Smooth is a music executive from Lansing, Michigan with 20 years of experience in the music industry. His passion for music began in 1995 when, as a preteen, he began writing songs with dreams of being a Hip-Hop artist. After a minor setback, that dream faded away in 1997 when he founded indie label UnderGround Family Entertainment. His goal was to be a foot in the door for artists looking for a career in music. He spent the next 4 years learning the business, using the power of the internet to network with others who had similar interests. This lead to him meeting many international artists, including a Canadian duo, known as Sean B. & L. Griffsta, who would become the 1st group to be managed by the young entrepreneur. In 2001 Smooth rebranded the company, changing the name to UGF Entertainment. In 2003 UGF Entertainment entered the world of distribution, handling the release of Houston, TX based Platinum Status Superstars. In 2008 Smooth entered the world of concert promotions, working with many of the top Hip-Hop and R&B artists in the industry. Smooth founded UGF Digital in 2010 as the digital arm of UGF Entertainment, handling the releases of non-UGF artists. In 2015 he created the digital music store, Music Blast Global, initially to sell music released via UGF Digital. His latest venture is the founding of Global Music Digital, which officially launched on May 14, 2020. Global Music Digital is a music distributor providing services to artists and labels around the world. The company replaces UGF Digital as the digital arm of UGF Entertainment. With its own network of Digital Service Providers, as well as partnering with Sony Music/The Orchard for an even wider reach, Global Music Digital is able to provide an unparalleled service. In addition to distribution, the company also provides digital marketing services, and is able to handle CD fulfillment and a plethora of other music industry related services not easily found. Over the last 20 years, Smooth and his brand have enjoyed deals with some of the largest companies in the industry, including Alliance, BCD, CED, Sony Red, Select-O-Hits and Sony Music/The Orchard. As a writer, Smooth has written for many music industry-based magazines, including Mid-West-based Hood Illustrated Magazine. He is a member of the Recording Industry Association of America, the National Academy of Recording Arts & Sciences, and the National Association of Record Industry Professionals, just to name a few.
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1.) What elements and/or characteristics made you say to yourself that you wanted to do music for a living? Who are your influences/heroes/role models?
I always had a love for computers. I also had a love for music. Combining the 2 equates to digital music. I had been writing songs since 1995. In 1997 I finally decided it was time to record something. My brother and I walked up to local recording studio Tailor Made Records. I was a teenager, and thought I could be an artist. I knocked on the door and 2 men came to the door. They asked what we wanted and I told them I wanted to know how much it costed to record there. One of them men tells me “$75 per hour” to which I replied “I’m not paying $75 and hour to record”. The 2 men slammed the door in my face. While standing in front of the closed door I said to my brother “Don’t worry about it, I’ll start my own company.” That day I came up with a name, and started to put business plans together. I’d say my greatest influence, or inspiration in this industry, came from my uncle, DJ WHO. He started DJing when I was young, and looking up to him, I think his love for music rubbed off on me and led me to begin writing. My cousin Tim Cunningham is a well known jazz musician, and growing up I would always listen to his music and envision myself having a big name in the industry. His brother Freddie Cunningham is in the Blues group Root Doctor, and my great uncle, Joe Lane, is in a gospel group The Royalaires. A cousin of mine, Nizzy, is a Hip-Hop and R&B artist. He was performing from a young age. I remember seeing him on TV performing and hoping I’d be doing that one day . They were all definite influences. I give credit to the 2 men that slammed the door in my face in 1997 for me choosing to get involved with the business side of the industry. The person I credit with my actual entrance into the industry is a businessman by the name of David Komatz. I met him online, and in 1999 or 2000 he signed me to my 1st distribution deal. He taught me the music industry, how distribution works, how to understand and write contracts, the importance of networking, and much more. Much of my success is owed to him.
2.) If you could compare yourself to someone who is already established in your line of work, who would that be and why? If you don’t like to compare yourself, then what separates you from other everyone else who does what you do?
That’s a good question. I don’t like to compare myself to others, as I think that what I bring to the table is unique. You have others who operate recording labels, or distribution company, marketing firms, digital stores, etc. But not too many of them do it all. My knowledge and skill set allow me to offer services that many either can’t or don’t want to be bothered with.
3.) Everyone in life goes through adversity of some sort. Is there anything in your life that has any influence on the work that you do? What is the most difficult thing you’ve had to endure on your path to becoming an entrepreneur?
