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Tag Archives: NECLive 7

#NECLive 7: Tobi Bakre To Join BB Naija Panel

At the Nigerian Entertainment Conference 2019, a special panel will discuss the Big Brother Naija phenomenon that has taken over Nigerian airwaves in recent years.

Often disparaged as a corrupt, indecent platform, BBNaija appears to be more than a reality show for wannabe stars. The makers of the show, the participants, researchers, and fans come together for a session that interrogates all the assumptions; with a view to providing everyone with an opportunity to see things differently.

At NEC Live 7, the CEO of Multichoice Nigeria, John Ugbe will speak on the panel “DSTV Now: What The World Must Learn From BBNaija”. He will be joined with 2017 finalist, Tobi Bakre, Wangi Mba-Uzoukwu, Channel Manager, Africa Magic; Bisola Tejumola (PhD), Executive Head, Content.

NEC Live 7 holds tomorrow April 24, 2019, at Landmark Event Center, Lagos. The conference is brought to you by ID Africa, in partnership with African Creative Foundation, MultiChoice, Livespot, Huce Valeris,and BHM.

Nigerian Entertainment Conference: The Message Is The Medium

In a few days, the annual Nigerian Entertainment Conference will hold in Lagos, the seventh year in succession. Compared to when it first held in 2013, the industry has seen remarkable improvement, continuous evolution and an increase in the value of entire sector- on course to top $9 billion in 2022, per this report from PWC.

As a result of the apparent recent success of the Nigerian entertainment industry, it is rather easy to forget that the current wave is less than twenty years old. When 2face Idibia, widely acknowledged as the leader of the new school- collaborated with Jamaican dancehall artiste Beenie Man in 2005, it was novel for the new generation- a generation skipped by the good fortune of having international record companies here in Nigeria. Since then, independent record labels and artistes have made hundreds of millions of dollars in revenue, played at major festivals across the world and have been mobbed in countries as remote as Suriname. Why then is there a need to still convene a conference if there has been an improvement? Simply because the entertainment industry might have left biblical Egypt, but it is still wobbling around in the wilderness.

Entertainment in all of its forms- music, film, comedy, art, podcasts, games, dance etc- has been a veritable advancement medium for all concerned. At its most basic unpretentiousness, it delights and pleasures the audience. It has also been used for social causes- films have exposed certain ills in the society, musicians have rebelled through their music and comedians have pilloried politicians to no end. And through it all, the Nigerian Entertainment, at least for the past six years, has been a marketplace of ideas, a meeting place for industry insiders, practitioners, executives and members of the audience have sat together to fashion out solutions. The inaugural paper reads in part: The theme ‘Building the industry of our dreams’ not only challenged all and sundry on the need for collective responsibilities but engaged with varying solutions to redefine the Nigerian entertainment industry. There is an imperative need to begin a process of structuring the business in entertainment, setting up systems that are accountable, practical and very much applicable to the Nigerian environment.”

The first edition of NEC Live identified all the issues that stood in the way of the development of the industry-  inimical government policies, piracy, reluctance to embrace technology, the role of media and such like. Can we say with certainty that six years later, all of these problems have been surmounted? Not by a long shot. On the contrary, each year has presented newer problems, requiring equally newer solutions.

Amaka Igwe at #NECLive 2013

For example, the late filmmaker Amaka Igwe in her speech at the maiden edition of  NEC Live spoke of the need for practitioners to adopt emerging technologies for the good of the industry… Growth of the Nollywood industry should be driven by infrastructure that is required to service existing and new markets as they develop. The industry should use the power and skills inherent to promote and project modern and historical documentation, education and preservation of cultures in Nigeria. The industry has the potential of shaping a positive image for Nigeria. ‘What we are putting out is what the world thinks about Nigeria’.” Have filmmakers and movie producers adhered to this creed? Only quite slowly.

In that same hall, music executive Kenny Ogunbe and Chief Tony Okoroji disagreed heatedly over the issue of collection of royalties on behalf of COSON. Today, COSON and Okoroji are entangled in a three year battle with its members over its leadership and accusations of financial impropriety. (In March, a Lagos court ordered the reopening of its bank accounts hitherto frozen by an interim order.

