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‘$2,400 For An Hour’s Work’

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Comedians are B-grade celebrities in South Africa,” says Tumi Morake, a comedian famous for her brassy honesty, stand-up shows, Comedy Central Roasts and adverts with Vodacom.

“And yet I have a lot of disposable income. A lot,” she admits.

South Africa’s entertainment industry is fast growing, and bringing in vast amounts of money. Zinhle Jiyane, known as DJ Zinhle, says: “The South African entertainment industry has proven to be one of the most influential industries and its growth is something we can’t ignore.” And she’s right.

Musicians, actors, deejays and entertainers, as well as other creative industry performers, contribute 2.9% to the GDP, according to the Cultural and Creative Industries Federation (CCIFSA), and the creative economy contributes 3.6% to the total employment.

Jay Badza, a self-described brand architect and manager of some of South Africa’s biggest stars, including Bonang Matheba, predicts the industry will grow “in leaps and bounds” in the next five years.

“We’ve got a very healthy industry, and social media has tipped the scale to the entertainer,” says Badza.

Other experienced managers agree, such as Nomndeni Mdakhi, founder and managing director of Edits Communications, and DJ Zinhle’s manager. She predicts the industry will expand its footprint into the rest of the continent.

Morake admits that a ‘gig’, from stand-up to emceeing, to a mixture of the two, can earn a comedian of her calibre anything from R15,000 ($1,050) to R45,000 ($3,176) for an evening’s work.

Taffia Keight, a partner at Whacked Management, representing many of South Africa’s comedians, including Morake, says: “Depending on what other deals are done on an artiste’s behalf, [comedians] could earn between R12,000 ($850) and R250,000 ($17,000) a month.”

Comedy is a relatively new money-maker in the South African entertainment industry, and even in that sphere, it’s possible to earn a quarter of a million rand monthly – much of it through corporate gigs. Comedian Celeste Ntuli estimates she earns up to 40% of her monthly income through corporate emceeing and advertisements.

For a celebrity like Bonang Matheba, the numbers are much bigger. Nicknamed Queen B, Matheba is an A-lister through and through. She has over a million Instagram followers and is the first face of Revlon out of the United States – “A dream come true,” she says – and has her thumb in a lot of pies: she presents on Top Billing and Afternoon Express, hosts a radio show on Metro FM and has her own lingerie line at Woolworths. On top of this, she can earn anything from R30,000 ($2,120) to R100,000 ($7,060) for four hours’ work, depending on the client, hosting events like award shows and more.

Matheba’s flawless weave is a custom-made wig from Patrick Missile, and costs R15,000 ($1,050) – and that’s not including maintenance costs. For an event like the South African Style Awards, she says she can easily spend R55,000 ($3,882) for her look for that evening alone.

“My designer dress will probably cost around R50,000 ($3,530),” says Matheba, “And I’ll spend an additional R2,000 ($142) on my nails, and another R4,000 ($283) for hair and makeup for the evening – that includes having the makeup artiste at the event to touch me up.”

These are considered business expenses because, as Badza says, “An artiste is expected to be glitzy and glamorous.” Her luxury spends are holidays; 10-day trips to Mauritius, London, Paris and islands off the coast of Mozambique.

Other big earners are in the music industry. A DJ such as DJ Zinhle can earn up to R35,000 ($2,400) for an hour’s work, and can do up to five gigs between Friday and Sunday.

“You can just imagine how much she makes in a weekend,” says her manager Nomndeni Mdahki. And that’s just if she stays in the country – for international shows, also sold by the hour, the rate can easily go up to R50,000 ($3,530). Transport and accommodation are, naturally, included. Then there are celebrities expanding briskly into the international market, like DJ Black Coffee, who has been named several times by others in the industry as an example of a South African entertainer doing it right, with a growing international audience. He was not available for comment on this piece.

But even with these numbers, South Africa is lagging behind international entertainment industries. Nigeria is enormous, and South African celebs are clawing their way to Lagos, and not New York.

“The continent is opening up,” says Mdahki.

