
FOR AFRICA - CEO/PR & Marketing @mae_m_c_g - Radio Host @aphrobeats - Co-Founder @bolonmusicgroup - GRAMMY, BRITS, BET, MOBO & Forbes Member - HIGHLIGHTS⬇️
London, England
Joined November 2012
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gracey mae retweeted
SNL UK doing a Nollywood version of Wicked with Cynthia Erivo is the funniest thing they’ve done sorry
gracey mae retweeted
DIGI 100: Spotlighting the media platforms and voices shaping music and culture, amplifying talent and influencing how audiences discover the scene.
Best Amakhian @bestamakhian
Dolapo Amusat @theGeekyMidget
Dunsin Bankole @bvnkole
Gracey Mae @_graceymae
gracey mae retweeted
The guy who created Squid Game lost eight teeth from stress while making Netflix billions. His cut of the upside was zero dollars.
That's the deal Netflix gives everyone. They pay around 110% of your budget upfront, take the IP, and keep every dollar your hit earns for the rest of time. Your show can be the biggest thing on the planet and you get the same check as if it flopped.
Ben Affleck and Matt Damon just broke that deal.
Their studio, Artists Equity, sold The Rip to Netflix in January with a clause Netflix had never accepted before. They took less money upfront in exchange for a bonus if the movie performed in its first 90 days. It pulled 112 million views in six weeks. The bonus hit. And they split it with the crew, so the grips and gaffers got checks because a streaming movie did numbers.
Animals, the one Netflix is promoting here, is the next film under that structure. Affleck wrote the lead for Damon, lost him to Nolan's Odyssey, and just played the part himself rather than delay the shoot. When you own the studio, recasting the lead is a decision you make in the mirror.
Netflix said yes because they had to. Every other studio is chasing franchises, so the handful of people who still make prestige adult dramas suddenly have pricing power. Affleck and Damon took the Silicon Valley trade, lower salary for equity, and ran it in the one industry that spent 15 years stripping equity out of talent deals.
Hollywood lost its backend when streaming killed box office points. These two are quietly rebuilding it.
gracey mae retweeted
I don't know what type. 😆
y'all made this happen, but bigger thanks to @_graceymae.
Replying to @_graceymae
The worthy recipients are:
X
@poelovesmusic - 766 likes - ₦500,000
@Kaylu2Hard - 706 likes - ₦500,000
@Folagbade91 - 220 likes - ₦250,000
@ifeoluw_a - 131 likes - ₦100,000
2/4
Replying to @_graceymae
@_graceymae talks about the most embarrassing moments on the job and more on this entertaining episode of #MyDaily2K
Watch more on YouTube!
gracey mae retweeted
Nigerian creatives don’t need motivation. We need electricity, funding and people who actually pay invoices
gracey mae retweeted
Gracey Mae @_graceymae breaks down the advice she’d give her 21-year-old self on Creative CTRL.
Watch the full episode OUT NOW on YouTube:⤵️
youtu.be/0RrrBuDHOA0?si=Rdrn…
gracey mae retweeted
It’s not outside the realm of possibility for certain facets of this analysis to be correct. I recommend everyone watch “Soundtrack to a Coup d’État”. The documentary focuses on how the Eisenhower administration in collaboration with the King of Belgium, used jazz and Black American artist including Louis Armstrong and Nina Simone as a smokescreens alongside CIA operatives to divert attention from the assassination of Patrice Lumumba, the first democratically elected Prime Minister of Congo…
It has since been ranked by many organisations as one of the best documentaries of all time. Learn your history. primevideo.com/detail/0TSHJH…
Afrobeats And Its Links To US Secret Intelligence
Have you ever found yourself wondering why Afrobeats - the joyful soundtrack to the "Africa Rising" era from the late 2000s through the early 2010s - seems to have lost much of its energy and lustre of recent? Does it seem to you like the music no longer belongs to the fans and has become a distant, expensive product that nobody can relate with anymore?
You are not imagining it - in fact the reality of what has happened to Afrobeats is a lot darker than you would possibly imagine. Far from just a fresh music genre that embodied the sounds and aspirations of a new generation across the continent, it has been coopted into the arsenal of the US government's extensive foreign influence and interference tools. In fact, your favourite Afrobeats artist, as incredible as it sounds, most likely now has a handler permanently assigned to them by the US State Department.
In this special report, The Spearhead Senior Reporter Mckay Chukwu examines a story that has been hiding in plain sight for years, detailing the State Department's well-funded cultural interference infrastructure which has been deployed all over the Global South to bend entire populations and their governments toward the foreign policy goals of the US government.
gracey mae retweeted
I say this as a friend. The only ppl who should care about album sale numbers are the artist record label.
Enjoy the music,
Or don’t.
gracey mae retweeted
Several labels recently froze marketing spend for Q4, with pre-approved budgets being slashed. Expect fewer high-profile releases before the end of the year, with artists holding albums for 2027.
gracey mae retweeted
It’s time for Aphrobeats with @_graceymae x @SugaSpixe from 7-9pm
Listen live: @thisiswestside | Westside Radio (DAB) | 89.6FM (London)
I like this tweet I Love Pleonasms. Cease means stop and Desist means Do Not do it again. This is called a legal doublet, comprised of words that are irreversible binomials, like "for all intents and purposes" and "aid and abet" or even "law and order". Fun!
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