JJ Tyson’s path into music started the way most teenagers’ dreams do — with a drum kit at 15 and some high school friends ready to jam. What’s happened since then reads like a rock autobiography that nobody saw coming.

The Pennsylvania native, who proudly notes his home state produced Poison, Halestorm, and Live, spent years drumming for popular local bands before stepping away for two years to write his own material. That break changed everything. When he reconnected with a former bandmate and released “Walk Away,” the song exploded online, racking up over a million views and birthing Black Water Greed.

“The popularity skyrocketed,” Tyson recalls. “Magazine covers, interviews — it all happened fast.” But success brought its own complications. Internal tensions split the band apart, leaving Tyson at a crossroads.

Rather than retreat, he pivoted. Working with producer David Mobley, he created The Tyson-Mobley Project, an album that performed well enough to convince him solo work was the next step. Four solo albums followed: “Back from the Ashes,” “Digital Mine Crime,” “The Other Side of Me,” and his latest, “Cellar Dweller.”

Released August 1st, 2025, “Cellar Dweller” doesn’t pull punches. The 18-track album stretches over an hour, diving into trauma, betrayal, and personal demons with the help of studio band Crosswindz and co-executive producer Mobley. Songs like “Unleash the Rage” and “Haunted Hallways” tackle isolation and survival head-on — no sugarcoating, no easy answers.

But here’s where Tyson’s story gets interesting. While “Cellar Dweller” delivers hard rock intensity, he’s simultaneously working on his second Christian album, “Army of Faith,” due late September, plus a Christmas album featuring 12-14 original songs scheduled for November. It’s a range that would give most artists whiplash.

The reason becomes clear when Tyson talks about his fans. “I write meaningful lyrics that have touched a lot of hearts,” he says. “Hopefully my message can help them cope with issues they may have.” He shares stories of listeners who’ve told him his music helped them through breakups and toxic relationships. One fan said he “wrote her life in five minutes.”

Looking ahead, there’s talk of touring in mid-2026, though for now, the focus remains on perfecting the music. His message to fans mixes rock attitude with spiritual conviction: “I love my hard rock roots but I love my messages I put in my Christian songs, to spread the word of God to the world. This world is falling apart and we need to pull together and love one another.”

His advice for others cuts through the typical music industry noise. “Just do your own thing and what makes you happy — it reflects on your fans, and they are the ones that make you or break you. Stay focused and loyal.” It’s the kind of wisdom you only get from someone who’s watched a band implode at peak success, rebuilt from scratch, and discovered that authenticity matters more than any genre boundary. The guy making rage-filled tracks about personal demons is the same one writing Christmas songs and Christian albums about bringing people together.

What stands out is how he treats fan loyalty as a two-way street. They’re not just consumers — they’re the reason he keeps pushing boundaries between hard rock and worship music, between anger and healing. When someone tells you your song helped them leave a toxic relationship, that changes how you approach your craft. Tyson gets that. He admits it’s been a long road, crediting the right connections and people along the way, but ultimately his message stays consistent: stay true, stay focused, and remember who you’re really making music for.

Fans can find Tyson’s music across platforms including YouTube, Spotify, Apple Music, Pandora, and connect on Facebook.

When Daniel Hartnett first heard the term “corporate thief” in a Michael Moore documentary during the 2007-2008 financial crisis, he had no idea it would become the foundation of his music career. What started as a casual YouTube channel name has become something much bigger—a go-to spot where struggling hip-hop artists can actually find affordable beats without getting ripped off.

Hartnett’s path to hip-hop production wasn’t conventional. Growing up in Ireland, his mother encouraged him to explore various instruments, from the tin whistle and accordion to keyboards and guitar. At 13, he formed a grunge band with friends, teaching himself guitar and developing what he didn’t yet realize was a natural musical ear.

“I was all about grunge and barely gave any other genre a chance,” Hartnett recalls. Everything changed when his college friend Mike handed him a laptop loaded with FL Studio and introduced him to Kid Cudi’s debut mixtape, “A Kid Named Cudi.”

That single moment completely shifted his musical world. Cudi’s vulnerable, honest approach to hip-hop hit different—it felt genuine in a way that resonated with people his age. Combined with Kanye West’s “808s & Heartbreak,” these influences began reshaping how Hartnett thought about making music.

