Music Business

Wait a Second, Was Don Jazzy Right? Why is D’Banj Bringing G.O.O.D Music Acts to Perform at the KOKO Concert in Nigeria?

KOKO ConcertHaven’t we had enough instances of Africans and especially Nigerians paying astronomical amounts of money to bring American acts to perform in Nigeria? Why is D’Banj who is supposedly signed to Kanye West’s G.O.O.D music producing a concert in Nigeria and shipping G.O.O.D Music  artists and other American artists to perform there? Has Kanye even given D’Banj this kind of limelight in the USA?

Most importantly, was Don Jazzy right? Should D’Banj stay and build his country and the continent’s music industry, first? Is it “long throat” (greedy) as we say in Pidgin English (in Nigeria) for him to seek to penetrate the US market at the time that he has?

What’s his strategy? Does he even have one? Can he sign legal contracts left, right, center, front and back  and think it will get him into the homes of Americans?

AML people surely you all remember how we opened 2012? We closed out 2011 with the Mo’Hits team on our tongues. In 2012, we opened with a full court press as news that the modern day legendary Mo’Hits duo and their record label was seconds away from crumbling. On AML, we learnt about Mo’Hits dysfunctional corporate structure, disloyal artists, lack of any real contracts relating both to song ownership for the business entity and the artists. We learnt about alleged inflated egos and so much more which supposedly caused the split. We talked about it here on AML and the world’s most prominent media outlets followed suit.

For six straight months, the former executives of Mo’Hits Records, D’Banj and Don Jazzy, remained on our radar and at odds with each other. Finally, the duo freed us from the suspense (and for some agony) when they officially announced their divorce by going their separate ways via their actions. Don Jazzy regrouped under his new label called MAVIN RECORDS. D’Banj was yet to announce the launch of his record label D’Banj Records. Instead, he hopped on to G.O.O.D Music, name dropped G.O.O.D Music in every single interview, radio and at all times. He also, through his dealings with G.O.O.D Music; which later inked a distribution deal with Island Def Jam, appeared on the website of Mercury Records UK as a listed artist. We do not know what he actually signed with Mercury Records. In fact, he kept mute about what kind of contract, if any, he signed. We just know he was listed on their website, that’s it.

His followers who supported him and the rest of Africa excitedly waited to see how his G.O.O.D music relationship would turn out. There was no real movement. Instead, D’Banj showed up with a head wrap that had him looking like the nomadic Hausa Mallams found in Northern Nigeria in Kanye’s  “Cruel Summer” “Mercy” video, and making funny moves and sounds.  D’banj made it to France at the Cannes Film Festival  for the premiere of Kanye’s aforementioned short film but Kanye scooped all the attention.

Do you all remember all of these? D’Banj went silent, except for the pop up at Ludacris’ charity basketball event. Why do all of these matter? How is it germane to his upcoming December 27th, 2012 Koko concert? It matters because it illustrates a very big lesson you all as African artists and labels seeking to do business with the USA should know!!!! DON’T BE SO DESPERATE TO SIGN TO WORK WITH PEOPLE WHO KNOW NOTHING ABOUT YOU, YOUR CULTURE, WHERE YOU HAVE BEEN AND WHERE YOU ARE HEADED, without a full understanding and legal professionals who get you to help negotiate deal terms that are favorable to you.

D’Banj got screwed in whatever deal he signed with Kanye. It doesn’t take a genius to see this.

Let’s back track. In probably one of the best interviews in 2012 delivered by the Great Ayeni, owner of the NETng.com, what did D’Banj tell us was the basis of the end of the Mo’Hits decade old music legacy?

D’Banj told us in that interview, and generally, that he was ready to basically fly. He did all the work to get Kanye West and the G.O.O.D Music face time to land a music deal. Don Jazzy, on the other hand,  dragged his feet and did not believe in D’Banj’s vision or that they could fly. D’Banj also said he wanted to come to the USA to take Nigerian music global. Don Jazzy, however, wanted to remain in Nigeria. D’Banj who had bought multi-millionaire Naira rides for Mo’Hits artists including  D’Prince, told us he even set up a studio in Atlanta and all he asked Don Jazzy to do was just produce, but Don Jazzy refused.

Now, within 12 months, what has D’Banj accomplished in the USA?  Truthfully, nothing but a big hole in his pocket, so far, and a continuous “omo odo” (slave/maid) like behavior.

