The HITS Interview: Anthony "Moosa" Tiffith Jr.

When Anthony “Top Dawg” Tiffith launched Top Dawg Entertainment in 2004, Anthony Tiffith Jr.—the label’s current president—was all of 16, with dreams of becoming a rapper. Hip-hop artists Jay Rock, Ab-Soul, ScHoolboy Q and breakout superstar Kendrick Lamar formed TDE’s foundation of success as Tiffith Jr., nicknamed "Moosa," grew into adulthood.

After watching from the wings, he became actively involved in the label as road manager for ScHoolboy Q, assuming A&R duties on the L.A. rapper’s 2012 sophomore album. Ten years later, Moosa took on a primary role at TDE, overseeing day-to-day operations (alongside Terrence “Punch” Henderson) and serving an eclectic roster of artists: R&B visionary SZA, Isaiah Rashad, Alemeda, Zacari and more.

In 2022—the same year Lamar left to form his own “multidisciplinary creative communications company,” pgLang—Moosa announced the arrival of the label’s first female rapper, Doechii, and the wildly creative Florida-raised artist subsequently amassed more than 1 billion on-demand streams and snagged a Best Rap Album Grammy for her acclaimed Alligator Bites Never Heal.

We asked Moosa about his earliest days in the music business, TDE best practices and the state of Black creativity. For some reason, he answered.

Tell me a little bit about your upbringing.

I was born to teenage parents, so in the beginning we bounced around a lot. They were young and trying to come up. Eventually, we settled in Carson. By the time I was 18 or 19, I had a job and moved out on my own.

What was your first job in the music industry?

My first official job in the industry was as a road manager, but before that I actually wanted to rap. Around that time, I met Jay Rock, Kendrick and eventually Q. I tried rapping and even got into engineering, but I quickly realized those guys had a different level of talent.

Back in 2005 or 2006, me and one of my close friends were recording in the studio, and I thought I had deleted some of my raps off Pro Tools. The next day, Top called a meeting, and to my surprise, they started playing my music in front of everyone. Man, I was embarrassed. That moment made me step back from rapping, and soon after, I shifted into road managing—my first real entry into the business.

Did you rap with the name Moosa?

No, “Juice!” A name that some of my friends were calling me.

Growing up in Carson, what was the music that first really grabbed hold of you?

Music hit me early, even before we moved to Carson. My pops would ride around playing DJ Quik, Scarface, Geto Boys, Ice Cube, Kris Kross, DMX. My moms had a different lane—Isley Brothers, Luther Vandross, Keith Washington, Prince, Teena Marie, Rick James and Suga Free. Those records were always on repeat, and before I knew it, I was rapping and singing along to all of them.

When I was a kid, I used to burn and sell mixed CDs. I’d have a bunch of R&B, a bunch of rap. I became cool because I had a lot of homies that were probably like two, three years older than me. I would sell them CDs, sell them to their friends at the bus stops. Or they’d send me a list of songs they would want. Now I’m catching myself listening to Coldplay, The Killers, because I’m making CDs for everybody. Looking back, these moments were training my ears, giving me more range of music to listen to. I was prepping to be in the music industry before I even knew it.

What was the first project you ever worked on?

Officially, the ScHoolboy Q projects. Trying to seek out producers, playing more of an A&R position on [2012’s] Habits & Contradictions.

What have you learned professionally from your dad?

Just being consistent and disciplined. My pops don’t drink or smoke. My pops has got a big heart, so I naturally got a big heart from him. I’ve learned it’s important not to overextend yourself. When you overextend yourself, sometimes you make other people’s problems your problems, and that can knock you off course. When you got a big heart, you want to help any- and everybody, but you have to be comfortable saying no.

What's most unique about TDE, compared to how other labels operate?

Our commitment to artist development. It feels like a lost art. These days, everyone wants to move fast, but we don’t mind taking the slower route, because when you build the right way, you last longer. For us, it’s about growing an audience with intention, not chasing quick moments. The faster you rise, the faster you can fall. That’s why artist development will always be our top priority.

Why has TDE been so consistently successful?

Can’t give you all the secrets! But really, every artist’s situation is unique. We’re not trying to fit anyone into a box—we’d rather take what they naturally do and put fuel on it. The goal isn’t to change the artist, musically or personally, but to support them in being their best self. That’s part of why TDE still feels like a family. It’s never just business with us. When we can help someone grow as a person, you’ll see that growth translate into the music.

Have you learned anything specific from Top’s leadership style?

I’ve learned to lead by example, because that’s how Top operates. Your team is only as strong as you are. Top is not the type to repeat himself more than a couple of times. After that, he’ll let you bump your head and learn the hard way. Some people have to touch the fire to know it’s hot. But even then, he’s there with open arms to help you keep moving forward.

