We Run This: TJ Chapman
When the history of southern hip-hop is properly written, the name Thomas “TJ” Chapman will be an integral piece of the story. This Florida native began his career in hip-hop as a DJ in 1984 and since then he has gone on to become one of hip-hop’s most powerful players behind the scenes.
He has brokered major record label deals for artists including T-Pain and Huey while his company TJ’s DJ’s, Inc. continues to be the premier online destination for tastemakers with reportedly over 20 million hits per month.
In addition to that he hosts The TJ’s DJ’s “Tastemaker’s Only” Music Conference and also added the title of co-executive producer to his resume for the co-production of the OZONE Awards.
Sixshot picked his brain to get the real deal on payola, what artists really want out of a record deal, the major artists he slept on, whether or not he feels betrayed by T-Pain, and more.
What led you from being a DJ to becoming a businessman?
I think it’s maturing and getting into bigger and better things. So for me I was always a businessman. I just used being a DJ as a gateway to get in. I was selling candy in the back of class in the 4th grade. I would get in trouble and suspended because I had a hustle back then. So it’s something that was in me from a young age.
There’s the Million DJ March coming up in Washington, DC. So what’s your opinion on that project which aims to bring awareness to the economic disparities that DJ’s face in the music industry?
I know they’re trying to include me in it and a lot of our brands that I deal with. At the time we didn’t understand the point of the whole march so we declined to get involved. But I agree that the DJ is not taken care of like he’s supposed to as far as being paid. Most DJ’s are the draw for the club and the artist won’t get their music heard without the DJ. Even the labels feel like they’re supposed to give us records and we just play it. So I think it is important to go through and address these issues.
You mentioned labels giving DJ’s music to play. I know that payola is a big issue in the industry. So what are your thoughts on payola? How prevalent is that in your sector?
Payola exists and we can’t deny it. With the DJ's getting more exposure nowadays there are some that feel like they need to get paid to play a record. So it does exist but as a DJ your job is to break records and to play the music that the crowd wants to hear. I feel like so many DJ’s are getting besides themselves and they forget what their purpose is of being a DJ.
What’s the solution to payola?
For me the payola thing—I don’t mind sporting DJ’s. I think it’s right for labels or artists to support DJ’s. But as far as having a handout to get a DJ to play a record—I totally disagree. I've never been down for anything like that, but it does exist.
You brokered a lot of deals for artists like T-Pain and Huey. What do these artists really want out of their deals?
Artists want an advance for their pocket. Most of them get caught up and they want money. They’re so used to seeing these videos and reading these magazines and books where you got people that sign and got millions of dollars. So that’s what they’re thinking when they come in. Most of them want videos 2-3 guaranteed videos and singles. But the most important thing is that they want a commitment from the label that they’re gonna actually support and get behind this project. Nowadays with the digital age these labels really aren’t making a commitment to the artist. They go in and grab a hot single, and give them a couple of dollars. Instead of an album deal they get a single deal, and artists want album deals. They [record labels] throw out the single and make whatever money they can make off the ringtones and mp3 downloads, with a limited investment or commitment to the project. I feel like that’s killing everything.
In order for the artists to get what they want what must they bring to the table?
As an artist you need to change your focus. Most of them are focused on records instead of creating a brand or movement for themselves, and that’s how you get what you want. It’s about more than one record. You have to create a story. This rap stuff right now is so diverse that these people at these labels can’t hear it. They don’t know what good records are and so they’re scared. If they throw out a bad record they might not have a job after that. So they’re being real careful. So you have to get out here and create a buzz with your movement or your music. You can’t get so caught up in going out to get Cali and all these other areas without having home.
Also these people are all about research and statistics. They want to be able and look up and see that this record is getting so many spins a week. Thats the stuff that really gets them so excited. So many know the game and they go out and pay for radio play, but if you don’t have a story to go with it then the labels know it ain't real.
What was the hardest record or artist for you to break and why?
B.O.B. “Haters.” It’s not an across the board smash like the T-Pains or David Banners but it’s almost like an anthem. It was a record that coming out the gate nobody believed in and they told me no. So we just had to stay doing shows every night of the week, blasting the music to the DJ’s, but it was the DJ’s that didn’t support it. So we went around them and worked the internet. We used the MySpace
and YouTube and all the message boards and email blasts. It was full power promotion to get to the consumers. The consumers loved the record to the point where then they stated going to the DJ. So now a year in the video was MTV Jams video of the week, and now people are loving the record like crazy, but nobody wanted to support it at first.
Is there anyone you slept on?
I didn’t pass on this, I just didn’t give it the time that I was supposed to and his manager makes sure that he lets me know: Soulja Boy. His manager would always send me the music, but I was so caught up that I didn’t give it the time that I should have.
Which artist is your proudest discovery and why?
T-Pain. At the end of the day I am proud of that project because I played a big role in bringing it to the forefront.
I read in a Vibe interview a quote where you stated, “I get frustrated with the T-Pain situation because I was supposed to be part of the long term.”
You’re good! [Laughs]
So what was the whole issue there with T-Pain as far as long-term deals?
Oh man, I mean going in I was supposed to be part of the project long-term. T-Pain was part of a group and they had some classic southern records. I had a lot to do with that whole record breaking. We were supposed to do a deal back then. We sat down with attorneys and the deal went left. So then after that I really was cool with him but I never did any business with any other records. His dad was always constantly playing music and I would always say no. Then they came with something. I heard it and I was like this is it, but I didn’t want to do anything. I wanted to make sure that I was covered this time. So we talked about it and I was supposed to have a stake in his career for the long-term. During the whole deal process things got messed up and I got caught up in a situation. What was supposed to happen for me didn’t happen.
Did you feel betrayed by T-Pain?
Really, like this is something that I don’t even discuss and they got me on that Vibe thing. But I'm proud of dude for what he’s done, but I still don’t feel like—I feel like I deserve more than what I received in a nutshell.
What are some of the main issues you address in your conferences?
The main issues are 360 deals in the industry. The labels now are not profitable and they are trying to recreate their business model so they can be profitable again. So they want to sign artists to 360 deals where they come in and take a percentage of your income across the board. Instead of making money off sales the traditional way, now they want 360 and a portion of your touring dollars, endorsement money, a portion of your publishing, and merchandising. So now it's like you do that or you don’t come out. It’s crazy cause it's a conflict of interest, but now it’s like its okay because the labels need to be profitable. There are certain things about it I like and others that I don’t.
Doesn’t this deal give the label more say in the artist’s career and limit an artist’s creative control?
Yeah, but it’s like if the label didn’t do what it was supposed to do you as an artist could still get out there and get your grind on. But now with the 360 they tap into everything. So if you have a disagreement with the label how would you as an artist get out here and hustle now?
What are your thoughts on the state of southern hip-hop?
They shunned us for so long and kept us down and it only made us stronger. We didn’t have anybody but ourselves. We had to do the independent grind and independent distribution. We had to learn how to market, promote, and make our own music. All the corporations were in NY and LA and they didn’t respect us. They thought all we did was booty music. So it brought us closer and now that whole concept is killing everybody. That’s why everybody up north is trying to figure out how to regroup and come together. So I love it. I think the southern rap game is so diverse that I don’t see us falling. The only thing that can kill us is ourselves.
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