DANTE SMITH: A LEGACY BIGGER THAN THE TITLE
GROWING UP IN PHILADELPHIA, WHAT FIRST SHAPED YOUR RELATIONSHIP WITH MUSIC, CULTURE, AND CREATIVITY?
Growing up in Philadelphia, music was always part of my life. I was raised primarily by my grandparents, alongside my dad, so my musical influences were all over the place. Sundays might be Anita Baker playing in the house, and then I’d go to my cousin’s and hear Biggie, Craig Mack, or whatever Bad Boy had dominating the radio. I was exposed to so many different sounds and generations of music early on.
I remember getting my first boombox when I was about six or seven and recording my favorite songs off the radio onto cassette tapes. I was basically making my own playlists before streaming existed. I wanted to hear what I wanted, when I wanted.
The first CD I ever bought was TLC’s CrazySexyCool. I was fascinated by everything about them: the music, the fashion, the attitude. Artists like Aaliyah, Biggie, and Busta Rhymes had this undeniable individuality. You knew when someone was a star. There was a certain swagger and presence that went beyond the music.
But I was equally fascinated by what happened behind the scenes. I watched MTV and BET’s Making the Video and became obsessed with how these productions came together. Directors like Hype Williams and Dave Meyers weren’t just making videos; they were creating entire worlds.
I was also the kid looking up Billboard charts at school, learning about labels like LaFace Records, and figuring out who the executives were behind my favorite artists.
I didn’t necessarily have the language for it then, but I was already interested in the intersection of music, creativity, marketing, and business. I think I always knew I’d end up in music. I just didn’t know exactly what my role would look like yet.
WHICH EXPERIENCES HAVE BEEN MOST DEFINING IN SHAPING THE EXECUTIVE AND CREATIVE YOU ARE TODAY?
My journey into the music industry was anything but linear. I started at Montgomery County Community College before transferring to Temple University. I was attending school full-time while working nights at the IRS. I’ve always believed in working hard, but I knew I wanted more than just a paycheck. I wanted to find my purpose.
In 2013, I landed an internship at Epic Records in New York. Three times a week, I took the Megabus from Philadelphia to New York, often being the first person in the office. I’d been reading Kevin Liles’ Make It Happen, and I took those lessons about preparation and work ethic seriously.
That experience introduced me to two people I’ll always appreciate: Latrice Burnett and Shay White. They invested in me, gave me opportunities to learn, and helped me understand how the business worked. I also became a college representative for Warner Music Group, working on campaigns including Charli XCX’s Sucker.
But when I graduated in 2015, there wasn’t a job waiting for me.
I eventually accepted a position working on an anti-piracy initiative. It wasn’t exactly what I’d envisioned, but I saw it as an opportunity. When that project ended, I decided to take another gamble and move to Los Angeles.
And LA wasn’t easy. I drove Uber. I worked at TSA and Wells Fargo. I did whatever I needed to do to support myself while continuing to pursue the career I wanted.
Eventually, I landed a production assistant opportunity at ESPN, followed by roles at HipHopDX and REVOLT. Each experience gave me another perspective on entertainment, media, production, and how audiences connect with content.
In 2019, I found my way back into music through Motown and Capitol Records.
Looking back, every part of that journey mattered. It taught me resilience, resourcefulness, humility, and the importance of relationships. Sometimes the path you didn’t plan is the one that prepares you for everything you’ve been working toward.
HAVING WORKED WITH SOME OF MUSIC’S BIGGEST ARTISTS, WHAT DO YOU THINK MAKES A CULTURAL MOMENT TRULY IMPACTFUL?
I think the most impactful cultural moments happen when the artist, the music, and the audience connect in a way that feels authentic. You can’t force that. You can amplify it, build around it, and give it room to grow, but the foundation has to be real.
One of my first projects at Motown was Lil Baby’s My Turn. I came in around “Woah,” helping drive the digital strategy and finding ways to keep the music in conversation. I didn’t know at the time that I’d be part of the team behind the most-consumed album of 2020.
That experience helped shape how I approach campaigns. It’s never been enough for me to release a record and move on. I’m always thinking about how we sustain momentum, build narratives, and create moments that keep people connected to the music.
I’ve been fortunate to do that across so many different artists. With Queen Naija, it was about helping tell the story of an artist who’d already built an audience on YouTube and was establishing herself as a respected R&B voice. With Toosii, whom I’ve worked with since his early projects, seeing “Favorite Song” become one of the biggest records of his career was special because we understood the emotional connection audiences had to that song.
JT’s City Cinderella was another meaningful project. She was incredibly dedicated to her solo vision. We were constantly exchanging ideas, talking through creative, and figuring things out together. It felt like a real partnership.
Then you have artists like Ice Spice, whose star quality was undeniable from the moment I met her, and Lil Yachty, whose individuality and ability to cultivate such a dedicated fan community have always fascinated me.
