Elevate. Influence. Define.
Harnessing Decades of Music and Media Expertise to Empower Visionaries
Grounded in music industry experience, we amplify visionary brands with strategic storytelling.
Principles That Guide Our Strategic Vision
At Ascensios Impera Collective, our guiding principles drive every strategy and interaction. We emphasize authenticity, visionary leadership, creative collaboration, and a dedicated pursuit of cultural influence that stands the test of time.
Who We Are
Highly qualified and motivated professionals
Dominique believes success isn’t something you’re given—it’s something you build through discipline, resilience, and service. As a music producer, recording engineer, entrepreneur, and artist manager from Kansas City, MO, he's dedicated himself to creating opportunities not only for himself but for the people around him. Through his studio, he helps independent artists develop their talent, record professional music, and pursue careers that can change their lives.
His journey has been shaped by adversity. Instead of allowing setbacks to define him, he's used them as motivation to grow stronger, become a better leader, and build businesses that create lasting value. Every obstacle has reinforced his belief that education, creativity, and perseverance can transform communities.
He's pursuing higher education to strengthen his business, leadership, and technical skills so he can expand his impact. His long-term vision is to build a multimedia company and community resource center that provides affordable recording services, music education, film production, financial literacy, and mentorship for young people and aspiring entrepreneurs who may not otherwise have access to these opportunities.
Dominique doesn't measure success only by personal achievements—he measures it by how many people he can help reach their own potential. His goal is simple: create a legacy that proves where you start in life never has to determine where you finish.
Independent Artist Jadea Kelly Uses Streaming Strategy to Build Career
Independent singer-songwriter Jadea Kelly has used digital distribution and a consistent single-release strategy to build an international music career without relying on a major record label.
Kelly discussed her approach during a July 27, 2026, interview on What’s the Key? with Broadway B, where she explained how digital distribution, streaming and releasing individual singles have helped expand her audience. The interview comes as streaming continues to dominate the U.S. recorded-music industry. According to the Recording Industry Association of America, U.S. recorded-music revenue reached $6 billion during the first half of 2026, with streaming generating $4.9 billion, or 82% of total revenue. (MusicRow.com)
“I’d say the key to high streaming for me has been working with the digital distributor. I work with Tone Tree in Nashville and I’ve worked with them about 6 or 7 years,” Kelly said during the interview.
Kelly’s experience reflects the growing importance of digital platforms for independent artists seeking to reach listeners without traditional label support. Her official biography states that her music has earned millions of streams and appeared on editorial playlists from Spotify, Apple Music and Amazon Music. Her work has also received placements in television and film projects, including “Station 19” and Lifetime productions. (Jadea Kelly)
The Toronto-born artist has also developed a release strategy centered on singles rather than depending solely on traditional album campaigns.
“I think as independent artists without major labels you have to do the single strategy and for me it has worked so I’m very grateful for that,” Kelly said.
The strategy comes as streaming continues to provide the largest source of recorded-music revenue in the United States. The RIAA reported that paid subscriptions generated $3.4 billion during the first half of 2026, increasing 6.4% from the same period in 2025. (MusicRow.com)
Kelly’s career also includes touring and collaborations with artists such as Judy Collins, Catherine MacLellan, Ryan O’Reilly and Royal Wood. Her official biography lists performances across Canada, the United States and Europe, along with sync placements and editorial playlist features. (Jadea Kelly)
Authenticity
We believe genuine stories resonate deeper and build long-term trust with audiences and partners.
Strategic Leadership
Taking a visionary and informed approach to position clients as influential leaders in their fields.
Collaboration
Fostering creative partnerships that combine diverse talents and perspectives for greater impact.
Discover Our Approach to Elevating Influence
Discover the values and innovative methods that position our clients as cultural leaders and change-makers.
A Place to Rest: Lasharica Ross Gives Foster Families Relief Through Respite Care
When a child arrives at Lasharica Ross’ home for respite care, one of the first things she does is show the child where they will sleep. She gives them a tour, explains the expectations and allows them time to become comfortable in an unfamiliar place.
As a group home owner-operator in Shawnee, Kansas, Ross provides respite care for foster children while giving foster families an opportunity to step away and recharge. The Kansas Department for Children and Families defines respite as temporary care intended to provide relief to a family. For Ross, that relief is about more than giving parents a break — it is also about giving children a supportive place where they can feel comfortable and cared for.
Ross’ path to respite care began in social work. Through her work in case management, she said she realized she could have a greater impact by providing a home where children could receive care and support.
“I felt that I could be more valuable by housing and respiting children,” Ross said.
