As I set out to leave my mark with the work I do and what I put out into the world with my name on it, I started searching for other Dantes and the mark that they left in their respective industries.
That curiosity led me to the streets of Brooklyn, New York. Dante Terrell Smith, known to the world as Mos Def (and later, Yasiin Bey).
In 1999—the year I was born—he released his debut solo album, Black on Both Sides. It was a defining moment for the culture and remains one of my absolute favorite records. On tracks like "Umi Says" and "May-December", he bypassed empty flexes to express complex truths, social commentary, and deep personal conviction. He approached songwriting the same way classic poets approached the vernacular: using the authentic, everyday language of his environment to build something timeless, sharp, and layered with meticulous detail.
His instinct for character and subtle charisma translated seamlessly onto the screen, where he stole scenes in The Italian Job (2003) as Left Ear, the team's calm, sharp demolition expert. It was one of my favorite movies growing up—I still have fond memories of watching it for the first time at my friend Luca's house, being blown away hearing Pink Floyd’s "Money" for the first time, and instantly falling in love with Mini Coopers after that chase scene through Los Angeles.
He moved through both industries entirely on his own terms. Whether taking on critically acclaimed film roles or stepping away from commercial music labels to protect his creative independence, Smith repeatedly proved that real influence doesn't require selling out your identity.