Working with Kali Uchis across Orquídeas and Sincerely, and witnessing her attention to detail and world-building, was equally special.
Working with Migos has also been particularly meaningful because I’ve had the opportunity to contribute to both the group’s legacy and the individual journeys of Offset and Quavo. Migos helped define a generation of hip-hop, from the music and fashion to the language and cultural moments that still influence artists today.
With Offset and Quavo, it’s been exciting to support their evolution as solo artists, each finding new ways to express their individuality while carrying forward a legacy that helped shape modern hip-hop. Seeing them develop their own creative worlds, tell their own stories, and continue connecting with audiences has been incredibly rewarding.
As we approach the 10-year anniversary of Culture, it’s amazing to think about how much their music has influenced culture and how that influence continues to evolve.
And Leon Thomas is another incredible example. He’s a true student of music, and seeing his artistry connect with audiences and earn Grammy recognition reminds me why I love this business.
What connects all of those experiences is that I never approached artists with a one-size-fits-all strategy. You have to understand who they are, what they’re trying to say, and why people connect with them.
To me, a cultural moment becomes impactful when it means something to people beyond the release date. That’s always been the goal.
HOW DID YOUR TIME AT MOTOWN SHAPE YOUR UNDERSTANDING OF INFLUENCE AND THE POWER OF BLACK EXECUTIVES IN MUSIC?
Becoming an SVP at Motown was one of the proudest moments of my career.
You have to understand what that name represents. We’re talking about a label with a legacy that includes Smokey Robinson, Stevie Wonder, Diana Ross, the Temptations, Martha Reeves and the Vandellas, and a young Michael Jackson and the Jackson 5.
These weren’t just artists who made great records. They helped change music, fashion, entertainment, and the way Black creativity was seen around the world.
So to become a Black executive and have an opportunity to lead under that same name meant everything to me. I thought about the sacrifices I’d made, the jobs I’d worked, and how hard I’d fought to get there.
I also felt a responsibility. Motown couldn’t just be about celebrating the icons of yesterday. We had to help create the legends of tomorrow.
I remember conversations with my digital team about that very idea. We knew the history, but we were also working with this incredible new generation of talent. Leon Thomas is a great example. He’s someone whose artistry is rooted in real musicianship and respect for the craft. Watching him develop and seeing the recognition he’s received has been incredible.
I also learned that influence isn’t just about your position. It’s about what you do with it. It’s about the people you empower, the opportunities you create, and the voices you help amplify.
For me, honoring Motown’s legacy meant carrying that spirit forward while helping the next generation leave its own mark.
DO YOU THINK THE PEOPLE SHAPING CULTURE BEHIND THE SCENES RECEIVE THE RECOGNITION THEY DESERVE?
I think there’s always room for more recognition, especially when you consider how many people contribute to bringing an artist’s vision to life.
When people see a successful album, campaign, or cultural moment, they’re usually seeing the finished product. They don’t necessarily see the countless conversations, creative decisions, challenges, and people working behind the scenes to make it happen.
I remember watching Making the Video as a kid and being fascinated by everybody involved. I wanted to know who came up with the idea, who directed it, who marketed it, and how it all came together. So I’ve always had an appreciation for those roles.
As I grew into leadership, I realized one of my strengths was bringing people together. I’ve never believed in withholding information or working in silos. If I have a resource, I want my team to have it. If someone has an idea, I want to hear it.
I always say a team wins championships. You don’t hear about one person winning a championship by themselves. Everybody has a role to play.
Recognition is important, but I also think it’s about creating environments where people feel valued, where their ideas matter, and where they have opportunities to grow.
Some of the proudest moments of my career have been watching people I’ve worked alongside develop their confidence, creativity, and leadership. That’s just as meaningful to me as any campaign success.
WAS THERE A MOMENT WHEN YOUR DEFINITION OF SUCCESS BEGAN TO EXTEND BEYOND YOUR JOB TITLE?
I think my definition of success has always come back to happiness and doing something I genuinely love. But as I’ve gotten older, I’ve developed a greater appreciation for what that really means.
For years, I had the privilege of working in an industry I was already passionate about as a kid. Think about that for a second. I grew up buying records, studying artists, watching music videos, and following the charts. Then I got to help create and market the very things I once experienced purely as a fan. That will never be lost on me.
Of course, titles and accomplishments matter. Becoming an SVP at Motown was an incredible milestone, and I’m proud of everything it took to get there.
But I’ve realized that success can’t be defined by a title alone. Today, it’s about being able to create freely, build something meaningful, collaborate with people I believe in, and enjoy the process.
I want to do work that matters. Work that makes people feel something. Work that leaves a lasting impression.
And I want to enjoy my life while doing it.
If I’m doing what I love, making an impact, and creating opportunities for other people along the way, that’s success to me.
