Beat-Play Press Machine

Whenever I go to a music store or website, I always see Hip hop and Rap in the same section, and many times the terms are used interchangeably.

When you bring up this subject to people, there are many different responses. Most of the time people equate Hip hop to being the older of the two, as the real foundation for the genre. People also say that Hip hop has more of a Jazzy, upbeat feel. Rap, according to most people, is anything made after 1994. Most of what came before is considered Old school hip hop.

Some people say Hip hop is Dead. "Rapper" Nas claimed this a while back. I disagree..and I also don't consider Nas a "Rapper," though he is commonly referred to a one.

You may or may not know but I'm an independent artist myself. I actually happen to be a lyricist that mostly writes hip hop lyrics, but I also do some Rock and R&B. I would never classify myself as a rapper though, simply because of the bad connotations that the word is associated with. When I say connotations, I mean the subject matter that is in the songs.

The REAL difference between the two categories is lyrical content. Rap, I classify, as being a genre that focuses on particular concepts over and over again. The subject matter never really changes very much. It is almost like Rap is a mass produced form of music, and the artistic dynamic to the music is often lost.

However Hip hop on the other hand, which is still very much alive (overshadowed, but alive), has a greater value to the listener. It offers poetic and often insightful lyrics that give you a second reason to want to listen. Take a look at one of my favorite Hip hop lyricists, Emmanuel Jackson in the video below. He's unknown right now, but look out for him in the next couple years. Hip hop will be making a huge comeback. His style is also the closest to my own that I have ever seen and I have tremendous respect for his art.

[youtube=http://www.youtube.com/watch?v=tA8jnNts4ms]

I hope this post cleared this issue up for a lot of people. Rap is a mainstream pop genre that goes through fads faster than an elementary school, and Hip hop is a fundamentally pure art form who's roots are so deep that it will never really die. In fact, I think Rap may be in danger pretty soon, especially with people like Emmanuel Jackson emerging, who happens to feel the exact same way as me on the subject. The REAL difference is all about the REAL.

P.S. I should have a EP out by the end of the year ;)

Written by: Dante Cullari (aka ilL principe) Found and President Beat-Play, LLC

I recently had a phone conversation with Brian McTear, the Founder and Director of a brand new non-profit called Weathervane Music (http://weathervanemusic.org/projects).

I had heard about them from a friend, and after looking at their website, I was very intrigued, so I decided to contact them. When on the call, Brian and I talked mostly about my business model, Beat-Play, (http://musicwithoutlabels.com) and about some other alternative industry models. After my discussion with Brian, I was still a little curious about his non-profit model. I knew that it has amazing potential, but I needed to know more. I sent Brian an email with some questions...These are his answers:

What is the Weathervane Music Organization? What is the overall Goal of the project?

Weathervane Music is a small nonprofit organization determined to support and promote independent music in our society, and in doing so to bring about career changing opportunity for the sophisticated artists that participate in our programs.

Weathervane hopes also to have an influential role in the emerging new models for the music industry. We’ve pinpointed several details in the traditional industry model that are still essential to future models, but that are less and less supportable in the for-profit industry. These include artist selection, project funding, and artists advocacy (roles once reserved for record labels exclusively in the past). Weathervane’s programs revolve around these details, but since we prioritize the artists’ potential career success, we realize that the content we create must be easily licensable in the for-profit sector while insuring that the artists who make the music retain the majority of the financial benefit from revenues generated by the recordings.

Our first major project is a series of audio and video recordings produced for the web called The Weathervane Music Project Series. The series features a limited number of select artists each year. Weathervane provides recording studio time for the artists, for now to record a single song with a producer and staff. The session is also recorded in high definition video, with a focus on the artists and their vision for the music, while highlighting the technical and creative processes in the studio.

We launched the Project Series in June of 2009, on our website, http://weathervanemusic.org/projects.

Can you tell me what experience you bring to the project?

I’ve been a record producer and engineer for the past 15 years. I work out of Miner Street Recordings, my recording studio in the Fishtown neighborhood of Philadelphia where I’ve recorded somewhere in the realm of one hundred records in that time.

Who came up with the idea and where did the name come from?