Needless to add, these infrastructural challenges still remain. Interestingly, the solutions are inherent in the opportunities available in the innovations of the digital age. The technological revolution has helped solve some of the issues which have plagued our industry ab initio: streaming has allowed a great number of entertainers to bypass the Big Broses of Alaba who controlled before now solely controlled the distribution of music. The proliferation of internet-enabled devices has broken down the barriers of entry: thumb your noses at “Instagram comedians” all you want but they’ve proven that all you need is sixty seconds and a mobile phone. Comics like Frank Donga and Maraji rose to the upper echelon while others like Woli Agba charge in excess of seventy thousand naira to give “birthday shoutouts.”

This in itself has created a new set of problems, or to be less gloomy, challenges. Ayeni Adekunle, Chairman and Convener of the Nigerian Entertainment Conference, explains in part here: “But this is 2019. And we’re witnessing another boom. This time, the barriers have been pulled down. You can be in Lokoja and become a national hit by way of Instagram. You can become a leading actor by selling yourself on Youtube or Facebook. Radio or TV no longer break the big stars; social media does. The fans now hold the power, and everyone is noticing. How about monetisation? The streams are now so multiple that it is difficult for any one label or company to dictate the tunes. With the internet, telecommunications, app stores, streaming services, and VoD platforms, came an opportunity for creators to take control in ways hitherto impossible. But, what does this mean for consumers? As we chase contents we love on platforms where they’re domiciled, what’s happening to all the data being collected? And what does it mean for the creators and performers? Are they now getting paid in full?… Who in fact, gets paid? Who should? Will today’s entertainers end up becoming super rich and comfortable or will they end up like many of those before them? What do they need to know, to avoid obvious pitfalls?”

We now live in an era of constant creation of content and mediums that distribute them. As a matter of fact, the line between content creators and the platforms which distribute them has blurred. Disney and Apple are set to begin their respective streaming service that plans to play in the Netflix space.

It follows then, the problem and solutions are one and the same. What NEC Live offers is an avenue to confer among one another and design ways to ensure that the Nigerian entertainment ecosystem does not miss out on the boom that today’s technology and resources offer. Or worse still, have our stories told by those who didn’t live it.

NECLive is brought to you by ID Africa, in partnership with African Creative Foundation, MultiChoice, Livespot, Huce Valeris, and BHM.

Livespot 360 To Produce NECLive 7

The organisers of the Nigerian Entertainment Conference, are thrilled to announce that prominent Nigerian creative events and production agency, Livespot 360 is one of its major partners for the forthcoming seventh edition which comes up on the 24th of April, in Lagos.

Livespot led by the renowned maverick, Deola Art Alade is reputable for executing industry redefining projects and out of the world concepts. They will be responsible for managing the production execution of NECLive 7, Africa’s largest creative and entertainment industry conference.

The company’s expertise is notable in organising some of the biggest events in Africa. Applying empathetic storytelling, futuristic strategies, and unique execution, Livespot is widely regarded as a market leader in the events production sphere. The firm’s past works range from large scale conferences to immersive brand activations, live concerts, press days and more.

Since its founding in 2013, Livespot has produced some of the most remarkable events in the Nigerian entertainment industry. Notable among their past projects include Darey Art Alade’s ‘Love Like a Movie’ concert series which had some of the world’s top celebrities – Kim Kardashian, Kelly Rowland, and Ciara attending successive editions. Others are The Falz Experience’ concert produced for the Nigerian hip hop star, Falz The Bahd Guy in 2017, the 2018 HEADIES Award and the inaugural edition of Born In Africa Festival (BAFEST) which held in December 2018.

ID Africa who are organisers of #NECLIVE 7, have said that this year’s edition themed ‘Mobile, Data, Consumers and The Future Of Entertainment’, will be a memorable experience with the line up of world class partners involved.

Registration for the conference is free and currently ongoing. Intending participants wishing to attend can register to attend on www.nec-staging.ieikife7-liquidwebsites.com.

NECLive is brought to you by ID Africa, in partnership with African Creative Foundation, MultiChoice, Livespot, Huce Valeris, and BHM.

Nigeria’s Biggest Entertainers To Attend NECLive 7

The countdown has begun for the 7th Edition of the Nigerian Entertainment Conference which will take place on April 24 at the Landmark Event Centre in Oniru, Lagos State. #NECLIVE is Africa’s largest creative and entertainment industry gathering where major stakeholders in the sector come to rub minds and have conversations that shape the industry.

