By Laurence Bass

Fashion is seasonal. Today’s runway darling is often eclipsed by the mere thought of next year’s trend. The life expectancy of a fashion statement is determined by quarterly sales and celebrity endorsements. Style is the complete antithesis of public opinion. The language of self-expression is rebellious by nature and thrives on individualism. Unfortunately, the music industry fears the indefinable. The list of musicians who sacrifice their artistry for the glow of fanfare spans generations. Shaffer Smith refuses to be another causality.

Smith, universally known as singing sensation Ne-Yo, sits behind the soundboard in his Manhattan recording studio. This ambiance differs from the hectic normalcy to which he has become accustomed. Flashing paparazzi, the red carpet and lines of adoring fans waiting for his autograph are all a part of the proverbial game. “I never thought that I would need an escape from the music industry,” says Smith. “This business will make you appreciate silence.” In his words, he only gets three days a year to actually relax. Smith finds refuge in this room. In no way is this surprising. Music has always been his sanctuary. Coming from the school of balladeers, crooners and soul men, Smith understands the magnitude of song.

A songwriter by trade, Smith’s career started away from the limelight of superstardom. His sensitive brand of soul caught the attention of iconic producer and CEO of Def Jam Records, Antonio “L.A.” Reid. He gave Smith carte blanche to produce, arrange and write his debut album In My Own Words (2006). Bypassing the sophomore jinx, Smith found success again the following year with Because of You. In preparation for his third album, Smith adhered to the fundamentals that propelled him to the top of the charts. Year of the Gentleman is the product.

“They so desperately want me to be this ‘jet-setting’ super celebrity guy and that’s never been me,” says Smith, referring to his management. “I could never see me being anything other than who I am. It just makes no sense to me.” Amidst the marketing campaign based on his image, Smith remains true. The arsenal of talent he displays on stage, in the studio and on screen is boundless. “I don’t view my music as just R&B. At the end of the day, I’m trying to be a part of the movement to eradicate all of these different genres of music. This is in the hope that we get two genres. Good Music and Bad Music. Period. When you say R&B, it limits me to a certain group of people. I want to make music for everybody.”

44 tgmlink.com | December 2008

Creative Director: Kanan Whited, Production Director: JawnAnthony Bramble, Photographer: Daniel D’ottavio,

Make-up Artist: Emi Kaneko, Model: Eugena @ Fusion Model Management, Location: Drive 495, NYC

PreVIOus PaGe: suIt & shIrt By dIOnIsIO VascO, cashmere cardIGan By eredI PIsanó, tIe By dIOn, fedOra By jaxOnthIs PaGe: suIt By eredI PIsanó, shIrt By dIOnIsIO VascO, tIe By dIOn, cLuB By caLLaway

cLOthInG & equIPment By caLLaway GOLf, watch By azad, hat By BaILey Of hOLLywOOd

Smith’s sophisticated blend of provocative lyrics and exceptional production appeal to a vast collage of ages and races. His videos are in constant rotation on mtv, vh1 and bet. From down beat soul to the quick-paced rhythm of techno, his skill set covers them all. Smith’s versatility is undeniable. In an age when watering down songs is the norm, Smith holds tight to his renaissance approach to the craft. The lyrics are arranged with precision to enhance the sonic tapestry of his compositions. His holistic appreciation for music continues to win over fans and make peers into admirers.

Not long ago, Smith answered his cell phone: “Who is this?” The voice replied: “This is Mike.” “Mike who?” “Michael Jackson.” “Alright,” Smith replied skeptically hanging up the phone.

Ten minutes later it was confirmed that the anointed King of Pop had in fact called. Smith, still speechless, recollects how he unknowingly hung up on his idol. “Come on. For Michael Jackson to just call you on your cell phone, I mean, what do you say to that?” Jackson called Smith for his poignant lyrics and signature production skills to lay the rubric for his forthcoming album. Occurrences similar to this have become commonplace for Smith.