I came up with the idea for Weathervane back in 2002 with my friend Matt Pond (of the band Matt Pond PA). A year later began developing the idea with my high school friend Bill Robertson.


Why did you see a need for a model like Weathervane?

Over the years I’ve been building a great recording studio, while nurturing my own career as a musician and producer. By the mid 2000’s it just wasn’t adding up. I had more and more critically acclaimed albums under my belt, but artists just weren’t selling records. Obviously we know peer to peer was depleting record sales, but I had a sense, even back then, that the industry wouldn’t last much longer, at least the industry that all of my aspiring artist friends were working so hard for.

It was clear that labels were going to pay less and less money for artists to record, and that soon, there’d be no incentive to support unknown artists. It seemed the only way we as a society would have great new independent music would be if society itself could support unknown artists. Nonprofit seemed the way to go. Of course I had a LOT to learn, because it’s not simple…nothing is.

How many people are currently involved in Weathervane’s operations?

There’s five of us: Myself, and Bill, and then we have a grant writer, a PR/Marketing manager and a web designer.

How old is Weathervane?

The idea goes back to 2002, but Weathervane launched last year in 2009.

What are some struggles Weathervane has had to face in trying to be successful in its goals?

Money. Plain and simple. They say you have to spend money to make money. Well, you have to spend a hell of a lot more money to make money in a nonprofit model.

What are some successes Weathervane has had?

We’re young. I think the Project Series has been a success so far. At the very least it’s a great start, but we have a long way to go. We’ve also been successful in assembling a great board and have had encouraging interest and support from other organizations and corporate sponsors.

How is Weathervane able to support itself while giving such a tremendous value to the artists for free? Who are your biggest contributors?


The project series was funded by a small group of founding financial donors and corporate sponsor who provided recording gear to the sessions. The actual money we’ve raised so far has come from about ten people, but that couldn’t begin to cover the expense of the amazing audio and video technical crew, and professions who donated their time and services.For future Project Series, we’re working on building a membership program that would allow fans of the series and of the organization in general to support the costs (similar to the way Public Radio and TV is supported). We’ll continue to apply for grants from nonprofit and government arts programs, and we’ll continue to grow our corporate sponsorship relationships.

How does an artist get chosen by Weathervane?

The Project Series is a curated program, meaning that each year there are a limited number of available artist slots, and one person, ie. the curator, selects those artists. I functioned as the curator in our first year. Next year, and each year from here forward, a selection committee within Weathervane will select a new curator. That person will have the strongest effect on the shape and feel of the Project Series.

How does Weathervane go about marketing and promoting the artists they select, once they have been professionally recorded and produced?

That’s what we’re working on, and we’ll probably continue to work on forever. Right now we use the free open sources of the web. We are working to collect data about our audience that we can maintain and take with us in the future (this is often referred to as “data portability”, and it’s a concept that anyone building a community with the internet needs to be aware of). For now we are building an email list. Additionally we’re continually building a fanbase through Facebook, twitter, etc.


We’ve had early success with public radio in Philadelphia, particularly WXPN, which is listener supported radio from the University of Pennsylvania. We’ll continue to reach out to public radio as well as traditional print press as well.

What are the plans for the future of Weathervane? Do you wish to expand into other cities eventually?

I guess what people need to understand is that Weathervane features artists from potentially all corners of the earth. Though it takes place in Philadelphia, and though part of our mission is to shine light on the Philadelphia independent music community and its production resources, but it is not exclusive to Philadelphia artists. Our first artist, Sunset, came to Philadelphia from Austin Texas.

What is your view of the future of the music industry? Where do you see it going?

I am not sure how the industry itself will work, but I am sure that successful artists will derive income from a portfolio of revenue sources as opposed to a single source (ie. “record sales” as it once was in the past). Artists will be much more likely to be independent of large organizations, and will maintain their revenue portfolio almost the same way a stock portfolio works in a mutual fund. Long story short: artists will have to be MUCH smarter than they had to be in the past.

I have a strong belief in the efficacy of our model as one of many possible models for bringing music to society and opportunity to artists. There will always be for-profit industry, and we’re not trying to bring down the system. We’re really trying to strengthen it.

