industry 101:
Robert “Kaspa” Smith Words by Eric Perrin
R
obert “Kaspa” Smith has been influential in the Atlanta music scene for a quite a while. Nearly ten years ago, the Los Angeles native began interning at ATL’s Hot 97.5 radio station on the exact same day as MTV’s LaLa, Coco Brother, marketing executive Marsha Meadows, and a man who used to be known as Cris Luva Luva. Since then, Kaspa has gone on to become one of the most instrumental industry execs in Atlanta. He cofounded the highly successful Hittmenn DJs collective (which reaches an audience of over 50 million), formed promotional strategies for countless label heads, and has become a notable community servant, annually donating time and toys to children in need. But now the man who prides himself as being “a pioneer in all facets of the Atlanta music industry,” is goin’ back to Cali. Not literally, but he does have Hollywood aspirations. “I was born in Hollywood, CA, so it’s expected for me to do movies,” says Kaspa. And as he juggles his many industry jobs while attempting to create the first and definitive Atlanta street movie, Robert Smith is focused, because to him, the industry may be rewarding, but he knows that it’s NADAGAME! You seem to pop up at every event in Atlanta. What exactly do you do? Basically, I’m a pioneer in all facets of the Atlanta music industry, ever since the first Hip Hop artist ever popped off in Atlanta. I’m influential in terms of the music industry tastemakers around Atlanta. I have a lot of different titles, so I just try to break all my tasks down so I can try to take care off all my business throughout the day. I’m the President and Founder of Hittmenn DJs; we’re a national DJ organization that was founded here in Atlanta by me, Greg Street, and Bigga Rankin. I’m also the VP of Marketing for Zone 4, which is Polow Da Don’s label on Interscope. And I have my own label, a joint venture with a guy named Yung Sean. Recently I’ve started writing, directing, and producing movies. If you had to compare your role in the Atlanta music scene to a human organ, what would that be? The heart—definitely. I’m where it all starts. When a person comes up with an idea and they wanna start a label and they wanna go in the studio and cut a record, I’m the one that actually forms the whole marketing and concept of how the music should be implemented in the market once that record is done. I’m like the heart, and the DJs are like my branches. I have a staff of 6 people, but with so much work, sometimes it feels like only two. But we get it done. I’m the get-it-done guy. How important are the Hittmenn DJs to an artist’s success in the industry? People overlook relationships. Relationships are immensely important to an artist’s success, and The Hittmenn DJs have incredible industry ties. We have like 80 DJs across the country, 38 markets, and we reach an audience of 50 million. We consist of radio DJs, on-air personalities, mixers and mixtape DJs, and also club DJs. I see a lot of DJ Crews, but this particular DJ crew is differ-
ent. It’s not just about being part of a group. We’re more family oriented. We do a lot of stuff in the community, and we try to give back. Do you ever beef with other DJ crews? No, I think it’s just plain competition, and that’s healthy. It’s just like a football team or baseball team. Off the field everybody is cool, but on the field you’re gunnin’ and runnin’. It’s not war, it’s just competition. How do you gauge success as a DJ crew? How would you win? As far as DJ crews, being successful is just being noted. For instance, when the 50 Cent’s “I Get Money” video was out, we were noted. The Hittmenn DJs were listed right after they showed Shadyville. So, I won that one. But when Tony [Neal] came into our city for the BET Hip Hop Awards and got nominated and we didn’t, he won that one. It’s just competition in different lanes. Speaking of 50 Cent’s “I Get Money” video, it was a good look how they spotlighted many of the DJ crews. It seems like more artists are giving shine to the DJ’s, would you consider that a true statement? Definitely, I think that throughout the past three years, DJs have gained more respect. I think the DJs have taken it to the next level. The labels are realizing that even if you have a good relationship with a [radio station’s] program director, and you have a hit that’s played 200 times a day, that doesn’t ensure good sales. Artists and labels realize that mixtape DJs or club DJs can have just as much, if not more, power than a radio DJ. Take Bigga Rankin, for example. He’s not on the radio, but he’s the biggest DJ in Jacksonville. I think people now see the importance of DJs. You have to have the DJs on your side in order to sell. It’s not gon’ happen without the DJ—period. Let’s change topics a little. What’s going on with your movie? I’ve actually written three movies. One of the movies I wrote in only two days. My movies are a lot of reality dialogue, but I’m really trying to build and show-off my writing skills. We’ve been doing a lot of filming, and our website is getting around a million and a half hits a month, so I’m really trying to take it to the next level. Being that I work so in in-depth with music, I’m always aware that rappers and R&B artists, or just artists in general, are always looking for a new lane to get their music heard. I feel like this is a time now where we have to change the game, and give the artists more visuals with the songs that they’re writing. Movies can give the music a lot more than a music video being played for five minutes on 106 and Park, because movies can create a household name with a story along with it. Atlanta has yet to have a street movie, a movie that’s just all about the streets of Atlanta, so [my first movie Off Da Hook] will serve that purpose, but it’s also dealing with the Delta in Mississippi. This movie is giving the entire South a great look. I’m really trying to take it to the next level. // www.hittmenndjslive.com OZONE MAG // 83