The switch from acoustic performer to beat maker wasn’t planned. Before long, he was uploading type beats like mainstream rappers, along with trap beats and pop instrumentals, to YouTube under the alias “The Corporatethief Beats.” He’s always been fascinated by stories of white-collar crime—documentaries like American Greed or films like Wall Street really influenced his branding. That’s why you’ll find beat packs and mixtapes on his site with names like Greed I$ Good, Money Never Sleeps, and Anacott Steel.

What gives Hartnett an edge in today’s crowded beat-making world is something many producers don’t have—he can actually play instruments. While most rely entirely on software, his years of playing everything from tin whistle to guitar taught him how melody and harmony actually work.

“Having a musical ear gives me a definite edge,” he explains. “Many beginner producers struggle to tell when a note is off or when two sounds clash. That intuitive understanding has saved me countless hours in the studio.”

His creative process always starts with a concept. Whether it’s a specific mood, an artist he wants to channel, or just a moment he’s trying to capture, Hartnett needs that spark before he can stay focused and inspired.

After teaching himself the basics, Hartnett decided to get serious about his craft. He studied Music Technology at Galway Technical Institute, then moved to Dublin for the Academy of Sound, where he learned proper studio techniques with Logic Pro, Pro Tools, and actual analog equipment. By 2015, he had a four-year Higher Diploma and the technical chops to back up his natural talent.

These days, 99% of his beats happen in Logic Pro—he just loves how it works. When he’s engineering for bands, though, he switches to Pro Tools since that’s what most professional studios expect. Having both skills means he can work on whatever project comes his way.

Here’s where Hartnett saw a real problem: independent artists were getting screwed by beat licensing. Basic leases cost $50-$100, often with confusing contracts and multiple pricing tiers that didn’t make sense. Artists would buy a beat, then discover they needed to pay more for different usage rights.

His answer was Rap Beat Packs—bundles with anywhere from 10 to 150 beats covering trap, boom bap, drill, and pop. Every beat comes with unlimited licensing for one price. No fine print, no upsells, no surprises.

“Producers these days tend to overcomplicate things with five or six different license tiers,” Hartnett notes. “I’ve tried to make everything simple, clear, and affordable for serious artists.”

Beyond making beats, Hartnett has become something of a teacher. His “Rap Lyricist’s Handbook” runs over 250 pages, packed with real advice on writing, recording, and marketing music. It includes QR codes for bonus content and works more like a reference guide than something you’d read straight through.

His website has become the place artists go when they need help—beat packs, production tools, marketing courses, ebooks, and blog posts that actually explain how to get your music heard. It’s designed for artists who want to build real careers, not just chase viral moments.

Hartnett has worked with artists like Kid Berg, Sam May, and Ricky T, plus collaborated with producers like Lazy Rida Beats. His dream team? Kanye West, Kid Cudi, and Drake—the three artists who basically shaped his entire approach to music.

His advice for aspiring creatives gets straight to the point: learn to market yourself, ignore sketchy promo deals, and don’t be ashamed of having a day job. Most importantly, stop obsessing over numbers that don’t matter.

“Stop obsessing over likes, views, and vanity metrics,” Hartnett says. “Focus on making genuine connections and building a fanbase that actually cares about your music. That’s how real growth happens.”

While the hip-hop world keeps changing, Hartnett stays focused on what matters—making quality beats and helping independent artists succeed. He doesn’t get caught up in who’s-the-greatest debates or industry drama.

His real message to struggling artists? “Stay grounded. This industry will test you, especially if you’re selling beats online. Just keep showing up, stay focused, and always keep learning.”

For more information about The Corporatethief Beats and available resources, visit the official website or follow on YouTube and X/Twitter.

Vienna proved once again why it’s called the world’s spy capital when it hosted the glittering premiere of “Spy Capital 2” this summer. The Artis International Cinema became ground zero for what turned into one of the city’s most exclusive entertainment events, drawing an impressive crowd of 220 guests from the worlds of film, politics, and international diplomacy.

The Austrian capital’s reputation as an espionage hub made it the perfect backdrop for this provocative sequel in the critically acclaimed docu-drama series. The premiere transformed what could have been a routine film screening into a high-stakes social event that perfectly captured the intrigue and sophistication associated with Vienna’s shadowy international reputation.

Under brilliant sunshine, the day kicked off at noon with a red carpet ceremony that set the tone for everything that followed. Yingying Wang‘s live saxophone performance created an enchanting atmosphere as the cinematic aura began building around the venue. The guest list read like a who’s who of European society and international intelligence circles, with high-profile attendees including key cast and crew members, press representatives, dignitaries, and notable figures from film, fashion, politics, and diplomacy.