“Look at artiste collaborations, Channel O and the MTV Music Awards. In the end, it’s a numbers game. The more people you can bring in, the more money you can make. You want to develop a wide footprint out of South Africa.”

The trick for further growth is for celebrities to treat themselves like businesses, and use their social currency to expand their careers.

“Artistes don’t have to rely on the SABC anymore to become successful,” says Badza. With social media accounts, they communicate directly with their audience, and corporate and other clients look to those numbers to rate their popularity.

Mdahki agrees: “Social media is giving the power back to the talent.”

Morake, with over 55,000 Twitter followers, says celebrities need to remember that they are a brand. But perhaps most of all, the biggest key to growth, says Ntuli, is for South Africans to appreciate their own entertainers, like Nigerians appreciate theirs.

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Can Diddy’s Ciroc Recipe Work On Alkaline Water?

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The first time Sean “Diddy” Combs took a sip of Aquahydrate alkaline water—given to him by pal Mark Wahlberg at a Las Vegas boxing match in the early 2010s—he found it to be an ideal antidote for evenings spent consuming adult beverages.

“I went out that night and had a Vegas night, and I woke up and had a Vegas morning,” Diddy told me in 2015. “I drank two of the [Aquahydrate] bottles and it was, like, the best tasting water that I’ve tasted. And it really, honestly helped me recover.”

Diddy became the face of the company alongside Wahlberg shortly thereafter, and the pair invested $20 million in Aquahydrate over the years while billionaire Ron Burkle’s Yucaipa added another $27 million.

READ MORE | Hip-Hop’s Next Billionaires: Richest Rappers 2019

They aren’t the only ones with lofty ambitions for the brand: last week the Alkaline Water Co., the publicly-traded purveyor of competitor Alkaline88, bought Aquahydrate in an all-stock deal that valued the latter at about $50 million.

For Diddy, who ranks No. 4 on our recently-released list of hip-hop’s top earners and boasts a net worth of $740 million, alkaline water holdings are just a drop in his financial bucket. His Diageo-backed Ciroc vodka—and its myriad flavors, from Red Berry to Summer Watermelon—is responsible for the lion’s share of his wealth. But it’s clear he thinks alkaline water, flavored variants included, could swell his portfolio. So do his new partners.

Diddy
CRAIG BARRITT AND ALEXANDER TAMARGO/GETTY IMAGES. DESIGN: NICK DESANTIS/FORBES

“You put both these brands under one public company, it makes a ton of sense,” says Aaron Keay, Alkaline’s chairman, of the Aquahydrate deal. “We see synergies on distribution, we see cost-savings on cost of goods. On production, on logistics, on staffing. … And we don’t see both brands actually then competing for the same target market.”

In the past, flavored water has enriched investors including some of Diddy’s hip-hop world comrades. A little over a decade ago, 50 Cent famously took Vitaminwater equity in lieu of stock as payment for his endorsement—and walked away with some $100 million when Coca-Cola bought its parent company for $4.1 billion in 2007.

A ten-figure valuation for an alkaline water company seems an outlandish target even for the notoriously bombastic Diddy. But Keay notes Alkaline clocked $33 million in revenues over the past fiscal year and had been expecting $48 million in 2020; now, with Aquahydrate on board, he projects closer to $60-$65 million. That compares favorably to Core Water, which was doing some $80 million as of last year before getting acquired.

“For two or three years, Core Water was just another clear water,” says Keay. “Then they added about a half dozen flavors. Sales doubled. They got bought for $500 million. I mean, for us, $500 million would be a big number off of where our market cap is right now.”

Diddy appears to be an ideal ally in achieving that goal. With Ciroc, once a middling vodka in Diageo’s roster, he was able to articulate importance of the brand’s defining trait: it was made from grapes, not grains (never mind that this might technically disqualify it from being considered a vodka). His contention, according to Stephen Rust, Diageo’s president of new business and reserve brands, is that grapes are simply sexier than potatoes.

“One of his favorite things [to say] is, ‘If you can have a vodka that comes from a history of winemaking, why would you do that versus the history of coming from potatoes?’” Rust explained in an interview for my book, 3 Kings: Diddy, Dr. Dre, Jay-Z, And Hip-Hop’s Multibillion-Dollar Rise. “That’s Sean.”

