Making Honey Jam in the recession
TORONTO (CUP) — For almost 15 years, Ebonnie Rowe has acted as the chief executive officer Honey Jam, a self-created women's music showcase.
The Torontonian also runs PhemPhat Entertainment Group, a non-profit organization that has become the “it” place for female musicians in the Canadian music scene to make their mark.
“We've grown so much over the years,” Rowe says. “It was never planned to keep going on so long — originally it was just a one-off showcase, but everyone kept asking when's the next show, so I realized we were filling an important niche for women; I decided to form PhemPhat and continue the show by popular demand.”
Honey Jam, an annual summer showcase, has grown by leaps and bounds, particularly in the level of talent that is featured. In the early days, it was much more R'n'B and hip hop focused, but after the first few years—and especially after Nelly Furtado's breakthrough 1997 performance—many more diverse artists started to audition. Now the summer showcase features artists in rock, country, pop, gospel, jazz, R'n'B and hip hop genres.
Each year women from across the country audition to be part of Honey Jam in order to sing and dance for sold-out crowds. It is an amazing opportunity for new artists, since the Honey Jam audiences include record label executives and industry professionals from some of Canada's most successful labels and management groups.
In the audience, there are also established artists looking for opening acts, producers and others looking for artists to be on film soundtracks.
Performers like Jully Black, Furtado and Anjulie are a few notable artists who have launched successful recording careers after appearing at the showcase.
However, it's not only performers who are getting something from the show. MuchMusic host Sarah Taylor, who hosted last year's festivities hosted again this year, says she gained just as much as the performers.
“I've met some amazing women,” says Taylor, “some who have become friends and mentors and whose music, talent and dedication continue to inspire me.”
This showcase differs from other festivals because there is a mentoring and educational component. They want more than just push women in the music industry but also want to teach them how to survive in it.
“There are no winners or losers in Honey Jam — it's not a competition,” Rowe said from the stage of last year's festival. “Every artist has already won by being a part of this showcase.”
Rowe, a tall model-esque beauty who runs the organization, looks nothing like a CEO, but has an undeniable reserve of strength that helps her persevere through many obstacles and challenges. With the help of a dedicated staff of volunteers she often spends months on end planning the one night performance held every year on August 15.
It's a task that doesn't pay much—or really, anything monetary at all—but something she does because of how many people depend on it. Thus far her pay has been the currency of fulfillment and the satisfaction of having made a tangible contribution.
“Believe me, I don't do this for the money,” she says with a laugh, “because there is none.”
It's a job that has become even harder to accomplish in these challenging economic times. The recession has lightened the pockets of numerous sponsors and donors, and handouts from the federal government have also been reduced, making the Honey Jam show harder to produce.
The funding crunch that Honey Jam feels is not unlike many other non-profit agencies' experiences during the recession. Marcel Lauziere is the president of Imagine Canada, a registered charity which promotes policies that benefit non-profit agencies across the country. He calls out the federal government for deserting non-profits like Honey Jam in less than ideal circumstances.
In an open letter in 2008, Lauziere stated his anger about the lack of funding to deserving groups and programs across Canada.
“We [as a non-profit] are extremely disappointed that the government was silent on the issue of federal funding to Canada's charities and non-profits,” he wrote.
As the recession takes its more obvious toll on the manufacturing industry, another unforeseen victim is the Canadian music business, which has for so long been over-shadowed by its American counterparts.
As Honey Jam's alumni go on to carve out successful careers for themselves, the organization that gave them their first break struggles to survive in this harsh economic climate.
“Honey Jam is an essential part of the industry because it's a supportive and welcoming place where artists can receive valuable training and exposure,” says Rowe.
After watching last year's showcase where country, blues and R'n'B musical acts all shared the same stage I agree and applaud Rowe and the organization for promoting an identity in the male dominated field of Canadian music. It's great to know a place exists where women can sing without having to take their clothes off or pretending to be something that the Top-40 world would churn out.
“There are so many amazing moments,” says MuchMusic personality Taylor. “Watching the amazing line up of women proudly parading onto the stage and pouring out their hearts and souls and sharing their artistic vision and dreams is just awesome.”
The recession may have put a damper on some of the festivities, but it won't keep Rowe from doing what she does best.
“I always supplement any sponsorship shortfall by putting my own money in to ensure its survival,” says Rowe, as enough money is never fundraised. “This year, that wasn't an option, so we're reaching out to alumni and the public for support through a raffle.