After coming off paying an arm and a leg to get Snoop Lion, formerly known as Snoop Dogg, to feature in his Endowed remix video, he hurriedly signed a terrible contract with Kanye West’s G.O.O.D Music so Nigerians can validate and the world could say “I see you signed with Kanye West.” What has he received so far?

The contract signed, whatever that perambulation on camera was that D’banj and even Don Jazzy did, has seen D’Banj carrying a bulk of the expenses of promotions and marketing from his wallet in the USA, a hefty cost. Kanye West is yet to use all of his power and might to help D’Banj make a breakthrough in the USA market. G.O.O.D music, right after D’Banj signed a music deal with them, inked a deal with Def Jam for distribution, worldwide. What has happened to D’Banj? What is Kanye West doing with the African guy?

D’Banj has stayed in the USA with no tour, no promotions, no radio or tv appearances, nothing. Oh! I forgot. He made it to Ludacris’s basketball charity event and also inked a World Music Awards nomination in four categories in Miami. Cool. What’s that got to do with the price of bread?

If he is backed by an investor, his signing with Kanye appears to be a bad investment. If he is doing it solo, it is equally just as bad. And before y’all jump on my case, Ma$e kicked it with Diddy and the world thought he was making money. He just, after 16years, got out of the deal that was not making diddly squat for his pocket book.

There are countless stories. Do y’all music law/business heads remember the artist Prince? Let’s keep it moving shall we.

This is not science. Whether D’Banj admits it or not, the large hole keeps burning in his pocket and D’Banj has to make that money back. Appearances at Ludacris charity events don’t put money in the pocket. Performance of Oliver Twist (one single) in the UK has not put money in the pocket. A video release of ‘Oliver Twist’ of which D’Banj probably bore all expenses in making the video, much the same way he did the Endowed remix with Snoop, has not put money in his pocket.  If you say it has, I’d love to see where that video has been played, beyond the internet, to allow him even get any kind of video royalty payments. If Mercury UK advanced the money for the video, they certainly would recoup i.e. get their money back with any payments that come from that video.

Basically, it’s been one huge expense after another in addition to supporting an expensive lifestyle, since he left the shores of Nigeria to spread Nigerian music globally. As indicated, since the signing, about the only thing that has come out of the Kanye West end of the deal has been the “Cruel Summers/Mercy video” feature where he made a cameo appearance disguised as a Mallam.

So, was Don Jazzy right? Should D’Banj have stayed and built his base some more across Africa? Maybe, maybe not? Let’s give D’banj more time. I know he can’t afford to fail now. It is too expensive to do so.

However, I think, but you all may disagree with me and I absolutely want to hear your opposing views,  that D’Banj moved prematurely. He got screwed and had the worst end of the contract he signed with Kanye West/G.O.O.D Music. I believe it has cost so much money and nothing is coming into his pocket, right now. As a result, he has returned back to where he should have started, Africa, to really do what he was supposed to do in the first place for better leverage. I also believe that Africa is where he hopes to stop the bleeding in his pocket but to stop the bleeding, he has to shell out a bit more money for G.O.O.D music artists and Idris Elba to attract the massive crowd that will help him recoup some of those costs.

Here is my conclusion:

  1. Popularity as an artist in Africa does not put money in your pocket, if you decide to move to America and start your career all over here. It’s like a medical doctor migrating here to come do entry level job like CNA, when there is no need to do so, at a hospital.
  2. Desperation to be famous will make you sign silly contracts that screw you over.  Especially if you are a foreign artist, you should have entertainment lawyers that truly understand both the US and your country of origin’s music business framework to help negotiate and make sure your interest is protected.
  3. D’B anj has had to return to Africa to sign a basic distribution deal where he can make some change. This should have been done in the first place. He signed a deal with Sony Entertainment Africa this December. You could totally see the leverage he had in this music deal because the press release Sony/D’Banj put out said nothing about him being signed on as an artist. D’Banj essentially said “Sony Africa, you want and NEED me on your team. I’ll scratch your back if you scratch my back. Sign my brother K-Switch on and we can really talk.” Y’all notice all the “strategic partnership” lingo in the press release with respect to D’Banj and D’Banj’s record label? For K-Switch, he gets a multi-album deal and is tied to Sony.  D’Banj, however, gets to call the shots with Sony Africa. The “strategic partnership” is code word for “we don’t know what D’Banj may really require of us but we really need him so we will make it work.” One requirement is K-Switch. The success of K-Switch will affect how much of his brand name and “strategic partnerships/alliances” D’banj does with Sony Africa. We saw this kind of leverage in Beyonce’s $50million dollar deal to a large extent.   By the way, no disrespect to Sony Africa but who is Sony Africa? What exactly have they really done even for local artists in Africa up till this point? They’ve been kicking it in South Africa for how many years? How many of the artists signed to Sony Africa are household names in a relevant and huge music market like Nigeria? In the short run Nigerians have got on the music game (with no infrastructure, limited funding, corruption et. al.), they have been able to become household names across Africa. Suffice it to say that Sony Africa needs D’Banj, not the other way around.  But I know you all already knew that.

