ST Exclusive: Legendary manager and publicist Ramon Hervey II offers insights on "The Fame Game"

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    (September 3, 2022) For the past four decades, Ramon Hervey II has represented numerous celebrities as both publicist and manager. From his time at Motown Records in the late 1970s, to his tenure with the likes of Vanessa Williams, Rick James, Little Richard, and Babyface in the ‘80s and ‘90s, the entrepreneurial figure helped brand, solidify, and rescue many high-profile careers of artists running the gamut of popular music and beyond.

    Hervey’s newly published book, The Fame Game (a self-described “promoir”), explores the inner workings of his professional relationships with top clients. Below, he shares with SoulTracks’ Justin Kantor specific insights on some of the “tenets of fame” which he covers within the book’s pages.

    (September 3, 2022) For the past four decades, Ramon Hervey II has represented numerous celebrities as both publicist and manager. From his time at Motown Records in the late 1970s, to his tenure with the likes of Vanessa Williams, Rick James, Little Richard, and Babyface in the ‘80s and ‘90s, the entrepreneurial figure helped brand, solidify, and rescue many high-profile careers of artists running the gamut of popular music and beyond.

    Hervey’s newly published book, The Fame Game (a self-described “promoir”), explores the inner workings of his professional relationships with top clients. Below, he shares with SoulTracks’ Justin Kantor specific insights on some of the “tenets of fame” which he covers within the book’s pages.

    “Don’t Self Assess — The Public Dictates Fame” is the tenet covered in chapter three of The Fame Game. You state that your primary goal as a publicist for Little Richard’s comeback in the 1980s was to have “a firm grasp of what I was selling and a shared vision with the artist.” How did you obtain this balance? How can up-and-coming entertainers establish similar working relationships with their representatives?

    The most effective way to be aligned with your artist/client is to make sure you’re consistently honest and transparent with each other. That must include all aspects of the artistic vision, from the music, image, and the strategy that will be implemented to share it with the public. It can be a written overview or visionary deck—it needs to be in writing. When things go awry, referring to this document can help to get you back on the right path. Whether it’s an iconic artist like Little Richard or an up-and-coming artist, it can be effective in diffusing creative differences or perceived failures by either party.

    In the chapter, “Fame Begets Fame,” you observe that “not all successful people become famous. Not all people who attain fame can sustain the success that triggered their fame.” Looking at the multi-faceted endeavors and accomplishments of Quincy Jones, you illustrate an optimal approach to balancing a myriad of professional endeavors. In today’s landscape of social media-fueled visibility, how can young artists effectively manage the seemingly never-ending list of must-dos for continued relevance?

    One of the things that I’ve always marveled at about Quincy is his keen awareness of employing effective time management and being able to delegate and surround himself with talented professionals. The more successful you become, the more you must be cognizant of maintaining an equilibrium between your professional and private life. Learning to say no, and making concessions in your must-do list, whether it’s the number of social media posts you make weekly or passing on a media opportunity is not a crash and burn decision. You will survive.

    In discussing the tenet of obsessing to be your best rather than obsessing about becoming famous, you spotlight your time as Rick James’ publicist, observing, “You must believe you’re a star to create that perception…but it’s just as important to know when tempered moderation is a better option.” Is it especially difficult to walk that tightrope these days? How can one best determine an effective approach in a world of constant news feeds and cancel culture?

    One of the most challenging aspects of going from anonymity to success and fame is keeping one’s ego and sense of entitlement in check. It was an ongoing battle for Rick because he obsessed about being famous and put himself on a pedestal. The best approach is to remember when you were anonymous, treat people with respect, and don’t allow your success or fame to define who you are. Fame is fleeting and more than likely, one day you’ll have to learn to live without it.

    Chapter eight, “Attaining Fame Requires the Media’s Endorsement,” examines Don Cornelius’s unconventional path to fame and how his determination to limit media access to his story sometimes created roadblocks. Can a performer nowadays reach significant levels of fame while setting certain boundaries for types of coverage and angles? How do performers exercise control in such cases?

    It has always been possible for celebrities to control and drive the narrative on their life—what they want to keep private and what aspects they’re willing to expose to the public. Don Cornelius is just one of many of my clients who set limitations. Artists traditionally discuss these issues with their managers and publicists and set perimeters. Some don’t want to be filmed at their homes, and others will not provide images of their children. Quite a few will only do media interviews that are strategically timed to support and promote their career endeavors. These rules and guidelines are usually agreed upon when their business relationships are formed.

    You shed light on your time with Babyface in the chapter, “Fame Is Not a Destination—It’s an Accolade.” What is most exemplary about his career path in terms of diversifying while prioritizing work quality over quantity? What can imminent celebrities learn from his example?

    Kenny is an intensely passionate artist, songwriter and producer who has consistently challenged himself to achieve excellence. He can sublimate his ego and focus on making sure the strengths [of the artists with whom he’s working] are aptly showcased so that they can shine. What aspiring artists, songwriters, and producers can learn and try to duplicate is his conviction to maintaining the integrity of the art form. If you do that, your chances to achieve success and fame will increase exponentially.

    by Justin Kantor