252 african appropriations
in these two countries, the other two musicians were considerably more
popular in continental Europe. As one might expect, Mzungu Kichaa
scored highest in Denmark (4 percent) and the rest of continental Europe
(2.4 percent), whereas EES scored highest in Germany (6.2 percent) and
in the rest of continental Europe (14.2 percent).^24 Given the considerable
amount of energy Mzungu Kichaa and EES spend on internationalizing
their careers, these figures seem to be rather low, correlating with the ob-
servation that the white cosmopolite who performs African popular music
is a figure rather difficult to sell in European music economies.
Growing rates of Facebook “likes” are also interesting to compare.
From June 2013 to January 2014, Mzungu Kichaa had a growing rate of
200 percent—by far the highest of the three musicians; W hite Nigerian
had 25 percent and EES 11 percent. This correlates with public perfor-
mances, of which Mzungu Kichaa, who toured Scandinavia and some
African countries during the second half of 2013, clearly had the most.
How do the musicians employ social media? All of them use Twitter
and Facebook as promotional tools, updating their fans about their daily
lives, whereabouts, and latest projects. Twitter allows them to keep in
table 8.1
Percentage of Facebook “likes” by country for the three musicians
(as of January 28, 2014)Country
White
NigerianMzungu
Kichaa EESNigeria 59 0.1 0.1 (0.15)
Tanzania 0 72.8 0 (0)
Namibia 0.1 0 37.6 (52.5)
Africa (excluding Nigeria,
Tanzania, and Namibia)
31313(18.8)
Great Britain 12.4 1.5 0.4 (0.5)
United States 11.3 2 1 (1.4)
D e n m a r k 0 4 0 (0)
Germany 1.3 1 6.2 (8.6)
Continental Europe (excluding
Denmark and Germany)
4.8 2.4 14.2 (5.4)
Other 10.1 3.2 27.5 (12.4)
Note: Figures in parentheses do not include “ likes” from India or Serbia.