Well the very reason I got into the business had to do with adversity. As I said earlier, me getting the door slammed in my face, literally, is what caused me to go into business. If that hadn’t taken place I don’t know if I’d be where I am today. I probably would have been an artist for a few years, and after that failed, I would’ve probably given up music, and that would have been the end of my career. I don’t know if anything I’ve endured is more difficult than what can be expected from anyone aspiring to be an entrepreneur, which requires risk. I’ve invested money and lost, I’ve invested money and won big. On a personal level I lost a good friend, business partner and artist of mine, Big Perm, in 2012. That set me back a lot. A lot of what I was doing, business-wise, was for him. After he passed I fell out of public view, dealt with depression and became anti-social. Only recently I have begun to come out of that mindset.
4.) How do you prepare yourself to create? What is your process?
It depends on what I am creating. If I am creating a marketing campaign for a business, the process entails putting myself in that company’s shoes, while also incorporating their goals. Most of my creating is tailored to someone other than myself, so the process always involves proper communication with the person or business I am working with.
5.) Unfortunately many industries are full of talented individuals who more or less become the “starving artist” and don’t get any recognition for their talent and/or hard work. What do you plan to do to make sure you stand out and get noticed?
Dedication to my craft, and always being fair, are 2 things I believe have always helped me stand out. Many individuals, or companies, in the music industry are focused on the money. Their focus on money replaces the focus on the artist, which leads to a bad rapport, and ultimately a business failure. I take the time to work hands on with those I do business with. I don’t to make money if they aren’t, so my number 1 priority is to make sure the service is performed adequately and accurately. This had lead to long-lasting relationships that exceed the period of me doing business with them.
6.) Would you rather work for a big corporation or would you rather stay independent? Why or why not? What makes one better than the other? Are you able to make a living with your art? If so, how were you able to attain a career doing what you love? If not, what do you do in order to fund your business? What advice would give to someone who’s interested in pursuing a career in the creative industry?
Going back to your previous question, the large corporations don’t have the same interests as I do. We wouldn’t see eye-to-eye, so an employee relationship with them would definitely fail. I have been very successful independently. For me, my start came from being in the right place at the right time. If I hadn’t met David Komatz online I don’t think I’d be where I am right now. To add to that, I entered this industry at a time when digital music wasn’t a thing yet. I had a front row seat as companies like The Orchard started in 1997, and CD Baby started in 1998. I had conversations with the founders of both companies way back in their infancy, which inspired me to fight for what I wanted. My advice for anyone wanting to get into the music industry is first learn the business. This music industry is like a government within a government. It’s complex, and needs to be properly studied. My next piece of advice would be to decide what you want to do in the industry. Everyone wants to be an artist, and some have no business stepping foot in a recording booth. There are plenty of jobs in the music industry to choose from. Learn about the various positions and determine which fits your particular skill set. If you can’t see yourself excelling in a particular position, that isn’t the position for you. Once you’ve determined what you want to do, work hard, stay committed and stay focused. Develop and maintain relationships. That will be your greatest tool down the road.
7.) How do you think the internet and social media affected the creative industry and how artists are able to market themselves? Social media is obviously an extremely important element in today’s world, especially when it comes to business, branding, marketing, etc. With that being said, do you think an artist will be able to survive in today’s economy if they’re not social media savvy?
Social media has become a primary marketing platform in the music industry. The ability to gain visibility worldwide, while sitting on your couch, is a beautiful thing. It is absolutely required that an artist have a social media presence, especially a new artist. If an artist comes to me for a deal, one of the 1st things I will do is check social media. I want to see if the artist has a fanbase, and if so, is the artist engaged with those fans. I want to see how many people are viewing the artist’s content on YouTube, how many people are sharing the content, and how large the demand is for new content.
8.) Typically, entrepreneurs who try to create products and/or services for mass consumption for the general public and make more money are seen as “sell-outs.” Do you see it that way and if so, what do you plan to do to make sure that what you offer stays true to your brand and make a good living at the same time without having to “sell out”?
I’ve learned that many, if not most, of those who label others as sell-outs are individuals who either tried to do the same thing and failed, or are jealous of the success that they cannot obtain for themselves. As long as ethics are maintained, there can be no chance of selling out. My brand represents artist success, so as long as I never lose sight of why I’m in the business, there’s not a chance of me selling out, or otherwise not staying true to the brand.
9.) Professionally, where do you see yourself 5 years from now?
5 years from now I see myself managing artists full-time. It’s something I got away from, due to other priorities. I’d say it’s probably my favorite role to play in the music industry. Of course I want to see my newest company, Global Music Digital, excel as well. As I am currently writing a book on the music industry, I’d love to be on my 2nd book by then.