AFTER YEARS OF BUILDING OTHER PEOPLE’S VISIONS, WHAT INSPIRED YOU TO LAUNCH GOOD DAY?
GOOD DAY is like a child I just brought into the world. It’s brand-new, but I’m already incredibly passionate about what it can become.
The name comes from a simple idea: I want the work we do to make people feel good.
Whether someone comes to us with a challenge, an opportunity, or an ambitious idea, I want us to be the team that helps turn it into something worth celebrating. Something that makes you say, “Today was a good day.”
Music has always given me that feeling. It can change your mood, bring people together, and create memories that stay with you forever. I’ve been fortunate enough to experience that as both a fan and an executive, and I want to bring that same energy into the work we’re building.
I don’t look at this chapter as starting over. I look at it as starting from a strong foundation.
Every experience I’ve had, every opportunity I’ve fought for, every campaign I’ve worked on, and every person I’ve learned from has prepared me for this moment.
I think about the younger version of myself taking the Megabus from Philadelphia to New York just to get an opportunity. That same determination is still there, but now it’s paired with years of experience, relationships, and a clearer understanding of what I want to build.
I also believe life has a way of pushing you toward things you may already be ready for, even when you haven’t made the decision to take that leap yourself.
That’s how I feel about GOOD DAY. I wasn’t necessarily expecting this chapter to begin at this exact moment, but I know I’m ready for it.
WHAT MAKES GOOD DAY DIFFERENT, AND WHAT KIND OF CULTURAL IMPACT DO YOU HOPE TO CREATE THROUGH IT?
I don’t want GOOD DAY to be a company that’s purely transactional. I want it to be impactful.
Of course, results matter. We’re in the business of creating successful campaigns, developing ideas, and helping our partners achieve their goals. But I also believe the work should mean something beyond the numbers.
I want us to create ideas that feel good, moments that feel good, and experiences that people genuinely connect with.
And while music is part of my DNA, GOOD DAY is bigger than music. I see us working across entertainment, television, film, gaming, and the broader creative landscape.
I want the company to be known for bringing creative ideas and people together in ways that feel fresh, thoughtful, and authentic.
I’ve always believed the best work happens when you understand both creativity and the business behind it. You have to know the audience, understand the trends, and use the available tools. But those things should support the creative vision, not replace it.
Ultimately, I want GOOD DAY to represent ideas that move people, partnerships that matter, and work that everyone involved can feel proud of.
I want our partners to feel like they won. I want audiences to feel like they experienced something worth remembering.
That’s a good day to me.
WHAT LESSONS FROM YOUR JOURNEY DO YOU HOPE THE NEXT GENERATION OF BLACK CREATIVES AND EXECUTIVES TAKE FORWARD?
The first thing I would tell anyone is to trust your gut. Deep down, I think we often know what we should be doing and what we shouldn’t. But sometimes we get in our own way because we’re not listening to that voice inside of us.
I also believe talent and hard work have to go hand in hand. Talent might give you an advantage, but discipline, consistency, and the willingness to keep learning are what help you make the most of it. You can’t rely on talent alone.
And you’re going to make mistakes. I’ve made plenty of them. The important thing is to learn from them, correct what you can, and keep moving. I’m always thinking about how I can improve, what I can build on, and how I can approach something differently the next time.
I know telling people to chase their dreams can sound cliché, but I genuinely mean it. Go after what you believe in. Who’s stopping you?
Your journey might take longer than you expected. You might have to take a different route, work a job you never imagined yourself doing, or hear “no” more times than you want to count. But that doesn’t mean you’re not getting closer.
It’s easy to give up. It’s easy to convince yourself you’ve tried everything, especially when you can’t see the results yet. But sometimes you’re closer to that breakthrough than you realize.
I believe consistency and tenacity can take you places you never imagined. And when you finally get that win, knowing everything it took to get there makes the testimony that much more meaningful.
BEYOND YOUR ACHIEVEMENTS AND TITLES, WHAT DO YOU ULTIMATELY WANT YOUR LEGACY TO REPRESENT?
Twenty years from now, I want people to say Dante cared about the art. He cared about the music. He cared about culture. And he never lost sight of why any of it mattered.
I’ve always understood the importance of data, trends, technology, and algorithms. Those things are essential to the business, but they were never my starting point. I led with culture. I led with creativity. I led with the artist. The data helped inform my decisions, but the art gave those decisions purpose.
I want to be remembered as someone who understood how to move with the times without losing what makes music special. Someone who embraced innovation but never allowed it to overshadow the very people and creativity that drive our industry forward.
I fought for the artists, I stood behind the work, and I believed in the culture. I understood the business, but I never forgot that the art came first.
And beyond the campaigns, accolades, or titles, I want people to remember my character. That I showed up, I fought hard, I delivered, and I was a man of my word.
Because ultimately, I don’t just want to be remembered for the work I did. I want to be remembered for what I stood for.
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