The likes of Beyonce, Janet Jackson, Rihanna, Britney Spears and Ciara have benefitted from his song writing wizardry. Chris Brown, Jennifer Hudson, Fall Out Boy, Craig David and Usher are currently waiting in line for his blueprint. On stage, Smith stuns audiences with his showmanship. Last December, he opened for alternative rock legends the Goo Goo Dolls at a fundraising event for then Sen. Barack Obama. More recently, he joined forces with Alicia Keys for the much anticipated ‘As I Am’ summer tour. A seemingly unconventional method of writing good music has transformed a placid industry into Smith’s own personal Sistine Chapel.

Year of the Gentleman is cut from a different cloth. Understanding the fundamentals of engineering a cohesive album is a lost art. “There is a fine line between diversity and schizophrenia,” Smith says. “Diversity meaning that I to wanted to put a lot of different vibes on this album. I wanted find a common thread between each song. Schizophrenia is you have a pop song, then you hear a song that is straight rock, then you have another one that is R&B, only to end up with a song that’s techno. You leave the listener asking: ‘What are you doing?’” Smith delayed the release date of the album in an effort to perfect it down to the minutia. The result was a Top 10 Billboard single, #1 Album on the Japanese International Chart and acclaim from critics and fans. This album is a testament to the timeless. The relationship between each song

was handled with kit gloves. Although Smith’s work is branded as being romantic, the inspiration behind this album started with an observation.

“I feel that the essence of what it means to be a gentleman is lacking,” Smith explains. “The guy who actually takes the time to press his t-shirt before he goes out, the guy that’ll open up a car door for a woman, the guy who pulls out her chair before he sits down, the guy who will walk on the curb while his woman walks on the sidewalk. Where is he? He’s few and far between nowadays. Chivalry is dead and it sucks. Its time we bring chivalry back, time we bring class back and its time to bring integrity back.”

The gentleman was rarely visible in the era of Reaganomics, Nintendo and the emergence of the music video. The sex symbol became the focal point. From Prince to Madonna, the act of courting was transformed into salacious images and an infectious chorus in sync with the new wave-bubblegum-soul of the 1980s. This ideology was shown to many children and the result is clear—many artists lack skill. The sex appeal has become the lyrics and the video is the music. While others parade sexy around on a leash, Smith remains tastefully eloquent. “There’s a difference between sensual and raunchy,” Smith maintains. “You have to know the difference. If I can get just as many screams from girls with my shirt on than this cat can get with his shirt off—who’s winning?” His philosophy on what it means to be a gentleman translates into the image one conveys as an artist.

“Smoke and mirrors have been a part of the business since the business has been around,” Smith says, while shaking his head. “There was something about when Frank Sinatra cocked his hat to the side. He didn’t do that because he wanted people to think he was cool. He did it because that’s who he was.” For Smith, style is about the nuances that exemplify the personality of an individual. He values character. The Rat Pack’s charisma and lush sound played second fiddle to their progressive ways in a retrograde America. “Sammy Davis Jr. made it cool to be black in an era when it was not cool to be black,” Smith exclaims. Davis’ presence in the quintet brought the focus to the performer and away from the differences in color. Speaking of Davis, “This is a man that didn’t have to try to get your attention. You just gave it to him because he was charismatic. He was undeniably talented.” Smith sees this as the advent of the entertainer’s code of ethics. “Being an entertainer is more than just getting on stage and singing and dancing. It’s a lifestyle. It’s something about you that makes people want to better themselves.”

The Green Magazine | 47

Smith’s distinct style, at times, looks passé amidst a sea of fitted baseball caps, baggy jeans and gaudy t-shirts. He often looks as if he is en route to a board meeting, velvet rope event or a tee time. “It’s definitely something I will get into once I have time to do it the right way,” he says about playing golf. “It seems like the type of game that you have to take the time to get into. You can’t play golf one day and then wait another month and then play again. You just can’t do that.” Smith has yet to grace the fairway with his presence. Yet, he understands that life on the green is the new corner office for corporate America. His newfound zeal for the game is ideal for this ever-changing climate of business culture.

