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Trace Denies’ Money-For-Video-Play’ Allegations, Reveals Video Selection Guidelines

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Trace Naija, Trace Mziki, Trace Urban, Trace Africa and Trace Toca.

Contrary to recent insinuation making the rounds, the management of leading African music, youth and entertainment youth, Trace has come out strongly to correct the impression that it demands money for getting videos on its channels.

 

In order to erase all doubts, the music channel has revealed its music video selection criteria to the public. Trace has the widest distribution of any music channel in Africa and is the number one or two rated channel in close to 50 countries across the continent with a five-channel brand, namely Trace Naija, Trace Mziki, Trace Urban, Trace Africa and Trace Toca.

Trace Naija is number One in Nigeria and Ghana with over around One million viewers a day. Trace’s channels are the most highly prized platform by artists and getting a video on Trace is considered to be an endorsement that an artist has “blown”. Many artists testify that their Pan African fame is in part thanks to exposure on Trace’s channels across the continent. Launched in 2003, Trace is a multimedia group and brand dedicated to afro-urban entertainment. With a presence in 160 countries, Trace offers award winning TV channels, radios, mobile services, digital platforms to millennials and multicultural audiences.

“For years, despite constant communication, there has been speculation by artistes and the music industry at large about what it really takes to get a music video on Trace channels. We understand the demand because artistes know that getting their video on high rotation on Trace could change their life and make them a superstar,” said Mr. Sam Onyemelukwe, Trace West Africa’s Managing Director.

A fundamental rule of economics is when there is high demand and low supply, there is an imbalance and the demand will skyrocket. That is true of Trace because there are only about 50 videos in rotation on the channel at any one time; meanwhile, the channels receive over 100 new video submissions a week. As spelt out in the newly released selection guidelines, Trace does not charge for video submission or airplay. On the contrary, royalties are paid to artists and record labels for broadcasting their works.

“Some unscrupulous people have gone so far as to charge unknowing record labels and artists with a fake guarantee that their video will air on Trace, we even heard of a guy in Ghana who offers a price list for airplay on Trace and other music channels and shows.” Added Mr. Onyemelukwe. “We do not sell video spins on the channel and anybody who tells you otherwise is a liar. However, at the same time, we know how much demand is out there, so we offer a promotion package called Zoom that can be purchased and guarantees a short profile and a few clips of an artist’s music video”.

Mr. Sam Onyemelukwe, Trace West Africa’s Managing Director.

Mr. Sam Onyemelukwe, Trace West Africa’s Managing Director.

Due to a recent escalation in requests and an incident in Cameroun where Greenpeace paid 2000 Euros to a fraudulent “middle man” who did not even submit the video, Trace decided to release video selection guidelines, a document that has been used internally since 2011. Over the years, it has proven close to impossible from stop a few rogue staff and dishonest industry practitioners from collecting money but on the flip side, also record labels and artists have been repeatedly advised to desist from offering money for airplay. Public announcements of how our submission process works and the fact that you cannot pay for video airplay should help curb these sharp practices.

According to the statement, all artists, managers, promoters and industry stakeholders are encouraged and welcome to foster relationships with Trace staff in all departments but no one person can guarantee to get your video played. For 2018, the music channel has re-organised its local talent and music organization. Onyemelukwe encouraged concerned persons to reach out to [email protected] and/or can submit videos directly on www.trace.tv.

ENTERTAINMENT

AFRIFF 2024: Check Out The Complete List Of Winners

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2024 AFRIFF: The Complete List Of Winners | fab.ng

The 2024 AFRIFF celebrated exceptional African cinema through a vibrant week-long showcase of talent, creativity, and storytelling excellence.

Filmmakers, actors, and cinema enthusiasts gathered from across the continent to participate in screenings, masterclasses, and engaging panel discussions at the 2024 AFRIFF.

This 13th edition of AFRIFF demonstrated unprecedented diversity in African storytelling, featuring compelling narratives that captivated audiences through multiple genres and languages.

In the 2024 AFRIFF, carefully curated selections sparked meaningful conversations about contemporary African experiences while highlighting the continent’s rich cultural heritage.

Also, at the 2024 AFRIFF Globe Awards ceremony, outstanding films earned recognition for their artistic merit, technical excellence, and powerful storytelling.

These winning productions represented various African perspectives, from intimate personal narratives to broader social commentaries.