Respite care can provide foster families with temporary relief while they continue caring for children with complex emotional and behavioral needs. Kansas DCF reported that 5,523 children were in out-of-home placement statewide on Sept. 30, 2025. The agency also notes that children in foster care can have significant developmental, physical and emotional needs.
Ross said her role is to provide relief for homes dealing with difficult circumstances.
“My main objective is to keep kids out of the foster care system,” Ross said.
Ross said one of the most important lessons she has learned is that children who have experienced difficult situations cannot all be approached in the same way.
“They all have unique experiences,” she said. “No everybody’s experience is not the same and everybody’s perspective is different.”
That individualized approach is something her son, Ty Ross, has observed while watching his mother care for children in their home.
Ty described his mother as someone who provides emotional and practical support and said she is open, communicative and helpful. He also said she treats the children who come into the home as she would treat her own children.
“Treat others how you want to be treated,” Ty Ross said, describing the approach he sees his mother take with the children.
Ty also believes people can misunderstand respite care by viewing it as simply another form of day care. Kansas DCF guidance distinguishes respite care from ordinary babysitting and identifies respite as substitute care for children in foster care.
For Ross, the work can be challenging because caring for children with difficult experiences requires her to manage her own emotions while remaining available to the children.
“The most challenging part is being able to work with these kids, even though you’ve got your own triggers and your own things that you deal with on a daily basis,” Ross said.
Despite those challenges, Ross said she tries to leave each child with something positive from their time in her home.
“I try to plant seeds with each one of my children that comes into my home,” she said.
Those seeds may be small — a safe place to sleep, patience, understanding or simply the experience of being treated with care. For Ross, they are part of the reason respite care matters.
“We all need relief,” Ross said. “Parents need relief too.”
From Studio to Streaming: How Independent Artists Release Music
From Studio to Streaming: How Independent Artists Release Music
A finished song is not necessarily a finished release. Before listeners can find an independent artist’s music on a streaming service, the recording must be delivered through a distributor, accompanied by accurate metadata and properly identified. After release, artists can use streaming-platform tools to pitch music, understand audiences and monitor performance.
The process matters because streaming has become a major part of the recorded-music business. Spotify reported that more than 71,000 artists generated at least $10,000 in Spotify royalties in 2024, while independent artists and labels collectively generated more than $5 billion on the platform. (Spotify for Artists)
Getting Music Onto Streaming Services
Independent artists generally use a distributor to deliver recordings to streaming services. Spotify explains that distributors deliver music to the platform and typically handle the payment of recording royalties to artists according to their agreements. Artists also need accurate information about their releases, including titles, credits and other metadata. (Spotify for Artists)
Another important part of the process is the International Standard Recording Code, or ISRC. The U.S. ISRC Agency describes the ISRC as a unique and permanent identifier for a specific sound recording. The identifier stays with the recording regardless of whether it appears as a CD, download or stream. (US ISRC Agency)
Source: U.S. ISRC Agency — How It Works
How Listeners Discover New Music
Getting a song onto a streaming service is only one part of a release. Artists also need ways for listeners to discover their music.
Spotify for Artists allows artists and their teams to pitch unreleased songs to Spotify playlist editors. Spotify says artists can provide information about a song’s genre, sound, location, story and collaborators when submitting a pitch. The platform also provides analytics that show how listeners discover and interact with an artist’s music. (Spotify for Artists)
Spotify says playlist pitching is available to all artists and that a song must be unreleased when it is submitted. The platform does not guarantee that a submission will result in playlist placement.
Source: Spotify for Artists — Playlisting
How Streaming Royalties Work
Streaming royalties can involve more than one type of right. Spotify identifies recording royalties and publishing royalties as two separate categories.
Recording royalties are paid to the owners of sound recordings through the label or distributor that delivered the music. Publishing royalties are associated with the underlying musical composition and can involve songwriters, publishers, performance rights organizations and mechanical agencies. (Spotify for Artists)
Spotify also explains that it does not use a fixed per-stream royalty rate. Instead, recording and publishing royalties are calculated using each rightsholder’s share of total streams, or “streamshare.” The amount an artist ultimately receives depends on agreements with labels, distributors, publishers and other rightsholders. (Spotify for Artists)
Source: Spotify for Artists — Royalties Guide
Understanding the Release Process
For an independent artist, releasing music involves more than uploading an audio file. Distribution, accurate metadata, recording identification, playlist pitching and royalty administration are connected parts of the digital release process.
Artists and managers can learn more through Spotify for Artists, which provides information about releases, playlist pitching and artist analytics. The U.S. ISRC Agency also provides information about identifying sound recordings. Understanding these systems gives independent artists a clearer view of the business processes behind a digital music release.
PHOTO CREDIT: MONOTYPE PRESSING
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