With alkaline water, Diddy has demonstrated a similar knack for sizing up a product and extracting an elemental notion that passes muster with consumers (if not necessarily scientists). If “you’re full of acid,” Diddy once explained to me, you need to “get your body leveled out.”

Vodka and water, of course, are two very different products, and the same tactics won’t necessarily translate from one business to another. Flavored water itself seems to have been over-carbonated of late, as the recent struggles of brands like La Croix show; Alkaline’s shares have slumped this year as well.

Perhaps that’s why Alkaline is looking beyond its flagship bottled water business. Future plans call for a move towards cans in a nod to environmentally-conscious customers, as well as expansion into the nascent CBD-infused beverage space. Keay figures Diddy and Wahlberg, along with fellow celebrity investor Jillian Michaels, should provide a boost across the board.

“Once the FDA makes a ruling about how CBD is going to be distributed through those chains and channels, those guys are going to want trusted brands, brands that they know already have a consumer following,” says Keay. “And that was another big reason why it made sense to bring [Diddy, Wahlberg and Michaels] in, because it’s only going to help.”

Zack O’Malley Greenburg; Forbes

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The Highest-Paid Actors 2019: Dwayne Johnson, Bradley Cooper And Chris Hemsworth

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A bankable leading man is still one of Hollywood’s surest bets, even if your name isn’t Leonardo DiCaprio. While the lucrative twenty-twenty deal ($20 million upfront and 20% of gross profit) doled out to the likes of Harrison Ford and Tom Cruise may be more or less gone, Hollywood still has its big-money brands, those actors who can promise an audience so big that they command not only an eight-figure salary to show up on set but also a decent chunk of a film’s nebulous “pool”—or the money left over after some but not all of the bills are paid. 

Dwayne Johnson, also known as the Rock, tops the Forbes list of the world’s ten highest-paid actors, collecting $89.4 million between June 1, 2018, and June 1, 2019.

READ MORE | Marvel Money: How Six Avengers Made $340 Million Last Year

“It has to be audience first. What does the audience want, and what is the best scenario that we can create that will send them home happy?” Johnson told Forbes in 2018.

It seems he makes the audience happy. Johnson has landed a pay formula as close to the famed twenty-twenty deal of yore as any star can get these days. He’ll collect an upfront salary of up to $23.5 million—his highest quote yet—for the forthcoming Jumanji: The Next Level.

He also commands up to 15% of the pool from high-grossing franchise movies, including Jumanji: Welcome to the Jungle, which had a worldwide box office of $962.1 million. And he is paid $700,000 per episode for HBO’s Ballers and seven figures in royalties for his line of clothing, shoes and headphones with Under Armour.

READ MORE | ‘Black Panther’: All The Box Office Records It Broke (And Almost Broke) In Its $235M Debut

While Johnson’s deal is the biggest in the business right now, he’s not the only one with a lucrative deal. Robert Downey Jr. gets $20 million upfront and nearly 8% of the pool for his role as Iron Man, and that amounted to about $55 million for his work in Avengers: Endgame, which grossed $2.796 billion at the box office. 

That gross was so big that it secured spots on this year’s top-earner list for Chris Hemsworth, Bradley Cooper and Paul Rudd, in addition to Downey; together, they earned $284 million, with most of that coming from the franchise. 

“Celebrities such as Downey and (Scarlett) Johansson currently have extreme leverage to demand enormous compensation packages from studios investing hundreds of millions of dollars in making tent-pole films, such as The Avengers series,” entertainment lawyer David Chidekel of Early Sullivan Wright Gizer & McRae told Forbes. 

READ MORE | Worldwide Box Office, The Best It’s Ever Been

Cooper is the rare actor who can thank a bet on himself for his 2019 ranking. The actor earned only about 10% of his $57 million payday for voicing Rocket Raccoon in Avengers. 

