Companies looking to enter the space have to be mindful of local tastes and purchasing habits and provide offers accordingly. Kenan is now the CEO of Africori, a digital music licensing and distribution firm focusing on African music, which he said is among the most unique marketplaces for music in the world - almost 60% to 70% of all music consumed there is local. They spend less but more often, and you could sell them a streaming service by the day or week instead.” They don’t buy a big bottle of detergent, they buy 50 ml at a time. “People in Africa don’t buy whole loaves of bread, they’ll buy a few pieces. Or, at least, not in the ways that the West is used to. “In nearly every emerging market, people aren’t ready to pay for music,” said Yoel Kenan, the former senior vice president of International Marketing and Business Development at Sony BMG. There, mobile phones are fast becoming the dominant means of conducting one’s business and entertainment life, but mobile providers run the equivalent of a predatory cartel for media.
“Africa’s Mobile Music: A New Way of Listening” focused on the unique challenges and opportunities of distributing and monetizing digital music in Africa.
LIL WAYNE NEW ALBUM 2014 HOW TO
“But music lasts forever.”Įarlier in the day, a couple of panels tried to make sense of where two growing, vital music scenes are going next, and how to be financially viable in the long term. But while Wayne’s biggest signee - Drake - has had testy words for Lamar in recent months, Wayne tried to tamp it down as all part of the craft. Wayne had humble, laudatory words for the new class of MC’s, such as Kendrick Lamar, and for his predecessors, such as Jay-Z, who once made overtures to pull Wayne off his homegrown Cash Money label to Def Jam. “Today, when I hear a Euro song, I’m like “Man, I didn’t even know that was a word’,” Wayne said, referring to his Young Money signee. Wayne grinned and seemed to get the drift. He was referring to the golden years when Wayne was on every pop-rap track and had a flurry of lauded mixtapes and an album, “Tha Carter 3,” that was widely regarded as one of the decade’s best and biggest selling rap records. Wilson modestly acknowledged that Wayne’s career remains a commercial powerhouse but has had a bit of a quality falloff on recent albums such as the middling “Tha Carter 4.” “I still don’t turn down songs, I’m still on a million singles,” Wayne said.Īnd yet, “between 20,” Wayne was unstoppable, Wilson said. The conversation covered his famously precocious childhood in New Orleans, his time studying psychology at the University of Houston (“I went back to school because I have kids, they needed to know their dad went to school”) and the ways a once-young rapper (he started his career at 9) can age gracefully.
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