‘Silence…Here is my response to the false rumors,’ he tweeted, along with a link to the newly released music video of Oritsefemi’s Double Wahala Part 2 featuring D’Banj.
The only alleged “false rumors” floating around is that D’Banj has in fact been sued for alleged outstanding debt.
I do not believe “Silence” as a statement on twitter will make this lawsuit or so called rumor go away.
What Would Make Sense for D’Banj to Do is:
1. Hire a competent PR team to help him, at this point.
2. D’Banj, by now, should have hired a lawyer in Nigeria to make appearances for him in court and handle his case. D’Banj does not have to be in the country once he hires a lawyer. His lawyer will receive service on his behalf and handle any lawsuits filed against him, and possibly also file countersuits against the Plaintiff. All these seeming “bakan bakan” handling of his case, I don’t get it. The problem does not go away once a case enters the court system. You either ignore it and face a default judgment against you, meaning the Plaintiff wins automatically, or you face and possibly beat the opposition, or settle out of court.
His approach truly does create a “Double Wahala Part 2” for him.
3. Finally, a legal colleague has written a post I find interesting about investors in the Nigerian music business.
THE NIGERIAN MUSIC BUSINESS: THE ILLUSION OF SUCCESS
“The alleged “D’banj Debt Scandal”, seems to prove a theory I have been harbouring since my relocation back to Nigeria a couple of years ago now; namely, that many Nigerian entrepreneurs, and in particular entertainment entrepreneurs, base their business models on the principle of writing off large private equity and debt capital contributions.
Put simply this means they receive a large sum of money from wealthy private investor(s) whose wealth is usually from dubious government-related means (or other criminal endeavours), to invest in their “businesses”. They then spend, spend, spend, in order to portray success in the hope of justifying astronomical fees for appearances, features, sponsorships and the like, of which said investors would get a share (if they’re lucky), thereby making a return on the investment or repaying the loan. If the anticipated returns are not forthcoming, then the back-up plan of approaching more wealthy private investors kicks into gear, with the entrepreneur’s (appearance of) personal success being the main selling point; as opposed to the performance of the (proposed) enterprise in question.
Yes, it bares a similar complexion to the famous ‘Ponzi scheme’ but the key difference being that the entrepreneurs in question (usually) don’t use new investors money to pay old ones. They simply spend the money primarily on “enhancing the brand”. This phrase can be used to justify all manner of absurd spending on the part of music entrepreneurs in particular; ranging from the usual accessories, (i.e. cars, clothes, jewellery), to the creation of a multitude of spin-off companies and enterprises that seem to be hedged-bets of sorts, with no real focus, strategy nor understanding as to how the spent money will itself generate returns.
If the entrepreneurs happen to get lucky and their bland, the same as every other, product/service actually generates a substantial following, their never seems to be a next stage to the plan, except the usual and very vague ambition to “expand” (or in the case of the music business, ‘go international’). The idea of simply (re)-investing in the bricks and mortar of their enterprises, namely, improving the core quality product(s)/service(s) (ie better/original music and videos), increasing customer base (ie refining, improving and increasing marketing and promotion, and identifying potential new markets), evolving the means by which the customers can enquire about/access/purchase the goods/services (ie expanding/extending distribution and sales channels), does not seem to me to be a practice generally observed…” –Bilderberq, Esq. has the full story.