  4. Another important move D’Banj came back to Nigeria/Africa to do is open a club. He opened or is set to launch one this December. This is yet another major  expense added to his signings, his music videos, and his recent establishment of a record label, but he has the fan base, as opposed to the USA, to make good money here.

  5. Finally, he also is now putting on a Koko concert together featuring GOOD Music Artists PUSHA T, BIG Sean and God knows what other American artists will show up.

I am not impressed with any of D’Banj’s Western signings. He rushed into things and seemed to have no strategy for how exactly he wants to get Nigerian music to the top. I, however, think he now gets that he needs a truly effective strategy and is stepping back to his home base, where he belongs, in the first place, to get it together.  It is certainly why I even took the time to congratulate him via twitter for his recent moves with Sony Africa. Sony Africa is a good move for D’Banj as a business owner and where he wants to take his label and artists signed to the label.

We know G.O.O.D music artists in Nigeria will get mad radio publicity, marketing and promotions, expand and build their fan base. However, in the USA,  D’Banj signed to the record label of one of the biggest names in music worldwid,  of which those artists are members, can’t even get American radio, television et. al to give him face time?

-Uduak

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Africa Music Law™

AFRICA MUSIC LAW™ (AML) is a pioneering music business and entertainment law blog and podcast show by Fashion and Entertainment Lawyer Ms. Uduak Oduok empowering the African artist and Africa's rapidly evolving entertainment industry through brilliant music business and entertainment law commentary and analysis, industry news, and exclusive interviews.

Credited for several firsts in the fashion and entertainment industry, Ms. Uduak is also a Partner and Co-Founder of Ebitu Law Group, P.C. where she handles her law firm’s intellectual property law, media, business, fashion, and entertainment law practice areas. She has litigated a wide variety of cases in California courts and handled a variety of entertainment deals for clients in the USA, Africa, and Asia.

Her work and contributions to the creative industry have been recognized by numerous organizations including the National Bar Association, The American University School of Law and featured in prestigious legal publications in the USA including ABA Journal and The California Lawyer Magazine. She is also an Adjunct Professor at the prestigious Academy of Arts University in San Francisco.
For legal representation inquiries, please email (uduak@ebitulawgrp.com). For blog related inquiries i.e. advertising, licensing, or guest interview requests, please email (africamusiclaw@gmail.com). Thank you for visiting Africa Music Law™.

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10 Comments

  1. Victor. says:

    Gudday Madam… Nice piece. Y didnt u mention the sucess of Oliver twist in Europe? Did u knw “Oliver” has sold over 25million copies in Europe? It was released and distributed by Mecury records… Dbanj toured with Labrinth and Rita Ora Respectively, Peformed at the biggest music Festival in Uk “Hackney and Wireless”music fest. Oliver is a top 10song amongst charts in Europe.. 3 in Greece,4 in Romania,2 uk rnb,12 in scotland and so on… Distributed by Mecury.. Dbanj ‘s future songs are to be released by mecury in the uk and sony/dbrecords in africa… U dnt knw showbiz at all.. Dbanj is just a genius… He is paving the way for afrobeats,pop and african acts.. Why not support him? Ur tone was anti dbanj and Teamdonjazzy,it z ur choice i know.. But atleast hav empathy in ur writeups bout dbanj.. He is performing in Maimi on saturday #Worldmusicawards + 4nomination an african? Tel me who has achieved more in the history of african music than dbanj?2 channel O awards,an Ema,a mobo,headie,and popularity,fortune and fame. Wat has Don jazzy and Mavins done dis year.. Hw many shows hav they rocked outside nigeria.. Wat deal do u knw dbanj and don jazzy sign wit kanye? Get ur facts write. Or u forget is signd to G.O.O.D too? Wat has he done since then! Solar plexus n Frenzy flopd.

    1. (Victor) What has all that D’Banj has accomplished outside of the USA got to do with the USA Market? What’s the point of your listings? We are talking about the US market, stay on point. Nigerians, in addition to D’Banj, have recognition in the UK market. In the USA, it is a different story. However, even 2Face’s song ‘African Queen’ is known here better than D’Banj is.

