The Sunday Times’ annual Rich List is the go-to record of the UK’s richest musicians and this year, Rihanna’s name is on it for the first time ever, along with Sir Paul McCartney, Mick Jagger and Sir Elton John. The pop star, who now resides in London, surprised many, including Robert Watts, who compiles the list and told the BBC: “Very few people knew she was living in the UK until last summer. Now she’s well placed to be the first musician to reach billionaire status in the UK.”
With an estimated fortune of £468 million, just behind Sir Paul McCartney and Lord Lloyd-Webber, Rihanna claimed the third place on the list. Her earnings are mostly due to the Fenty Beauty cosmetics brand, where her reported 15 per cent stake is worth £351 million. Although Rihanna is mostly known for her music career, she has more recently focused her work on her fashion and makeup empire and hasn’t released an album since 2016.
Rihanna, who turned 32 last February, is a one of the youthful exceptions among Britain’s richest musicians. Also included in the top 40 highest-earners are Ed Sheeran and Adele, who are younger than our dear Riri, with fortunes of £200 million and £150 million respectively.
Further down the list, there are new entries for the new gen of pop stars, with Dua Lipa, 24, and George Ezra, 26, each said to be worth £16 million.
Ed Sheeran is also the UK’s richest young musician (aged 30 or under), adding £40 million to his overall wealth after completing a 255 date world tour last August. Harry Styles came second with a fortune of £63 million.
It is said that although Rihanna deserves her third place, she might soon be pushed down to fourth place by the Irish band U2, who doesn’t appear on the list due to COVID-19 delaying the publication of the paper’s Irish Rich List.
Fenty Beauty was designed to cater to a wider range of skin types and tones than other famous cosmetic brands. Meanwhile, Rihanna’s lingerie line, Savage X Fenty was made with every body type in mind and the brand’s runways celebrate diversity.
Thanks to the star’s endorsement, both brands received immediate success, but could it also be because both were pioneers in promoting a message of diversity and inclusivity too?
Rihanna’s fortune makes her the richest female musician not just in the UK, but the world, ahead of Beyoncé, Madonna and Celine Dion. One thing is certain, Riri’s doing something right.
A few days ago, New York producer Salaam Remi released the music video for his song ‘One Time’ featuring Akon. While the location for the music video has not yet been confirmed, all signs are pointing to Africa, possibly Senegal, as Akon gave hints away with his bold ‘Do It For The Culture’ hoodie.
In the spirit of giving back to the community, on 13 January, Akon tweeted the news, “Just finalized the agreement for AKON CITY in Senegal. Looking forward to hosting you there in the future.” And just last week, reports stated that the 3D layout for this futuristic city was soon to be revealed.
This announcement forced me to look more closely at celebrity influence, and more specifically at Akon’s ‘side work’ and how many lives he has succoured. Initially singing about girls smacking it on the dance floor and being lonely—Akon is now running his own energy company, which started in 2014 and manages to provide 600 million Africans with electricity. Looking at Akon’s accomplishments, it made sense to then compare them to the ones of the self-titled messiah, Kanye West.
Staying true to his Gemini roots, Kanye West is provocative by nature, and is prone to sparking controversies. Remember in 2005 when he said deadpan on-air that “George Bush, doesn’t care about black people”? What about two years ago, when he proceeded to explain his thought process behind the statement, “400 years of slavery was a choice”? With these proclamations in mind, it should come as no shock that the black community reacted with scepticism when West broadcasted taking the ‘gospel route’ to his new music.
When the news broke out, the heavy and constant media coverage of West and his new dedication to Christianity was baffling in more ways than one. An array of questions sprouted to mind, and many wondered what good it would bring to the black community. On the one hand, West has created an album that showcases only black gospel singers, which should be appreciated. But West’s motives behind this cult-like behaviour and why we as the media continue to entertain it are two things that remain unclear. What is clear, however, is how Kanye West’s Sunday Service is eclipsing Akon’s attempt to transcend Africa’s future.
So, let the comparisons begin. Both Akon and West are in their 40s and released their debut hit singles in 2004. One is said to have brought Lady Gaga to the scene, and the other helped elevate beloved Rihanna. According to Business Insider, Kanye West is estimated to be worth $150 million, making him the highest-paid hip-hop artist. Akon’s funds are not fully known to the public but he is said to be valued at $100 million. Now the real question is, how have both artists used their profits to enable or elevate black culture?
West’s influence on the fashion industry has undoubtedly changed our perceptions of streetwear and shapewear. The brand Yeezy initially started as a collaboration, but soon turned into a for-profit endeavour. Despite not publicising his giving nature, it was reported last year that West donated $1 million to four criminal justice charities on behalf of his wife, Kim Kardashian. He has aided in elevating black creatives such as Virgil Abloh and Teyana Taylor and his introduction of Sunday Service continues to shine a light on black musicians, regardless of faith.
On the other hand, the Aries within Akon has always demonstrated leadership throughout his music career. Since founding his two record labels Konvict Muzik and KonLive Distribution in 2004, Akon has helped raise artists such as T-Pain, WizKid and P-Square. Using those profits, the project Akon Lighting Africa was born to provide a smart solar and small energy system for all. Since launching in 2014, Akon’s project has operated in 14 nations, including Guinea, Sierra Leone, Niger, Mali, Benin and Senegal.
In some form, both artists have used their power and influence to progress black history. In spite of West’s constant coverage with underlying cultural interest, he has given black gospel singers a chance to be heard, alongside a generous pay. Similarly, while Akon’s own music career has toned down, his investment in specific artists has helped them flourish, while his focus shifted to his motherland. Needless to say, both have paved a way for black empowerment and proved that sharing is caring.