by DJ Grumpy

Promotion is a lost art in hip hop culture. Stenciled, hand-drawn flyers eventually graduated to jpegs and html banners, while e-blasts and Facebook groups have replaced the street team and the litter of flyers that use to decorate the exit of most events.  Despite all of these changes, one thing remains the same: The bizness.  If event companies and promoters didn’t execute their business plans, it would be more than CDs not selling right now; the genre would be hidden.  Manifesto got a chance to catch up with REMG’s founder and President, Jonathan Ramos, to break down the details of one of the hardest jobs in hip hop…

DJG: What is one thing most hip hop fans do not know about being a promotions company in the hip hop/urban music industry?

JR: That this is a business and in structure, it favours the artist over the promoter. It’s a tough game and not for the faint of heart.

DJG: What was your first show/event in which your decision to form a promotions company was sealed?

JR: My very first show; The Pharcyde, Bass Is Base & Russell Peters, June 23rd 1993 @ The Opera House. Music by The Soul Controllers and hosted by Johnbronski.

DJG: Can you explain the fine details of what must be done before the fans see the artist on stage?

JR: Too many fine details to list but these are the basics of putting together a show: create budget, send artist offer, match artist availability against venue availability, create marketing plan, confirm artist and venue via contracts, execute contract, send artist deposit, announce show, put tickets on sale, execute marketing plan, apply for work permits, advance technical part of show with tour manager, create schedule, execute schedule on day-of, pay balance of fee to artist. Showtime!

DJG: Can you take us back to when your company was just lifting off?  What were some of the rewards and challenges of producing events like the 416 Graf Expo?

JR: I hadn’t put much thought into forming REMG. Instead I focused on each show and what it would take to make it a success. Only after I had a string of successful shows did I give thought to making it long-term. When I started, I did almost everything including flyers. Although trying at times, I enjoyed the actually process of executing a show; meeting people in the industry, spending time at college radio shows – everyone was on their grind and there was a sense of community. As far as the 416 Graffiti Expo; although spearheaded by Matt Robinson and myself, the Expo was a true community event. Assembled and attended by people who had a genuine love for hip hop culture – similar to what I see with Manifesto.

DJG: What are some of the unique aspects of working within hip hop culture as opposed to say an investment company?

JR: Like most cultures based in art, people are drawn to hip hop out of a love for the culture. Hip hop has become a business – much like the investment world but it’s the love of culture that separates it from any other business and what drives it at its roots.

DJG: For the young promoter who is interested in branching out to event planning and working with international artists, what advise would you give them?  What kind of skills do you feel are essential and what skill sets do you think can be developed along the way?

JR: If you are just starting out, cut your teeth on doing small shows with local artists. Get a feel for the market and develop your reputation with venues, media and suppliers. Once you feel confident in your ability to properly produce a show you can step up to working with larger artists (international or domestic). As far as skill sets required for success; 1) Organization – the ability to multi-task and stay focused on the job at hand.  2) Communication – your ability to effectively deal with others (agents, suppliers, media, etc) will determine how easy or difficult your job will be, now and in the future. This business is built on relationships – nurture these and they will serve you well.

DJG: Where do you want to see REMG in 2010 and beyond? Is it important for a business to continuously set goals, and challenge itself, or should a company find its niche and stick to it?

JR: REMG has grown continuously year-on-year. From a one-man shop in 1993, I now have two partners and a staff of five. I started the company as an urban-music entity, but we now do shows across many genres and in many cities and I’d like to see us continue that growth. It is very important for a company to continuously set goals. We serve our audience so it is important that we evolve and grow with them.