      So he got nominated for the World Music Awards in Miami, and so? Are Americans tuning to watch WMA? Where is it even aired? What is the viewership that is expected to watch this?

      We are talking American mainstream markets. The citations of Europe, Greece etc. is irrelevant to GOOD Music signings in the USA and Kanye West in the USA.

      BTW: I am #TeamUduak. I don’t do follow follow. I’ve talked just as directly about Don Jazzy and his label here on AML, as I have with other labels and artists. In recent times, I took on the Mavin Records D’Prince “Take Banana” song. Get familiar with my style on AML. It looks like you are new here.

      ((Thanks for your comment and input. I appreciate)

      -Uduak

  2. Victor. says:

    “Top of the World” is already #Afcon theme song… Remember D’banj has not droppd an album in 4yr,yet stil relevant than Those who dropped this year and last year. Why waste ur song wen u can million out of it.. Yes dbanj has spent alot of money this year…. U spend more to make money… So bringing Big Sean,and Pusha T to Nigeria is a Sellout? Aah aah now.. Fear God… U aint seen nothing yet.. If u knw what we knw,u go like us… Victor “Justice idigbe Chambers” okbye!

    1. Who said bringing GOOD Music artists to Nigeria is “a sellout?” Please stay on topic and focus on the issue. The issue is, what has Kanye West done for D’Banj in America’s music market? Why is D’Banj bearing even more expenses to take GOOD Music artists to perform in Nigeria, more so acting as a promoter and even a record label for GOOD Music, instead of having GOOD Music do that kind of lifting for him in the USA, which GOOD Music, to date, is yet to do?

      Also, D’Banj has been relevant outside of the USA. That is not the point. In the USA, the African diaspora know who he is. Do Americans? Absolutely not. Why is that when his boss is one of the biggest names in the global music industry and D’Banj could not stop killing us with that fact?

      (Thanks for your comment and input. I appreciate it.)

      -Uduak

  3. akinwale says:

    Dear Uduak

    It is my first time commenting on any blog post. I have been reading your blog for over 1 year and I must confess I appreciate your passion for the music/entertainment business. Yours is one of the most educative blog we have around

    On Dbanj’s issue and GOOD Music, I think you got your analysis wrong. Dbanj is signed to GOOD Music as an artist while Island DefJam/Mecury Records UK are the distribution companies ( I am sure you know Kanye as a Good Music Label Owner is also signed to these companies). It might interest you to know that Mecury Records is the UK/EU Affiliate of Island DefJam, so it is totally wrong for you to insinuate that Dbanj has been signing deals without result. How would he have gotten signed to these distribution companies without GOOD Music in the first instance?

    How would Oliver Twist be popular across Europe without GOOD Music and their affiliated distribution networks? The song was played several times during the London Olympics, was used for the Malibu TVC. Has any Nigerian artist except Fela Kuti/Sunny Ade and maybe Asa achieved such mileage? Mind you, Sunny Ade was at a time signed to a foreign record label. You might be quick to say Tuface’s African Queeen but I believe that song would have done better if Tuface was under a foreign record label at that time.

    I listened to one of Dbanj’s interview on Coolfm Lagos and he stated it was Island Defjam executives that advised he should focus more on the UK/EU market as he seem to be popular in that region; success achieved in that region would better facilitate his entry to the American market. For me I do not think there is any wrong in this. He also stated during the interview that he is a set to release his International Album which would be remix of his hit songs in 2013; that is the strategy in place for entering the USA Market.

    Also no matter “yanga” made by Dbanj and Don Jazzy, we must realize this is a transition period for them. It is time to refocus and get use to new ways of doing things, and this has reflected in their works this year. Let us give these 2 guys a chance and I am certain they would both do well. Dbanj’s new song “TOP OF THE WORLD” is the best from him in a long time, it means they are getting their; let us not be too judgmental but carry out extensive research so we do not confuse people that listen to us.

    On Sony Music Africa deal, I agree that they need Dbanj more than he needs them but I believe Dbanj is creating a structure for his business. He has done well to get his artists: Kayswitch and Jsol signed to Sony Music Worldwide while they take care of his African affairs. That would in the end help him focus on creating good music while the professionals take care of distribution and management aspect of the business.

    Once again I appreciate your blog, you offer something different and educative.

    Thanks.

