Mojo 50 years: you want be there have been

MOJO, of pioneering in the polder to concertgigant is about the years of bankruptcies, mergers and acquisitions, first festivals, blunders and successes. A look behind the scenes of the Delft company, that annually some two hundred and organizes concerts of the biggest pop stars in the world. But also signs for festivals such as Lowlands, North Sea Jazz, Pinkpop, Symphonica in Rosso, and Cirque du Soleil. With a lot of juicy stories about the vagaries of difficult artists, and the geschipper of the ’bookers’: ’No, of course, had Ray Charles in the contract will not be read. That is blind.”

Mojo has for years been an international factor in the concert and festival organiser, but started with founder Berry Visser an attic in Delft, which is a local singer/songwriter recorded. Not long after closed a music fan, Leon Ramakers in with it. “What we soon otherwise were going to do than the promoters who are there – in the jazz scene – all were: we found that we ourselves are not the boss, but the artist. And that we have always so held.”


Ramakers (now 71) was the director. “The organisation appeared to me to be in the blood, and what organize I the sweetest? Music. That is me, so still good going down.” He has now withdrawn from the top of the company, but may still like to be ’advisory’ supplement interfere. Besides, all the celebrities from all over the world, with whom he was in all those years together and booked and arranged, approach him, still preferably in person.

What does Mojo so big? “A whole lot of luck and faith in your cause. What you also go for techniques and stuff around it up: “ultimately it’s about what happens on stage, and that people can get a card for want to buy.”

In the book there are contributions from, among others, Bert Wagendorp, Joris Luyendijk, Erwin Olaf, Anton Corbijn, Tanja Chip and Wilfried de Jong. There will also be an exhibition next spring in Delft.

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