For the past six years, Musicians, Actors, Comedians, Producers, Fashion gurus and stakeholders in the creative industry ecosystem have used NECLive as a viable channel to express their thoughts and share views on how to make the industry more conducive for economic growth. At #NECLive 7, many of Nigeria’s biggest entertainers and celebrities will be making a return while some more will be making their debut appearance at the conference.

This year, the theme of the conference is Mobile, Data, Consumers and The Future Of Entertainment. Nigerian singer and songwriter Adekunle Gold will feature as a guest speaker while DJ Cuppy will be a panelist. Legendary Nigerian comedian, Alibaba who has previously featured as a speaker in past editions returns to #NECLIVE 7 to showcase the Spontaneity show live on stage. Other entertainers who have also confirmed their attendance include Aramide, Ebuka Obi-Uchendu, Frank Donga, and Sage Hassan the Poet. Many more stars are expected to confirm their attendance at the conference in the coming days.

NECLive has hosted over 100 celebrity guest stars and speakers, and has attracted over 20,000 live participants since its inception. Over 5000 participants are expected to attend the conference this year with millions expected to join the conversations online from different parts of the world.

The organisers, ID Africa have assured that this edition will be the best yet with insightful conversations meant to elevate the interaction of participants with the entertainment industry. CEO of IDA, Mr Femi Falodun is confident that those who attend the conference will be enlightened with the right information from the line up of industry professionals scheduled to speak. He says; “All NECLive attendees will get valuable insights into how data will play a key role in the future of entertainment in Nigeria and how content creators, brands and consumers  can use the knowledge acquired at the conference to their advantage.”

Registration for the #NECLive is free and ongoing on www.nec-staging.ieikife7-liquidwebsites.com

NECLive is brought to you by ID Africa, in partnership with African Creative Foundation, MultiChoice, Livespot, Huce Valeris, and BHM.

Over 10 Million People Expected To Watch #NECLive7 On April 24 – Organisers

Over 10 million people from across the world are expected to participate at the 7th Edition of Africa’s largest creative and entertainment industry conference,

NECLive, announced to hold on April 24, 2019 at Landmark Events Centre in Lagos even as organizers promise that this year’s edition will be the biggest yet.

Organised annually since 2013, #NECLive brings together practitioners from all sectors of the entertainment industry for conversations, workshops, exhibitions and master classes. The conference has hosted over 100 celebrity guest stars and speakers, and has attracted over 20,000 live participants since its inception six years ago.

Themed: Mobile, Data, Consumers and The Future Of Entertainment, #NECLive7 will examine how mobile tech and monetisation continues to affect consumers as well as creators; and what it all means for the future of entertainment in Nigeria.

The list of speakers, panelists, moderators and exhilarating performances lined up for this year’s edition promises to be the best yet. During the conference, ideas will be exchanged in more exciting ways while discussing challenges and introducing a strengthened pathway for growth in the Nigerian entertainment industry.

Convener of NECLive, Ayeni Adekunle commenting on the upcoming conference, said: “The platform presents attendees and industry players a strategic opportunity to network among stakeholders with the much-needed insight to effectively operate in this $8 billion industry. NECLive continues to be free registration for all attendees, but participants are required to pre-register on nec.ng”

#NECLive has immensely contributed to shaping the direction of the entertainment industry in Nigeria. The ultimate goal of this year’s edition is to further elevate the interaction of participants with germaine innovations, engage audience with memorable touch point experiences at exhibition installations and showcase diversity in the future of entertainment.

Over 3,000 live participants are expected this year based on data recorded from past editions by the organisers. Interested participants are therefore advised to register early for free on nec-staging.ieikife7-liquidwebsites.com. Interested exhibitors and sponsors should contact the Conference Coordinator by sending an email to [email protected]

Ace comedian, Tee-A, is scheduled to host the conference for a seventh consecutive time.

Excitement Level Rises As NECLive7 Is Exactly A Week Away!

It is exactly seven days before entertainment industry experts, visionaries and ideators convene at the grandiose venue of the 7th Nigerian Entertainment Conference (NECLive7) to do justice to this year’s theme: ‘Mobile, Data, Consumers and the Future of Entertainment’.

As we look forward to NECLive this year, we all have an idea, a dream of how we want the industry to be.