    1. Hi Akinwale,

      Thanks for your comment. I think, with all due respect, the only person who gets the analysis here wrong is you. However, I am open to you shedding more light, post my comments below. Here is why I stand firm in my position:

      1. It is clear, I hope to even lay persons in the music industry here in the US, that D’Banj is getting the run around, especially when Island Def Jam executives, the distributors as you correctly point out NOT the record label, are telling him to go to the UK to build his career for easier penetration into the USA. Build what? D’banj is the recipient of MTV Europe and MOBO Awards. He has performed on world stages with the best and even very recently had fans vote for him, globally, as a nominee for the MTV Europe Awards in Germany. Kini career to fe “build” ni UK? (What is the career in the UK he is supposed to build?) There are many distribution companies that can easily get D’banj the same deal that Mercury UK has, if distribution is the issue. Mercury UK is contracting the manufacturing and distribution of D’Banj’s albums, not so? Even if they have their own in house manufacturing and distribution company, there are other companies that can get D’Banj the same distribution deal he seeks i.e. get the music out nationwide in the UK and Europe.

      By the way, who is buying hard copy albums again? We are in the digital age. By the time D’Banj gets around to releasing his Digital Album and using the traditional old model that American labels now realize needs complete revamp, American, UK and European music fans, the young ones he is trying to target who are on the internet, wil say “oshe, no thanks” and keep it moving. Do they still buy albums as much in these Western markets? He should be focused on releasing singles throughout the year and making a name for himself that way, in addition to all that he does.

      This brings me to one quick point on his recent release of ‘Top of the World.’ If he takes that song literally, then he is delusional. My humble opinion o. By the way, who released that song? It was released right after the announcement of the Sony Africa deal. So, it is either coming from Sony Africa under the distribution deal he just signed with them or from D’Banj Records, not Mercury and certainly not Def Jam/Island Def Jam/Good Music et al.

      As you also correctly point out, D’Banj’s Oliver Twist and other songs were played in the UK. That has nothing to do with Mercury Records/Island Def Jam. That has everything to do with D’Banj’s fan base before this less than 2-3months signing with UK’s Mercury. It’s the Dj Abrantees, the Factory 78s, the local DJs, the heavy African diaspora and more persons within and oustide the UK that has helped him get there. So, let’s get that straight right off the bat.

      2. Before I even further underscore my point that D’Banj rushed to sign a deal that seems bad for him and needed to look before he jumped, among other points, you should know that D’Banj made one heck of a noise about being President of Def Jam in Africa. What has happened to that signing? This was all in 2012. That signing is no where to be found. He now quietly ditches that and launches D’Banj records, yet another signing, this time with himself and then signs with Sony Africa, Mercury UK ati gbogbo e (etc.). As if the rest of us are dindinrin (fools) and we will not notice? Lucky him, he sorted the Def Jam Africa President situation out so he could sign a deal with Sony Africa without the obvious conflicting issues/interests.

      3. Now lets go to Universal Music Group’s Island Def Jam and D’banj. Where do I even start with how much of a short end of the stick D’Banj got with the GOOD Music deal? On a very fundamental basic level, what is the function of a record label? Certainly artist development is a big part of it in addition to marketing/promotion/marketing and distribution. Who does artist development anymore? The US music industry. Hmmm . . . not quite. For D’banj as a foreigner trying to enter the US market, Kanye needs to be there to do that artist development so he can help him break in. However, Kanye himself just signed a music distribution deal, he also has music producer deals with so many producers worldwide. He is also quite busy pushing his own work as an artist and romancing Kim K. He ain’t got the time for D’banj. D’banj knows it, I know it and any industry insider can see through this. What do they do, they send D’banj to the UK to “build” an audience? Are you kidding me? Iru oshi wo ni yen? (What nonsense is that?)

      By the way, a few things about UMG’s Def Jam subsidiary. They needed Kanye badly, just as badly as they needed Justine Bieber for his global publishing deal. Def Jam has been in financial troubles for a while and it is no secret. They have flat out denied it. In 2003, they dealt with the Murder Inc./ Ja rule lawsuit fiasco which forced them to pay millions of dollars with a verdict that was against them, if my memory serves me right. By 2010, you had Nas saying how terribly mismanaged they were and them refusing to release Nas’s album. Fifty Cent came into the pic and claimed Def Jam was what, 80million in the financial trenches? They denied it. But, they have been laying people off, restructing and some of their best minds have been leaving or stepping down since then. In 2011, they laid off 20 workers that is in addition to their continuous layoffs.