Luxembourg’s Ambassador Jean Graff and members of the historic Habsburg-Lothringen family were among the diplomatic contingent, lending an air of old-world elegance to the proceedings. What really caught attention was the rare public appearance of former BVT officer Egisto Ott, who typically keeps a low profile but showed up with his wife, posed for photos, and even did interviews—a significant departure from his usual discretion.

The carefully orchestrated timing continued as a select group of VIPs arrived at 12:15 after a pre-reception at the nearby Hyatt Hotel, seamlessly joining the formal red carpet presentation. Producer Dennis Dewall took the stage at 12:50 to thank sponsors before introducing the main players: director and intelligence historian Boris Volodarsky, security experts Ott and Gert R. Polli, profiler Suzanne Grieger-Langer, and actresses Silvia Schneder and Maria Tischenko.

The 80-minute screening started promptly at 1:00 p.m. and ended to enthusiastic applause at 2:20 p.m. But the real intrigue continued aboard the opulent Majestic Imperator Train de Luxe, where 120 select guests enjoyed an afterparty on the vintage-style train. The early evening celebration featured sparkling drinks, elegant hors d’oeuvres, and what many described as a unique opportunity for intimate conversations with the film’s cast and creators—the kind of access that money can’t usually buy.

The train setting proved perfect for the kind of discreet conversations that Vienna’s intelligence community has always favored. Guests found themselves discussing not just the film’s artistic merits, but the real-world implications of the story it tells. This atmosphere of sophisticated intrigue set the stage for deeper conversations about the film’s most compelling figure.

The most fascinating aspect of the premiere centered on Dennis Dewall‘s dual role as both producer and the actor portraying Jan Marsalek, the enigmatic former Wirecard COO who remains one of Europe’s most wanted fugitives. In interviews throughout the day, Dewall revealed the extraordinary lengths he went to understand his subject, including actually speaking with Marsalek himself during production.

“Marsalek isn’t a classic villain,” Dewall explained to the assembled press. “He’s a chameleon, a puppet master. I didn’t just want to show who he was—I wanted to explore why he became that way.” His approach to the character went far beyond typical method acting, incorporating real research and genuine risk-taking that few productions would attempt.

The film’s authenticity comes from real locations and high-level expert interviews. Dewall’s team went so far as to film at Marsalek’s former Munich villa, though the production faced significant obstacles along the way. The producer-actor revealed he’d had direct contact with Marsalek’s alleged confidant, Stanislav Petlinsky, and that chilling phone call from a Portuguese number—a moment that’s actually depicted in the film.

The movie delves deep into Marsalek’s complex persona using authentic intelligence analysis and interviews with experts including profiler Suzanne Grieger-Langer and former KGB recruiter Sergei Zhirnov. “We’re not glorifying him,” Dewall stressed. “We’re asking questions. This isn’t propaganda; it’s provocation. Art must provoke.”

This commitment to provocation came at a significant cost. What makes this project particularly bold is its complete independence—no public funding meant total artistic freedom, but also significant legal and political risks. The team encountered what Dewall cryptically called “interesting inquiries” along the way, facing resistance and scrutiny that underscored just how sensitive this subject matter remains.

“Marsalek is a metaphor of our times,” he noted during the premiere discussions. “He’s global, invisible, and networked—he’s not a relic. He’s a prototype.” The film serves as a cinematic investigation into power, manipulation, and disinformation, though Dewall insists the audience must draw its own conclusions. “We show the mirrors. You decide what you see.”

The success of the Vienna premiere has already set wheels in motion for the franchise’s future. The Spy Capital series isn’t slowing down, with a third installment focusing on AI, cryptocurrency, and information warfare already in development. There’s also a new spy thriller feature film based on “The Black Book of Sexpionage” set to begin production this year, promising international talent and a focus on covert operations in our digital age.

As Dewall put it during the premiere: “This story isn’t over. It’s playing out every day—in new suits, new countries, and under new names. And we’ll be there to tell it.”

For those wanting to catch up before the sequel drops, the original “Spy Capital: Vienna” is still streaming. German and Austrian viewers can watch it on Amazon Prime Video, while audiences in the US and UK can find it here.

The Vienna premiere proved that sometimes reality truly is stranger than fiction, especially when the cameras are rolling in the world’s unofficial spy capital. The event will be remembered not just for its star-studded elegance, but for sparking conversations that cut to the heart of today’s geopolitical intrigue.