What Is The True Cost of A Viral Moment?

A few weeks ago, Nigerian Chef Hilda Baci announced her decision to attempt another Guinness World Record with the largest jollof rice ever cooked in history. Just yesterday, she executed that vision with outstanding aplomb. 

At first, this was outstanding news to many, save for online trolls who decided to bully another young lady, Chef Dammy, who unsuccessfully attempted a cooking world record like Hilda in 2023. 

While Hilda Baci’s attempts have catapulted into multi-million naira brand deals and global fame, Dammy’s sojourn has been met with pessimism. It makes one wonder: what truly is the cost - and reward - of virality? 

Algorithm Of Providence

Since the dawn of social media algorithms, people have become glued to numbers, sacrificing hours of brainstorming and research for the glory of digital reach. 

This is why a content creator studies posting hours, catchy captions, trending hashtags and a litany of tips to help extend the visibility of everything they post online. 

Sadly, it’s a behemoth of to-do’s, with barely 10 percent of their efforts, eventually, translating to a viral post. So, beyond business profit or a salary, what’s the economic sense of becoming a digital hermit? 

These days, there’s so much fortune on streaming platforms like Twitch, TikTok and YouTube where people get gifted by fans while they game, carouse, preview music, chit-chat, or even share ideas. 

Apart from direct revenue, there are also opportunities to monetize brand product or service placements, like acclaimed Nigerian YouTube video creator Korty EO leveraged during her come-up journey. She filmed episodes of her Love or Lies show at boutiques, service apartments, parks and creative studios, cashing in on either discounted services or even free use. 

Essentially, the algorithm helps to build bridges for businesses to soar, and the fame gotten from these viral moments unlocks more opportunities for fair exchange and collaboration among digital creators. 

Several African creators, from London-based stylist Wisdom Kaye, to award-winning painter Olaolu Slawn, to Nigerian rap juggernaut Blaqbonez, to Big Brother Naija reality TV star Hermes Iyele, and so on, have built empires from maintaining a strong online presence, collaborating with brands and other creators, as well as monetizing advertising revenue from brands. 

Sharp Practices 

Early last year a Nigerian writer Chika Jones called out Mrs Ifeoma Rhodes-Vivour, the wife of former Lagos state gubernatorial aspirant Gbadegbo Rhodes-Vivour, for withholding salary payments for over eight months. The case trended for some days, before Gbadegbo intervened and settled the debt. Without mounting pressure from political adversaries who decided to exploit the situation, Jones’ salaries might have never been paid or, best case scenario, needlessly delayed. 

Similarly, in 2020, Kenyan comedian Elsa Majimbo ranted profusely on an Instagram Live session, lamenting how brands were consistently offering her ‘exposure’ in exchange for free content creation and collaboration posts. Ghanaian Youtuber Wode Maya condemned this same practice, in 2021, arguing against the ripple effect of so-called big brands who profit off undervaluing and exploiting African creators. 

Last year, Nigerian podcaster Taymesan sparked an even broader conversation on this quagmire, explaining the hidden and real costs of content creation, from buying digital recording gear, to paying for sponsored ads, and so on. Another Kenyan creator, Wanjiru Njiru, has dragged a tourism brand this year for offering free plane tickets in exchange for promotional posts. 

The disillusion among several businesses that everyone needs their products or services and can work for brand exposure is heavily condescending at best.  It undermines their personal growth, work experience, and brand value as creators. 

While it is useful for emerging creators to leverage certain brand collaborations in building their own brand reputation, it also does not put a strain on the pockets of big corporations to compensate adequately. It, largely, reflects the death of conscientious dealings across large corporations and a nauseating decay of business ethics. 

Way Out 

If a leperous person bathes in a river, it does not only affect the fish who live there. In other words, it’s only a matter of time before the culture of undervaluing African creators becomes the order of the day. It’s important for creators to consistently call-out brands who approach them with this fleecing tactic, forcing their hand to prioritize fair compensation every time. 

Also, it’s a fair rule of thumb, now, for every African creator to get familiar with basic business processes that actually protect them from intellectual property theft or exploitation. For instance, learning how to negotiate commissions and spot potentially unfair deals, drafting clear invoices, Memorandum of Understanding (MOU), Non-Disclosure Agreements (NDA), and official contracts, and so on. In most cases, one requires a lawyer to develop and proof-read such documents; so, it’s always useful to keep some lawyers in your friend groups. 

Lastly, learning to say ‘No’ to slave deals or bogus offers will save everyone the time and stress of lingering court litigations or social media wars between themselves and these rogue brands. In fact, saying ‘No’ signals your awareness of your value as a creator, and no one else but you should be able to define your own worth.