Seventy percent came from A Star Is Born, the smaller musical drama that he directed, produced, cowrote and starred in with Lady Gaga. The movie was a passion project for Cooper, and he forfeited any upfront salary to go into the film and Gaga’s salary. It paid off—the movie, which had a production budget of only $36 million, grossed $435 million worldwide, leaving Cooper with an estimated $40 million. 

The full list is below. Earnings estimates are based on data from Nielsen, ComScore, Box Office Mojo and IMDB, as well as interviews with industry insiders. All figures are pretax; fees for agents, managers and lawyers (generally 10%, 15% and 5%, respectively) are not deducted.

The World’s Highest-Paid Actors Of 2019

10. Will Smith

Earnings: $35 million

9. Paul Rudd

Earnings: $41 million

8. Chris Evans

Earnings: $43.5 million

6. Adam Sandler (tie)

Earnings: $57 million

6. Bradley Cooper (tie)

Earnings: $57 million

5. Jackie Chan

Earnings: $58 million

4. Akshay Kumar

Earnings: $65 million

3. Robert Downey Jr.

Earnings: $66 million

2. Chris Hemsworth

Earnings: $76.4 million

1. Dwayne Johnson

-Madeline Berg; Forbes

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Comedian Jim Gaffigan Rakes In $30 Million By Ditching Netflix And Betting On Himself

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Gripping a lukewarm Heineken, Jim Gaffigan hunches his six-foot-one frame over a peeling table in the green room of the An Grianán Theatre in Letterkenny, Ireland. Summer nights are never terribly hot in these parts, but this one is warm enough to need some air conditioning, which the theater almost never uses. It’s hardly a glamorous moment. But then again, glamour isn’t really his thing.

“There’s nothing sexy about Jim Gaffigan,” he says, sweat dotting his brow. “I’m not young. I don’t have a full head of hair. I’m out of shape. I don’t talk about having dinner with Kanye.”

Fortunately for him, he is funny. Just ask the more than 300,000 people in 15 countries who’ve paid an average of $56 to see his latest routine. For the 53-year-old father of five, it’s been a grueling schedule: more than 75 cities in the past year, including whistle-stops like Letterkenny, a northern community of 20,000 that was once lauded as the Republic’s “tidiest town.”

READ MORE | Trevor Noah Is Laughing All The Way To The Bank

They may not offer much sizzle, but places like this are the lifeblood of Gaffigan’s business. He has raked in $30 million this year, putting him at No. 3 on Forbes’ list of the highest-earning stand-up comedians. Half of that was earned by putting “butts in seats.”

The rest comes from spreading his punch lines far and wide. And in this business, if those jokes are funny enough—and your reach wide enough—you can fill a lot of seats with a lot of butts. With the right distribution deal, those jokes can deliver exponential returns. But that’s where it gets a bit tricky.

“In the entertainment industry, every house is made of ice and it’s melting,” Gaffigan says. “So you’d better be building a new house.”  

Gaffigan’s been building. In 2016, he agreed to partner with Netflix, the industry’s dominant force and home to original specials from all but one of the comedians on Forbes’ ranking. Last year he cut loose from the kingmaker and placed a bigger bet on himself, pairing up with Comedy Dynamics, an independent producer, to release his next special everywhere but Netflix. 

Gaffigan will star in the first original stand-up special on Amazon, which is going after the streaming giant with a push into comedy. Quality Time goes live today, and it can be shopped on the open streaming market when its exclusive run with Amazon Prime Video is up in two years. And that market is only expanding.

Gaffigan has learned a bit about home building in the entertainment industry. He cut his teeth on the club circuit in the early 1990s, when HBO was the primary destination for stand-up specials and Comedy Central was a fledgling cable network.

READ MORE | Executive Travel: Mpho Popps’ Ghana

In 2000, he landed what was then the holy grail of comedy success—a broadcast sitcom—which was the source of the fortunes the creators of Seinfeld and Roseanne minted once they had enough seasons on the air and could sell the series into syndication.

Gaffigan’s shot proved to be short-lived, but six years later he scored a second chance and headlined a Comedy Central special called Beyond the Pale. This time it paid dividends, landing him his first theater show a month later. The butts were now coming to the seats, and while his rise was live, in person, with microphone in hand, his breakout was digital.

