the real world, including CD Baby, and have evaluated other options as POET evolves. The lowest upfront cost is not always the best long-term choice. Release frequency, recurring fees, commissions, catalog continuity, reporting, and ownership all deserve attention. I want to make those decisions with a clearer understanding of what I am paying for, rather than choosing a service because it is familiar or convenient.
I also see a stronger connection now between my work as a musician and my work as a director. The music, videos, photography, websites, and promotional assets should reinforce one another. My personal portfolio at AidenTShaw.com establishes my identity as a director and creative professional, while POET has its own artist-facing presence at PoetTheBand.com. Keeping those brands distinct but connected makes it easier for different audiences to understand what I do.
Going forward, I plan to use a repeatable release checklist: confirm credits and rights information, choose the right distribution arrangement, prepare artwork and metadata, organize promotional assets, and build a focused pitch before launch. I also want to keep my portfolio current with work that shows both creative execution and business judgment. The course has helped me move away from treating publishing and distribution as the last step of a project. I now see them as decisions that should shape the project much earlier.