My Analysis:

Weathervane Music is a GREAT example of the love, respect, and courage that people have towards music in general. That someone could not want to see the day that independent artists are extinct, so much that they developed a model where society could, through this shared love and respect for music, support all of its growth and development in the most direct and basic ways, is a testament to the spirit of music itself and the impact it has had on nearly every single person on the planet. We must believe in this. I hope to see this model in some shape or form, expand throughout the world.

However, this model does have some hurdles to jump over in order for it to be successful. One of the big ones Brian talked about above was promotion. That seems to be a big toss up no matter who you ask…Unless you ask me. I like to tackle things from a bit of a broader perspective.

For me, the Independent Music Industry is missing 6 Crucial Pieces of the Puzzle in order for it to be successful as a whole, on all levels:

Piece # 1: Cheap, Effective, Wide-Spread, Easily Accessible, Fun & Customizable Promotion

Piece # 2: Multi-Platform, Multi-Revenue-Stream Distribution

Piece # 3: Easy, Independent, Wide-Spread and Cheap Concert Booking

Piece # 4: A Solution to the Piracy/Music Sharing Issue

Piece # 5: An Alternative Investment Source for Independent Artists to get their Music Professionally Recorded, Mixed, and Mastered

Piece # 6: ONE solid artist/fan interface where fans can stay in touch and updated with their favorite artists. (Myspace not so stable?, Facebook not so Music?) More info on why we need this: The Invention of the Toolbox, and How it can Save Music

If we don’t get ALL of these pieces in place, and soon, we will fail. However I don’t think failure is in our future. I’ve actually designed my model around these missing pieces, and it turns out that Beat-Play itself can put into place at least 4, but 5 if necessary, out of the 6 pieces. The only one which Beat-Play can not itself put into place, is number 5. But it turns out that Weathervane Music’s model fits this need fairly suitably. The only thing that could be better would be a non profit that provides free studio recording time and production for ALL independent artists, any time and anywhere, but something tells me that is a long way off. For now, Weathervane music is a great alternative.

The One Suggestion for Weathervane that I would make, as fellow Industry Model Creator, would be to spread slowly to other cities, and eventually have each city's headquarters be focused on the artists in that city. I think lot of people and cities could really use that. This way there would be more artists selected over a greater area and also more funding resources. The organizations impact could increase greatly. But for now, while just in Philly, it does make sense to branch out and allow for artists to come from all over to take part.

Thanks to Brian McTear for this interview and discussion opportunity.

To Donate to Weathervane go to: http://weathervanemusic.org/

To Check out their Artists & Videos go to: http://www.youtube.com/user/WVmusicOrg

To Learn More About Beat-Play go to the BeatPlay Beta Overview.

To Sign up as a BETA TESTER for Beat-Play This April 2010, and to get FREE PROMOTION go to: http://musicwithoutlabels.com

Written by: Dante Cullari - Founder & President, Beat-Play LLC

On December 28th, 2009 Music Without Labels & Beat-Play asked the public (using reddit), “What needs to happen in order for music to become free and the artist still get paid?” This is a very controversial topic right now seeing as piracy is one of the leading issues in the music industry today. Here is what some of the social media world and redditters had to say about this topic:

-Jigsus States:

“Musicans should make money in one way only; Concerts! If a musician writes a song, then he is entitled to be paid if some other band plays it in a concert.”

Musicians will continually reach out for money in other areas rather than limiting their income to shows alone. The artist is always deserving of profit based on the quality and popularity of the music, along with making money from merchandise sales. The artists do not have enough promotion to stay alive without being under a major label. This system can be beaten through modern technology online, where new music is heard at all times based on the interests you have in the music world. The music will be pumped out to new listeners at all times, doing exactly what any musician could ever want to promote their music, while giving them the percentage on music sales that is rightfully deserved.

-Guitarbuddy states:

“Most musicians supplement their music income with teaching and other non-music jobs. I am surprised by how often the ‘music should be free’ crowds rely on corporate products such as cigarettes, junk food, and mass produced beer.”