We're determined not to become recession roadkill — Honey Jam will go on.”
The Torontonian also runs PhemPhat Entertainment Group, a non-profit organization that has become the “it” place for female musicians in the Canadian music scene to make their mark.
“We've grown so much over the years,” Rowe says. “It was never planned to keep going on so long — originally it was just a one-off showcase, but everyone kept asking when's the next show, so I realized we were filling an important niche for women; I decided to form PhemPhat and continue the show by popular demand.”
Honey Jam, an annual summer showcase, has grown by leaps and bounds, particularly in the level of talent that is featured. In the early days, it was much more R'n'B and hip hop focused, but after the first few years—and especially after Nelly Furtado's breakthrough 1997 performance—many more diverse artists started to audition. Now the summer showcase features artists in rock, country, pop, gospel, jazz, R'n'B and hip hop genres.
Each year women from across the country audition to be part of Honey Jam in order to sing and dance for sold-out crowds. It is an amazing opportunity for new artists, since the Honey Jam audiences include record label executives and industry professionals from some of Canada's most successful labels and management groups.
In the audience, there are also established artists looking for opening acts, producers and others looking for artists to be on film soundtracks.
Performers like Jully Black, Furtado and Anjulie are a few notable artists who have launched successful recording careers after appearing at the showcase.
However, it's not only performers who are getting something from the show. MuchMusic host Sarah Taylor, who hosted last year's festivities hosted again this year, says she gained just as much as the performers.
“I've met some amazing women,” says Taylor, “some who have become friends and mentors and whose music, talent and dedication continue to inspire me.”
This showcase differs from other festivals because there is a mentoring and educational component. They want more than just push women in the music industry but also want to teach them how to survive in it.
“There are no winners or losers in Honey Jam — it's not a competition,” Rowe said from the stage of last year's festival. “Every artist has already won by being a part of this showcase.”
Rowe, a tall model-esque beauty who runs the organization, looks nothing like a CEO, but has an undeniable reserve of strength that helps her persevere through many obstacles and challenges. With the help of a dedicated staff of volunteers she often spends months on end planning the one night performance held every year on August 15.
It's a task that doesn't pay much—or really, anything monetary at all—but something she does because of how many people depend on it. Thus far her pay has been the currency of fulfillment and the satisfaction of having made a tangible contribution.
“Believe me, I don't do this for the money,” she says with a laugh, “because there is none.”
It's a job that has become even harder to accomplish in these challenging economic times. The recession has lightened the pockets of numerous sponsors and donors, and handouts from the federal government have also been reduced, making the Honey Jam show harder to produce.
The funding crunch that Honey Jam feels is not unlike many other non-profit agencies' experiences during the recession. Marcel Lauziere is the president of Imagine Canada, a registered charity which promotes policies that benefit non-profit agencies across the country. He calls out the federal government for deserting non-profits like Honey Jam in less than ideal circumstances.
In an open letter in 2008, Lauziere stated his anger about the lack of funding to deserving groups and programs across Canada.
“We [as a non-profit] are extremely disappointed that the government was silent on the issue of federal funding to Canada's charities and non-profits,” he wrote.
As the recession takes its more obvious toll on the manufacturing industry, another unforeseen victim is the Canadian music business, which has for so long been over-shadowed by its American counterparts.
As Honey Jam's alumni go on to carve out successful careers for themselves, the organization that gave them their first break struggles to survive in this harsh economic climate.
“Honey Jam is an essential part of the industry because it's a supportive and welcoming place where artists can receive valuable training and exposure,” says Rowe.
After watching last year's showcase where country, blues and R'n'B musical acts all shared the same stage I agree and applaud Rowe and the organization for promoting an identity in the male dominated field of Canadian music. It's great to know a place exists where women can sing without having to take their clothes off or pretending to be something that the Top-40 world would churn out.
“There are so many amazing moments,” says MuchMusic personality Taylor. “Watching the amazing line up of women proudly parading onto the stage and pouring out their hearts and souls and sharing their artistic vision and dreams is just awesome.”
The recession may have put a damper on some of the festivities, but it won't keep Rowe from doing what she does best.
“I always supplement any sponsorship shortfall by putting my own money in to ensure its survival,” says Rowe, as enough money is never fundraised. “This year, that wasn't an option, so we're reaching out to alumni and the public for support through a raffle.
We're determined not to become recession roadkill — Honey Jam will go on.”