      Do you really think the distributor wants to be bothered with an artist yet to make a name for himself here in the USA or make them money like D’Banj? Big Sean and Kanye West are priority, not D’banj.

      By the way, that “international album” set to be released? D’Banj is no longer boss on GOOD Music/Kanye West/Def Jam turf. He NEEDS the approval of these persons, if he is indeed signed to a record label, to say his work is acceptable for a release. If they gave Nas hell to release his work, what makes you think they will okay D’banj’s work just like that? We saw Wale fight Interscope records with this same ish before he jumped ship for Maybach Music.

      Finally, let me wrap this long response to an equally long comment 🙂 with this. You say give these fellas a chance. They already have it. These are no charity cases. D’banj is eja n’la (big fish). These are some of the brightest minds in our music industry. They make their mistakes but who doesn’t? In all of our chosen careers, on some level, we make mistakes and we find our way. It is what builds character, resilience and teaches us how to step up and take what we know to be rightfully ours when no one wants to give that to us, especially as Africans.

      The duo, D’banj and Don Jazzy, have given us more successess than failures and they keep soaring. The point of my article was clear. Get a good lawyer from the onstart who knows a thing or two about where you come from, your brand value and brand equity and can protect your interests, when dealing in a brutal environment like showbiz, especially Stateside. Also, the point was that African artists, especially Nigerians, need to work on this slave mentality of all things Western are good. I really feel very strongly about this. There is just way too much noise about D’banj signing a record deal etc. IT HAS BEEN DONE BEFORE. Sunny Ade and Ebenezar Obey were signed to record labels, not so or did I miss (or) get that part of history wrong? Seriously, as Naeto C would say, “kini big deal (what’s the big deal).” You speak of checking facts. Hmm . . I like 9ice’s line in “Street Credibility.” Oni, “check your facts, aiya e aja (you’ll get scared).”

      Ati se nau? (It’s been done before). Kini big deal? Now, for our generation, let’s do it even better so we have a strong legacy to leave for the fuure.

      Okay, I don pafuka the matter. Over to you. Lol!

      Cheers,
      Uduak

  4. Hey admin,why can’t you just try and apppreciate him instead of spoiling him…..it’z called being HATING

    1. And Fikayor,

      What is there to hate? Please do your research. I have been supporting D’Banj and marketing and promoting his work, music and concerts (all for free) since 2007. It doesn’t get more supportive than six straight years of consistency and support on all of my platforms. AML is only one year old. In fact, me taking my time out of my busy schedule to write articles like this so you and others can come check him out, keeps him relevant and amplifies his profile. What have you done to support his work. Abeg aka please “park well” (let it be) as that is the most appropriate response to this.

      Thanks for your time, nevertheless.

      -Uduak

  5. RealnESS says:

    Uduak firstly let me commend you on your unbiased approach in your delivery of your blog.

    I also have been an avid reader of your blog for a few months now and i sulked when you went on vacation lol.

    Now here’s my view Nigerians are too emotive to deal with the reality or truth it’s in their nature.I agree with you totally about the dbanj and if i may add i remember watching a press interview when don jazzy and dbanj just got back from america freshly after signing the good ( nothing good about it) music deal where they vividly promulgated that they paid kanye west $3M to get signed and also added that they (mo hits) would be responsible for their marketing and song production fees but all proceeds from any such deal will be split between them and BAD music.

    Now that would have sounded preposteruous and unbelievable if someone had told me but i watched it and saw it with my own two ”korokoro” eyes.
    That inane move was greeted with high praise and adulation in Nigeria which further cements the obsequiousity of Nigerians where even journalists like Ayeni didnt see anything wrong with it or maybe just chose not to?

    Dbanj’s money we speak about isn’t his money.
    Now whilst we are here speaking only based on facts we as Nigerians know what goes on behind those closed political doors.

    It’s not news that Dbanj got a huge payday for endorsing Badluck Jonathan during his election campaign which CLEARLY explains why he didn’t have an opinion during the fuel subsidy issue earlier this year.

    So i guess what i’m trying to say is dbanj was fully aware of what he was doing when he signed the deal.

    He is happy with the fame and accolades that come with it. It’s not his money thats why he can spend it anyhow knowing fully well he can get more.

    So Uduak continue being that beacon of truth and transparency in a world where the nigerian entertainment bloggers are duplicitous..

    You go girl !

    1. Thanks.

      I did see the $3million statement back when they made it. I, however, thought the publications making carrying the news were overexaggerating.

      Thanks for adding to discussion.

      -Uduak

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