At the time, YouTube was changing the rules of the game, providing comedians a global platform with unprecedented distribution. Then Twitter emerged, giving comedy bookers a real-time assessment of who was attracting audiences.

READ MORE | The World’s Highest-Paid Comedians Of 2018

Then came the debut of streaming on Netflix, which latched onto comedy as a cheap and effective way to lure subscribers, while some, notably the now disgraced Louis C.K., used streaming to control their own distribution, making their shows available for fans to purchase directly.

“It was a technological wave that crashed over the stand-up world,” says Wayne Federman, a comedian and professor of the history of stand-up at the University of Southern California. “And we’re still all trying to figure out what’s going on.”

Gaffigan’s first original Netflix special aired in 2017, long after the company had reshaped the industry. It was a promising place to be: Aziz Ansari and Ali Wong were propelled into superstar status through their Netflix specials, while household names like Dave Chappelle and Jerry Seinfeld reportedly cashed in with $60 million (Chappelle) and $100 million (Seinfeld) paydays in exchange for long-term, multi-program deals. Gaffigan’s first special, Cinco, sold for a more modest seven-figure sum.

Jim Gaffigan stand up comedy specials for Netflix and Amazon Original
COURTESY

It was more than just a check; it was access to a potential audience of nearly 94 million. Although Netflix’s subscriber base has grown since then, so has its stand-up library. The platform now shops nearly four times the number of original stand-up specials than when Cinco debuted.

That makes it harder to stand out in the scroll. Plus, the streamer often holds onto specials in perpetuity, including Cinco. The up-front money is nice, but there is no ability to earn on the back end. 

Gaffigan used his next special, 2018’s Noble Ape, which was directed and cowritten by his wife, Jeannie Gaffigan, to test the waters. Comedy Dynamics bought the rights and made it available everywhere Netflix wasn’t. It had a theatrical release and could be purchased and rented on multiple services, including  iTunes, YouTube and Walmart’s VUDU.

Later, there were short streaming windows on Comedy Central and Amazon Prime. According to Comedy Dynamics CEO Brian Volk-Weiss, it was even syndicated to planes and cruise ships. The up-front payment to Gaffigan from Comedy Dynamics was lower than at Netflix, but the wide distribution allowed him to earn on the back end, bringing in a total of $10 million, according to Forbes estimates.

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And new services are on the way from Apple, WarnerMedia, NBCUniversal and Disney, any one of which could choose to pursue cheap-to-produce and popular stand-up specials. 

Because of this widening field, stand-up specials may have more life (and revenue) in them, and that could be good for comedians looking to gamble on their success with deals that offer back-end participation. “We have titles in our library that are making more in year 12 than they made in year one,” says Volk-Weiss, whose company also owns specials by Bob Saget, Iliza Shlesinger and Janeane Garofalo.

Still, leaving Netflix means walking away from a partner that has now established itself as a formidable entertainment company. Netflix has some 180 original hour-long stand-up specials and is singularly focused on exploiting content around the world. Gaffigan, though, is content to keep the bet on himself.

“In the entertainment industry, every house is made of ice and it’s melting. So you’d better be building a new house.”

In the stuffy backstage room in Letterkenny, Gaffigan reviews some of the new material he tried out on stage. A joke about Ireland’s nonsensical roads killed it. He stumbled with a bit about the English. The classics played well—“My dad never went to a parent-teacher conference; my dad didn’t know I went to school.”  

And he’s well aware that Amazon’s core mission is to sell stuff, even though it has won critical acclaim for shows like The Marvelous Mrs. Maisel and Transparent. With plans to deliver three more specials over the next five years, he’s got time to see just how good a partner the retailer might be. Along the way, he may decide it’s time to find a new neighborhood.

“The reason I went to Amazon is to expand my audience,” he says. “I don’t know what they’re gonna do and I don’t fully understand their marketing might. I might be pleasantly surprised. I mean, it’s a huge corporation. They could probably make more selling socks.”

-Ariel Shapiro; Forbes

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