The experts amongst us, the professionals who know the A to Z will show you blueprints and models we can learn and borrow from. And we need to encourage everyone – from intern to veteran – to appreciate the work that needs to be done, the kind of house we need and have to build, so that we can all go back to our diverse segments of the industry & begin building the future.

Participants at NECLive7 will be provided with rare insights into how the future of entertainment in Nigeria is likely to be, plus the abundant opportunities that can be explored.

The event which is put together by ID Africa, in partnership with African Creative Foundation, MultiChoice, Livespot, Huce Valeris, and BHM, will be one to remember.

Those willing to partake in what promises to be a historic conference at Landmark Events Centre, Oniru, on Wednesday, April 24 can still register on www.nec-staging.ieikife7-liquidwebsites.com.

Make sure to not miss out on this year’s edition!

Registration For NECLive7 Is On; Why You Should Be As Excited As We Are!

Okay, the wait is finally over. The registration for the 2019 Nigerian Entertainment Conference (NECLive7) is now on!

For the past 6 years, the Nigerian Entertainment Conference has been the go-to event for brainstorming, as well as sharing of insights, ideas, and solutions to problems facing the entertainment industry.

In 2014, Prof. Pat Utomi delivered a keynote speech on how the industry was blooming with no government support – with only a group of revolutionaries and visionaries gathering to build it from nothing.

 

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Since the time, the industry has gone on to record even more laudable, record shattering feats. But there’s more to be done, as it remains ever evolving.

Courtesy technology, we have been ushered into an era where accessible data and consumer roles have become vital to the industry’s continued progress.

This, and more, is what an even better NECLive7 offers.

This year’s event which explores the theme: ‘Mobile, Data, Consumers and the future of Entertainment’ promises to be one of the best yet, as it focuses on the hard and smart work that still needs to be done by a generation that is keen on taking the baton from current visionaries to achieve even more desirable feats.

Registration for participants at the event which holds Wednesday, April 24, 2019, is absolutely FREE – as it has been for the past 6 editions.

You really don’t want to miss this edition!

‘Why we’re discussing the importance of data, and mobile technology to creators and consumers; and what it means for the future of entertainment at NECLive7’ – By Ayeni Adekunle

NECLive 7

When I started my career managing and promoting artistes in 1996, the industry was very crude. It was the time of Daddy Showkey and Baby Fryo and Fada U-Turn, the age of Dele Taiwo and SSP and co.

There was only one private radio station, and just a few private TV Stations. DSTV was for an exclusive few, with no Nigerian channels.

It was at a time when most TV channels resumed at 4 PM and closed by midnight. Of course, there was no social media; no Youtube or Soundcloud or iTunes. Heck, there was no iPhone, not to talk of App stores! Samsung had not yet made a smartphone. Netflix? Come on!

We didn’t have mobile phones.

Growing up in Okokomaiko, I had befriended a young man who helped his aunt sell petty stuff in a kiosk around Pako Bus Stop. That young man would go out every night, crawling night clubs around Ikeja and Apapa, hoping to get the DJs to play his music or, if luck were to smile on him, give him a chance to perform a quick track. His name was Father U-Turn. And he was not alone.

The standard practice at the time, if you wanted to score a hit, was to hustle all the night clubs. Everyone who became big did it. As the reggae/ragga guys were combing the clubs, their Fuji and Juju counterparts were hustling around Opebi/ Allen to Stadium and Ojuelegba. You had no voice if you didn’t have a platform. And that platform was either a performing spot or a night club. OGBC 2 and Ray Power were added blessings, and I don’t think they get enough credit for the role they played in introducing Nigerians to our own music. There’s no one that became someone in the late nineties that didn’t owe their success to some OAPs and presenters at OGBC or Ray Power ( and later Star FM).

You had to do the leg work. I would leave Okoko and head to Alagbado, the home of Ray Power, hoping to catch Steve Kadiri or baba Kura Abba Jato. Of course, we soon resorted to camping outside the gates of AIT/RayPower, just to see who was coming in or going out so we could make our pitch. It was the same at MBI where Emma Ugolee and Joke Jaiyesimi held it down. The same, when Silverbird and Rhythm opened in what was then ‘faraway Lekki’.