The other end of his expansive wardrobe is more relaxed. Regardless of the setting, Smith is always dressed for the occasion. His sense of style is refreshing. It is a mature array of outfits that cater to his sensibility and charm. Each hat fits perfectly. Every shirt accentuates his physique. His pants never exceed the sole of the shoe. However, the gentleman knows the difference between clothing and character. “The clothes do not make the man. The man makes the man,” Smith declares. “Putting on a three piece suit is not going to make

you a gentleman. It’s going make people perceive you a little differently, but it’s not going to make you a gentleman. What it is to be a gentleman is inside you. You don’t wear it on the outside. Your swag, charisma and charm are what make it. Cornrows and a three piece suit don’t make any damn sense to me. I’m sorry.”

If Smith’s commentary comes across as a bit cutting, it’s because he is in transition. He is a man of many hats—literally. The singer/songwriter is thinking beyond the stage and the studio. Versatility is the one intangible that separates feast from famine. The same skills used in one arena are fallible in another. With his eyes focused on tomorrow, Smith looks to add the title ‘entrepreneur’ to his repertoire. His affinity for Britain’s nightlife has prompted him to team up with Russell Simmons to open 514 Lounge. Set in the epicenter of London, 514 Lounge merges the chic with the sensual. Smith is following the trends of his contemporaries in the pursuit of creating equilibrium between business and pleasure. Away from the nocturnal glamour, Smith is turning a hobby into a career.

48 tgmlink.com | November/ December 2008

suIt By eredI PIsanó, tIe By dIOn, hat By BaILey Of hOLLywOOd, shIrt By dIOnIsIO VascO, shOes By eredI PIsanó

cashmere cardIGan By eredI PIsanó, Pants By dIOnIsIO VascO, tIe By dIOn, shOes By eredI PIsanOOn her: dress By LIsa Perry, jeweLry By LOIs hILL

cLOthInG & equIPment By caLLaway GOLf, watch By azad, hat By BaILey Of hOLLywOOd

He has been painting and drawing since he began singing. One morning while on tour, Smith caught an episode of the Care Bears. The show overwhelmed him with sappiness. “What would the complete opposite of the Care Bears be?” Smith asks with a slight smile. “Instead of a bear with the sun on his belly, what if you replaced it with a syringe?” The early morning musings led him to begin sketching what he called the “Who Cares Bears?” As comically perverse as this may sound, the executives at Cartoon Network were interested. The show is a perfect fit for the block of late night content seen on the network’s cash cow, Adult Swim. “What The Bear?” is the title that was decided upon by the network for the show. Although this program may not be suitable for younger viewers, Smith’s altruistic initiatives are benefitting the youth of America.

The Compound Foundation, Inc., based in Atlanta, is the brainchild of Smith and his manager Raynell “Tango” Hay. Established in 2007, the foundation’s main objective is to raise awareness regarding the child welfare system throughout America. It is a catalyst for change. “We are trying to end the cycle of streets, crime and then jail,” Smith says about efforts of the Compound Foundation. “The research we conduct shows that many teens are not really getting the attention they need to survive. Seeing that, we step in and try to offer programs to help them.” Smith’s vision is becoming a reality. His foundation offers programs to youth living in group homes. One of the key elements of Compound’s mission is the Entrepreneurial Education Program Curriculum. Youth participate in a paid two hour after school apprenticeship. Their hard work pays off in the form of either a college scholarship or seed capital to start their own business. Smith’s method of outreach stems from a deep-seated love for helping others.

“Love is the one thing that will never go out of style,” Smith says. “It has been here from the start of time and will be here when you and I are long gone. It has no expiration date.” The pen his microphone, the paper his stage. The word is eternal. But this is the year of the gentleman.

The Green Magazine | 51