My approach is to take our time, create the best product and never let outside pressure push us away from our vision. That’s how you make something timeless and truly impact the culture.

Let’s talk about the TDE roster, especially the success of SZA and Doechii.

One of the most important things in this business is timing and pacing. I personally signed Doechii, and from the start she’s had an incredible vision. If you look at TDE’s history—Kendrick, ScHoolboy Q, SZA, Isaiah Rashad—you see that everything we do is rooted in high taste and high art. Doechii fits right into that legacy.

The key is pacing. I always remind her not to move too fast, because she has the talent to be here as long as she wants. My approach is to take our time, create the best product and never let outside pressure push us away from our vision. That’s how you make something timeless and truly impact the culture.

What put Doechii on your radar?

I actually signed Alemeda first, and she brought along two friends who became part of the team. They were constantly sending me music—lists of artists every week. Sometimes I’d check them out, sometimes I wouldn’t. But one time they sent me a record called “Yucky Blucky Fruitcake.” I did a deep dive, watched her YouTube videos and saw how versatile she was.

I reached out through her friend on Instagram, flew them to L.A. and after observing her work up close, I knew right away she was special. That same weekend, I got her an apartment because I believed in her from the jump.

And your professional relationship with SZA?

I consider SZA second-generation TDE after Kendrick, after our first original four [artists]. But SZA, we got a great relationship. It’s no different than with Doechii. We got just one big family. Punch is more over her career, similar to me and Doechii, but we have a great relationship as well too.

Which TDE artists do you feel the closest to professionally?

I wouldn’t say I’m closer to one artist than another. Right now, Doechii is working on her album, Alemeda is working on her album and Isaiah is working on his album. Naturally, because I signed Doechii and Alemeda, I’m speaking with them more frequently, but at the end of the day it really comes down to who’s up to bat. The artists in active album mode are the ones I’m in constant communication with, because they require that attention.

Who are you rolling out next?

I’m really excited for Isaiah Rashad’s music—it’s been four years in the making, and this will be our next release. I think it’s his best work yet. It feels personal, uplifting and has something for everyone. It’s music that makes you move, and I think people are going to connect with it in a big way.

What are your thoughts are on the state of Black music right now?

I love the state of the music. Black people, we so creative. We come from nothing, a lot of us, so it forces us to be creative. I believe our struggle makes beauty. We go through the most as a race, but it makes us stronger, it makes us tougher, and you see that equate to the music.

Where do you feel hip-hop is headed right now?

I think people are starting to care more about rap again—about what artists are actually saying. There are all these sub-genres like drill and others, but at the core, people still value the art, the music and the storytelling. We’re in a moment where listeners want vulnerability. They want to hear something real and connect it to their own lives. People are paying attention to the words again, and that’s powerful.

Black people, we so creative. We come from nothing, a lot of us, so it forces us to be creative. I believe our struggle makes beauty. We go through the most as a race, but it makes us stronger, it makes us tougher, and you see that equate to the music.

What do you think about the market for older MCs? In the past 12 months, we’ve seen albums from Will Smith, Slick Rick, Raekwon, LL Cool J, Clipse. Rappers aren’t hanging up the mic like they did in the days of Melle Mel or whoever.

JAY-Z kind of extended that a little bit. Pusha T, too. I think it’s been great for them. You still got 50-year-old people who love rap, who don’t want to go listen to no 25-year-old. I love seeing the legends come through, because they paved the way for us. I don’t think we should let them be forgotten.

What are your thoughts on the state of the record industry?

Some people are only looking to get rich. Really sad. I hate hearing the word “viral.” I hate hearing the word “algorithm." Those words, to me, diminish the art, because now everybody is trying to do the same thing. “Oh, let’s make short-form content.” Not saying not to play that game. But sometimes people are just trying to make something that goes viral.

How does TDE go about avoiding that?

The good thing is that over the last 20 years, our fan base has been consistent about liking albums, about liking art. Our foundation is the art. It starts with finding artists who actually care about the craft. They’re not looking to just get rich. When you do something great, you’re naturally going to get rich. We all want to make money. I’m not saying that we won’t create short-form content or deal with algorithms, but it’s not going to dictate. I’m not going to put that first. I’m going to let the art dictate that.

How do you unwind? What are your non-business interests?

Really, my children. I spent my whole day yesterday sitting at the beach. My kids, they really do it for me. I got a 12-year-old son, a 15-year-old daughter and a one-year-old son. I just sit back and watch them grow up. And just being at a beach in general. I love the sound of water. Jamaica was the last vacation that I really got to sit down and enjoy, for sure. I love the water, but I’m not getting in it though. A lot of shark attacks in my algorithm, man.