To become widely known, to get airplay, an interview, or anything at all. You had to get off your ass and go everywhere. And if you were not getting played by Steve Kadiri, Dennis ‘The Menace’ Ogi, Emma Ugolee, Dorcas Awuru, Baba Kura, Keke and D-one, Shy Shy Shyllon, JAJ, Kwame, and others, then your music wasn’t going anywhere.

To make money? You’re either on the road with Benson & Hedges, performing in universities, at night clubs, headlining for a DTD Sunday beach gig, or the likes of Lekki Sunsplash and Star Trek. There were no endorsement deals, and in fact, music and film were not favoured by multinationals for consumer marketing.

I ran into one of the major agency CEOs in 1998 at the lobby of Daily Times in Lagos, having tried unsuccessfully to get an appointment to see him for months. When I made my pitch: seeking a Pepsi sponsorship for our forthcoming Youths Award for Excellence in Music (YAFEM), he looked me in the face, patted me in the back, and said ‘Young man if you were doing a sports event maybe I’d have been able to help you. But we don’t currently do anything with music.’. That’s over 20 years ago. Today, Pepsi’s romance with sports stars continues, but as you’re aware, it’s no longer exclusive – here and abroad, the brand, like many others are in bed with major music stars, and the mutual benefits are clear.

The coming of more private and TV stations and the local content law ensured that local entertainment got more airtime. The success of AIT Jamz, with The Remedies, riding on the back of Keke and D-One, and the emergence of The Plantashun Boiz made local pop music cool again, and everyone tuned in. Some of the OGBC and Ray Power guys moved to other stations (especially Star FM and Rhythm) and took the culture with them. Of course, there was Pintos on Allen and Motherlan’ on Opebi.

Home videos continued to struggle commercially, while the TV soap operas continued to penetrate households. There were no cinemas or big production studios, and most of what Nollywood made was for home entertainment. The Ejiro Brothers, The Amata Brothers, Opa Williams, and Kingsley Ugoro, were some of the men ruling the scene with home entertainment while Lola Fani-Kayode, Amaka Igwe, James Iroha, Tunji Bamishigbin, Wale Adenuga and others dominated television.

Did we make the best of the music boom of the 90s? Did we make the best of all the fantastic TV series and home videos of the 90s and early 2000s? Did the artistes, the creators, producers, financiers, and even consumers get the best of value possible? Even the organisations…?

I don’t think so. Apart from those who relocated to seek better opportunities abroad, I can’t point to many practitioners from that era who became or remain truly successful as a result of their work. And most of the organisations are either dead or out or relevance. The works? That’s story for another day.

But this is 2019. And we’re witnessing another boom. This time, the barriers have been pulled down. You can be in Lokoja and become a national hit by way of Instagram. You can become a leading actor by selling yourself on Youtube or Facebook. Radio or TV no longer break the big stars; social media does. The fans now hold the power, and everyone is noticing.

How about monetisation? The streams are now so multiple that it is difficult for any one label or company to dictate the tunes. With the internet, telecommunications, app stores, streaming services, and VoD platforms, came an opportunity for creators to take control in ways hitherto impossible.

But, what does this mean for consumers? As we chase contents we love on platforms where they’re domiciled, what’s happening to all the data being collected?

And what does it mean for the creators and performers? Are they now getting paid in full? Or do they still hold the short end of the stick when they give out their content for free on social media platforms with the hope of getting corporate patronage? Even when they get paid by streaming and VoD platforms, are they being fairly compensated? Who in fact, gets paid? Who should? Will today’s entertainers end up becoming super rich and comfortable or will they end up like many of those before them? What do they need to know, to avoid obvious pitfalls?

Who will talk about the platform owners and business organisations? Are they actually profitable? Is the business model working? The entire industry now rests, from a revenue perspective, on Corporate sponsorships, Streaming services, VoD, Touring, Cinema, and performance fees. Nigeria has only about 150 cinema screens, not a single concert venue, a rapidly depleting VAS sub-industry, and just a few production studios (if we can call them that).

There’s an opportunity to build something that can truly transform the industry. And that’s what technology provides. From comedy to music, film, fashion, and media, how can we make sure that we build a future where our products are available to consumers where, when and how they want them? How can we make sure that experiences can be customised and personal? How can we create a system where the big funds are pouring into the creative sector because it’s been demonstrated that the industry means business?

What roles do the big Telcos have to play? How do the banks come in? And what does ‘Yaba valley’ have to show us?

It’s time to build the future, And you’re all invited.