Artists today do not have an engine or any other outlet that allows them to produce the large amount of publicity found with the record labels. These promotional advantages found with the labels are greatly paid out with a large majority of the income paid back to the label. Therefore, most independent artists do not really excel on sites such as iTunes, barring in mind that they also lack in the fan base to produce a livable income.

-jmnugent states

“We have to break away from this ‘MTV cribs’ culture… The music industry is a victim of the same ‘cancer’ that is affecting lots of other parts of modern culture. We’ve developed this insanely resource-hungry ‘middle-structure’ that is greedy and unnecessary.”

The lavish life-styles expected are still foreseeable in a business model such as the one discussed above. The only difference is that the fans themselves finally determine the outcome of the artists’ success, rather than who is under the best label with the largest contracts. This way we won’t be forced to see the same musicians all the time when there is always an influx of extremely talented artists out there at all times, waiting to be heard.

-beefjerkier states:

“There needs to be an increase in the cost of online advertising.”

I believe the cost will go up with perceived value of a product (artist popularity). There also needs to be a system set up where artists have multiple ad streams, for example; they can track the visits to their profile, video plays, radio plays, blog views, ect… These all can be tied to a specific ad model, while being factored in with shows (which artists can begin to charge for tickets to online streams) and merchandise.

The push to create a model for music to become free and the artists to continue to make money is very popular right now. Here at Music Without Labels & Beat-Play LLC, we have the answers to the Music Industry problems today, and we are coming to you with the first online engine for independent musicians of its kind.

Written By: Mark G. Valente | Director of Operations | Music Without Labels & Beat-Play LLC

So as I'm sure you have heard, BMI has filed a lawsuit against a small Idaho sports bar for neglecting to pay licenses for playing songs specifically by major label contractee Taylor Swift. It never fails to amaze me how licensing companies like BMI, ASCAP and SEASAC don't hesitate at a chance to sue considerably smaller establishments for lack of "proper licenses." What is more shocking though, is the fact that though Taylor Swift is named as a plaintiff in the suit, she technically will have no say in the proceedings and probably won't even be present for any hearings. BMI will control all aspects of this case, seeing as they pay substantially for full-time teams of impenetrable lawyers, just for such an occasion. It is also worth noting that WHEN BMI either wins the suit in court or as a result of a settlement, Taylor Swift will directly receive no monies whatsoever.

The reason these cases are NEVER lost by these titans of trickery is because they stand behind one of the oldest and most well established laws of our time: Copyright Law. For a judge to throw out this case would be the equivalent of throwing out the whole almost 100 year old law all together, in terms of setting precedent, and this simply won't happen. Unfortunately these companies are also well aware of this fact, and they tend to use this weight to throw at anyone they please.

So why do they stoop to suing small bars and retail stores in small inconsequential markets who are simply trying to supply their customers with an enjoyable atmosphere? Because they can, so they do. Remember this behavior when considering signing up with one of these companies, and let it serve as a warning to stay away. They use the payments they receive from their contractees to pay these lawyers, then sue on the behalf of a particular contractee, using even their name in the case, and then claim any monies received as a result for themselves. Does it sound like their best interests are protecting their client's copyrights, or do they seem motivated by other, more lucrative proceedings. Unfortunately the 3 major companies occupying this market all are set up almost identically despite small insignificant differences in some policies. It turns out these companies are almost completely useless for any artist that is not at least nationally known, despite their high rate of independent artist contract renewals. Even many major artists have complained about not getting paid royalties for all of their on air appearances or performances, claiming their music was aired far more times than what they were compensated for. It seems they exist merely for the privilege of acting as an initial filter of any money that would be directed toward an artist for use of their work, while hiding behind the facade of nobly protecting the artist's rights.

The key word of 2010 for independent artists need be "Patience!" These are problems that have been around for years and years, and despite the drastic changes the industry has seen, these problems and their initiators still seem to be up to the same old tricks. However with the realization of the potential of the internet on the industry, possibilities for new organizations and independent bonds are greatly increased and alternatives will begin to appear as soon as the middle of 2010. Keep your ear to the ground for those alternatives, I can assure you, they are coming. But until then, just focus on making good music! It should come as no surprise that this is what will matter most in the end after all.

Written By: Dante Cullari - Founder & President Beat-Play, LLC