Broadcasting
Court Nullifies 6th NBC Code
The Federal High Court sitting in Lagos, on Thursday, declared as illegal the 6th edition of the National Broadcasting Code issued by the National Broadcasting Commission (NBC).
In reaching his decision, Justice Ambrose Lewis-Allagoa said the proposed amendments 6th Edition of the National Broadcasting Code are ultra vires, incompetent, null and void and perpetually restrained the NBC from implementing document.
The court equally declared that the NBC does not have the power to prohibit exclusivity on and compel sub-licensing of privately acquired rights to television content as such is against the constitution and the copyright act.
The ruling was in a suit filed by a Lagos-based journalist and movie producer, Mr. Femi Davies, who had approached the court contending among other things that the amendment sought by the NBC to the 6th edition of the Code violates his rights to own intellectual property and exercise exclusive rights on such.
Davies also contended that the amendment, if allowed, will negatively impact business and the development of the country, as it disincentivizes investment and discourages hard work.
On its part, the NBC had submitted that the amendment to the 6th broadcasting Code was done to protect local operators, promote creativity and maximize local content via the anti-trust provisions contained in the amendment. The Commission also claimed that the amendment to the Code was aimed at stimulating growth in the broadcasting industry by attracting foreign investment.
But Davies argued, among other things, that if allowed, the amendment would greatly violate his right to a fair hearing and asked the court to uphold his six reliefs as set out in his originating summons.
The reliefs include “a declaration that the NBC lacks the requisite vires to prohibit exclusivity on privately acquired intellectual property right in program content of a right-holder viz-a-viz the salient provisions of the constitution and the Copyright Act.
“A declaration that the commission acted ultra-vires in so far as it sought to regulate the practice of advertising in Nigeria contrary to the provisions of the extant Advertising Practitioners (Registration, etc) Act, 2004.
“A declaration that the commission acted ultra vires when it sought to retroactively compel right holders of programme content to compulsorily share extant rights acquired under existing licence under the proposed amendment to the 6th Edition of the NBC Code.
“A declaration that the commission acted ultra vires when it sought to retroactively compel right holders of programme content to compulsorily share extant rights acquired through a partnership and /or joint venture with an investor under the proposed Amendment to NBC Code.
“An order setting aside the amendment of the NBC Code and an order of perpetual injunction restraining the NBC from implementing the Amendment to the NBC Code.”
In his judgment, Justice Lewis-Allagoa held: “I agree with the submission that acquisition of exclusive rights to Broadcast a particular program is an investment for returns and by virtue of the above-stated provisions, no one should be forced to surrender the same when it is lawfully acquired.”
Spotify, the Swedish audio streaming and media service provider, paid over $38 million in royalties last year to Nigerian artists who are riding on the wave growing interest in music from Nigeria and African continent.
Elsewhere, South African performers reached $21 million, up 54 per cent year- on-year.
In total the two biggest African markets got around $59 million last year.
Meanwhile, the Swedish company paid out some $10 billion in royalties worldwide in 2024.
And while Africa represents only a small part of its offering, interest in African artists has ballooned, buoyed in part by internationally recognised acts like South African singer Tyla and Nigeria’s Burna Boy.
Around 250 million user-created playlists now feature at least one Nigerian artist, and 220 million contain a South African, the company said on Thursday.
“What we’re seeing is an excellent evolution around more and more mid-tier or up-and-coming artists making a living,” said Jocelyne Muhutu-Remy, Spotify’s managing director for Sub-Saharan Africa.
Much of that came from outside their home markets.
Nigerian artists have seen a 49% increase in export growth over the past three years, while South Africa saw export growth of 104%.
The number of Nigerian artists earning 10 million Naira, meanwhile, doubled year-on-year and has tripled since 2022.
In South Africa, the number of those earning between 100,000 and 500,000 rand has doubled over the past three years.
CNN International’s magazine programme, African Voices Changemakers, sponsored by Globacom, will this week celebrate two of Africa’s biggest gospel music stars, Nathaniel Bassey and Mercy Chinwo.
The 30-minute programme will showcase the gospel stars who are expected to bring their unique gospel vibes to the show.
Nathaniel Bassey, a Nigerian singer, trumpeter, and gospel songwriter, has gained massive popularity with his songs like “Yahweh Sabaoth”, “Ebenezer”, and “Tobechukwu”.
Born on August 27, 1981, Bassey studied International Relations and Politics at the University of Lagos and later Music at Middlesex University Summer School in the UK., Bassey’s music has inspired countless fans around the world.
The second guest, Mercy Chinwo, is a Nigerian gospel singer, actress, and songwriter who began her music career at age six. She signed with EeZee Conceptz in 2017 and released her first single “Excess Love” in 2018.
Chinwo has won several awards, including the Gospel Artiste of the year at the AFRIMMA Awards in 2020. With her powerful voice and captivating stage presence, Chinwo has made a significant impact on the gospel music scene across the globe.
African Voices Changemakers will air on Saturday at 8:30 a.m., with repeats on the same day at noon, and on Sunday at 4:30 a.m. and 2 p.m. The show will also air on Monday at 4 a.m. The same broadcast schedule will be repeated next week.
Netflix has expanded its language options for television viewers, allowing users to select from the full list of available subtitles and dubbing languages for any title.
This update aims to make Netflix’s global catalogue more accessible, especially as nearly a third of its viewership comes from non-English language shows.
Previously, TV users could only choose from a limited selection of languages based on their location and settings.
Now, they can access the complete range of available languages for any title, similar to the flexibility already offered on mobile devices and web browsers.
For instance, a user can watch an English title like “Bridgerton” with Spanish dubbing and Korean subtitles, or opt for Japanese dubbing with Portuguese subtitles.
Netflix offers subtitles in 33 languages and audio dubbing in 36 languages across its catalogue, though the exact number of available languages may vary by title. This change responds to numerous user requests for more language options on TV platforms.
This move reflects Netflix’s commitment to enhancing accessibility and catering to its diverse global audience by providing more inclusive viewing experiences.
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