Let’s explore the complete list of winners who made their mark at this prestigious celebration of African cinema.

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ENTERTAINMENT

Enioluwa Replies X User Questioning The Use Of Same Actors In Nollywood

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Enioluwa on why Nollywood uses the same actors | fab.ng

Nollywood actor and social media personality Enioluwa explained why the Nigerian film industry uses the ‘same faces’ in movies.

It all began on November 11, 2024, when an X user reacted to actress Jemima Osunde‘s post on X regarding the new YouTube film Fame and Fury.

The user said, “I’m sincerely tired of seeing the same faces in this damn industry.”

Osunde did not take her comment lightly. She retorted, saying, “We’re tired of seeing your face too in your office. Damn! I hope they sack you.”

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ENTERTAINMENT

John Njamah Says Actors Should Be Cast Based On Talent Not Instagram Followers

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John Njamah Says Actors Should Be Cast Based On Talent | fab.ng

Nollywood filmmaker John Njamah recently voiced his concern about the prevailing casting practices in the industry. He argued that casting decisions should prioritize an actor’s talent over their physical appearance or social media popularity.

In an exclusive interview, Njamah, a Nollywood veteran, gave insightful commentary on the current state and future trajectory of Nigerian cinema.

Known for his role as Rabiu in the popular TV soap opera “Fuji House of Commotion,” Njamah has also graced the screens of numerous television shows.

Interestingly, the shows he has featured in include “Tinsel,” “Living In Lagos,” “Solitaire,” “Casino,” “Emerald,” “Tide,” and “My Flatmates.”

During the interview, Njamah talked about his filmmaking journey. He emphasized his unwavering passion for the industry and his aspirations for its continued development.

“What is fuelling me is beyond passion. There’s that knack and need to grow with every month, whatever year. There’s that need to.do something different. This industry of ours is for you to do whatever you want to do and not join the bandwagon. So for me, it’s the originality in me and the need to do something right that is fuelling me Basically, it’s the ever-creative venture in me,” he said.

Njamah discussed how African stories are evolving. Furthermore, he emphasized that positive and negative changes have happened over the years.

“There’s a positive aspect and there’s a negative aspect. There’s a technical input. We’re telling our stories better technically. We’re telling better and bigger stories. The negative is that we are beginning to lose our originality. We are beginning to join the bandwagon to tell what is peculiar to other people and not to us. We are beginning to lose a bit of our identity cos there’s no longer us,” he said.

What’s more, Njamah spoke about casting in the industry. He pointed out differences between the industry during his time and the current climate, especially with casting.

“Fuji House was a one-camera shoot with hungry and passionate people. Now we have people who cast people who are beautiful and with Barbie bodies and followership and not necessarily for your talents. Some of us try to be that original because that’s where better stories are told. You want to tell stories with passionate people. Whether you like it or not, it’s a long shot but it’s possible. You want to give the actors that are worthy of the job and not the ones that are based on Instagram followers. We borrow from society and give back to society by way of entertainment and pedagogical values.”

Further, he criticized the lack of professional work ethic among filmmakers in Nollywood. He highlighted the absence of a robust system to evaluate the performance and accountability of producers within the industry.

“Professionalism is lacking. Respect for those in charge, humility and the like is lacking today. The industry lacks checks and balances. Every Tom, Dck and Harry can wake up and call themselves a producer and just get on board and be doing stuff without being checked and of course, the guild system is not working so they can’t check. There are no criteria for who should become a producer. The system is also not working. Let’s just be mindful as producers, directors and actors,” he added.

In conclusion, John Njamah acknowledged the unique character of Nollywood. Meanwhile, he proposed the creation of a domestic platform to market and distribute Nigerian films. Consequently, this would reduce reliance on foreign streaming services.

“That thing that they don’t like about us is what makes us, us. I am tired of people saying they don’t want to come into the country for coproduction cos we’re that and that and why are we relying on the likes of the streamers? Why can’t we do something that is for us by us so that they will come to us and ask for these things? We are solely depending on them to licence our movies, for survival. Speaking of coproduction, if you tell me you don’t want to come into the country for any reason, I’ll tell you you’re wrong, cos there are amazing producers here that you’ve seen their work. All you need to do is come to them and agree on modalities.”

Watch the interview with John Njamah below.

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