Multi-platinum award-winning hip hop music producer Antwan “Amadeus” Thompson has always moved to the beat of a different drum. He grew up in the Bronx, where drug dealing and gang life were all around him, but his parents made sure the streets would never get him.
“I was sheltered growing up. And I think, honestly, that saved my life…You know, I couldn't go places. I couldn't do certain things. I couldn't be with certain people, because my parents didn't allow it, you know, the only thing that I could do was, was play music. So that either happened at school or at church,” he shared with FUTURE NOW Founder and CEO, Peggy Kim, in a recent Leadership Talk.
Today, Thompson is the CEO of Platinum Boy Music Inc. and one of hip-hop's most sought-after producers. He has worked with artists like Jennifer Lopez, French Montana, 50 Cent, Justin Bieber, T.I. Tyga, and Busta Rhymes, just to name a few. He is a Bad Boy / Hitmen record producer and the musical director and tour drummer for R&B singer Trey Songz. He is an educator and motivational speaker, driven by a deep passion for giving back and inspiring others.
Thompson received a Lifetime Achievement Award from President Biden in 2023 and even has a street sign named after him in the Bronx. He’s only 43.
“I’ve learned that it’s not all about being the most talented person in the room. It does take talent, but it’s also about how hard you work. And that’s kind of what separates me from everyone else. I always try to figure out a way to outwork everybody.”
And, Thompson has been outworking everybody since he started playing drums in fourth grade.
As his impressive wall of platinum and gold records shows, Thompson has come a long way since he discovered his passion for beats. He credits his parents with setting him on the path towards producing by introducing him to legendary producer Buckwild who showed him that music production was a legitimate career.
Thompson worked constantly to hone his production skills and started hustling at 16. “I would pop up to clubs, events, parties with my CDs.”
Though he was still in high school, Thompson took his career very seriously.
“I used to read the credits of the albums, and on the back of the credits it would list the address of the record label. I would show up to whatever that address was and stand in front hoping an artist would come out, and [I’d] hand them a beat tape and CD. That’s kind of what the grind was like for me until I got my first placement.”
His start came through a cousin who was working as an assistant at Interscope Records. Eventually, one meeting with the artists and repertoire division—who act as scouts for record companies—led to another, and that resulted in his first producing credit on Foxy Brown’s "Get Off Me," which was quickly followed by his first movie placement in Cradle 2 The Grave, also with Foxy Brown.
The experience taught him a lot, including some of the negatives of the music business. “[Getting paid] was a nightmare! As a producer, you get paid a front-end and a back-end. So, before any businesses are handled, before the record comes out, you get half of whatever you agreed to for the producer fee.”
What Thompson hadn’t realized was that Foxy’s co-writer had already negotiated the deal and took half the cut. “Remember, I’m brand new, so I didn’t discuss the producer fee with anybody. Def Jam contacted me and said the producer fee is gonna be ten grand. We already paid [Foxy’s co-writer] $5000.”
Thompson had to settle for half of the fee and a lesson learned. He strongly advised the audience, “Make sure you know your business, make sure you understand your business, make sure you stay on top of your business, make sure you stay involved with your business.”
Taking matters into his own hands, Thompson studied by reading All You Need to Know About the Music Business by Donald Passman, now in its tenth edition. “He’s incorporated everything that’s happening in music now,” Thompson said. “In regards to streaming, social media, TikTok...I definitely think that would be a great purchase for everyone here. I read that book a billion times and mastered everything from royalties to publishing.”
Thompson also implores aspiring producers to do the work. With the internet making music production so accessible, he believes that young producers are jumping the gun before they're ready and have something of value to offer.
“It took me years before presenting myself to labels and artists [...] I had to get to a place where it was ready to be on that level. I think a lot of artists and creatives these days, because of the access, are skipping that step.”
What does it take to make it as a producer? First is honing your craft. “I would make three, four, five beats a day, every day.” Thompson repeatedly emphasized the importance of having a good work ethic. “When you develop consistency and persistence… it matters. You know how many people would give me a chance because every week I had a new beat tape?”
For anyone hoping to work on the business side of the industry, Thompson recommends internships at a label or radio station and knowing the who’s who of your dream workplace before applying. “Use the tools of social media! Follow the record labels you want to work for. Go through their following list. Nine times out of ten, they’re following the artists that are signed to them, the managers, the teams.”
Despite all the glamour, Thompson’s stories of working with some of music’s biggest stars come with a warning: “If you are coming into the music business, please do not let it be solely based off of being rich or being famous. I’m telling you right now, it’ll be one of the biggest letdowns.”
Thompson encouraged viewers to find their “why.” His why? “I loved music. I didn’t even know that it was a career. I just wanted to play drums and make music.”
Thompson acknowledged that it’s a cutthroat industry with more and more producers and musicians entering the game every day. “You can be hot in this season, and next thing you know, you ice cold, and nobody’s buying tracks.”
Talented newcomers are accepting lower and lower rates for their beats, meaning if you want to get paid, people have to know about you and your value. “You gotta get yourself out there. You gotta be seen and heard. You gotta market yourself. You gotta show you’re different from everyone else.”
“Make sure you’re doing the research. Don’t sit back thinking things are gonna fall into your lap. The information that you need to do anything in life is online. Don’t be lazy, challenge yourself, and put the time in, because the information is there.”
Thompson recognizes that the industry today is vastly different than when he began. But he encourages aspiring artists to pursue their passion, learn their craft, understand the business and the game, and consistently push themselves to deliver.
“Outwork everybody. When you don’t feel like it, you do it. When you feel like you’ve done all you can do, figure out more.”
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