topic: emerging markets

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Outside a "mall" in Abuja, Nigeria: a blackboard advertising real-estate for rent. Interested people can inquire at the GLO shop next to the sign.

As a marketing device, this is an example of cross-media communication that relies on several infrastructures to make it work. Discovery of this information relies on the architecture of the physical space: roads, sidewalks and the proximity to a public space to bring this information to potential buyers. Note the careful placement of the sign in the unpaved area next to the paved sidewalk, so as to keep it visible to both pedestrians and passing or stopped motorists.

The second infrastructure is the social network at the GLO shop (cellphone airtime shops are common social hubs in Nigeria). Delegating the job of answering queries about the ads to the shop relies on the fact that, as a social hub and a low-margin business that relies on volumes, the GLO shop is constantly manned to ensure that potential airtime buyers will always find someone at the shop. The constancy enables the side business of helping potential renters with information about the ads.

The third infrastructure is, of course, the cellular phone network. Note the cellphone number scrawled at the bottom of the board. Given the importance of mobile phones as a method of communication in this country, this is practically a bonafide calling card and authenticator of intent all rolled into one.

Targeted advertising? Take that, Google!

From Tune Your World: 1,000 True Fans to Launch Calabash's Music Microfunding Platform!

What's the solution for how to survive as a struggling musician in the 21rst Century?

According to Wired Magazine editor Kevin Kelly's article, 1,000 True Fans,  an artist needs to find only 1,000 core fans -- defined as those who will buy everything produced by the artist. If each 'True Fan' is willing to give up a day's wage ($100)  each year to support the artist, then an artist can earn $100,000 per year.

It's a simple formula for artist success and it is exactly the path that Calabash is currently developing to allow fans to microfund working musicians. Calabash is changing the way the world finances music by applying the principles of microfinancing to the music industry.

This is impressive - crossover from international development ideas to music. The important idea here, and the difference between something like emusic/magnatune is that instead of framing the buyer's contribution to the artist as a percentage of the sale price, which makes understanding one's total contribution difficult (what's 1385 x 0.75 x 65c in dollars?) this system foregrounds the total contribution one makes and connects it with the artists total income. The system appears to be currently designed in the style of Wikipedia-style "fund drives", with a chart tracking the current contributions vs the overall goal.

What is interesting about this is that it is easier for someone to make a value estimation on an artists' music and pay appropriately, but also to know how well (or badly) a favourite artist is doing, and pitch in appropriately. If I find my favourite Garifuna musician is  barely scraping by at $35,000 a year, I'll put more of my music budget towards him than, say, Bjork. Not only is this more power to the artists, this is also more power to the people.

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