In a shocking turn of events, Ope Banwo, the once-respected producer behind Ghetto Dreams and the founder of Stingomania Records now finds himself ent
In a shocking turn of events, Ope Banwo, the once-respected producer behind Ghetto Dreams and the founder of Stingomania Records now finds himself entangled in a web of controversies that threatens to tarnish his reputation within the Copyright Society of Nigeria entertainment industry.
The first blow comes from a bitter dispute with two of his signed artists, Baba Nee and Trybson Dudukoko, which has erupted into a public spectacle on social media.
The artists accuse Banwo of exploitation, mismanagement, and questionable business practices, while Banwo claims they breached their contracts after benefiting from over N12 million in investments from Stingomania.
The online drama paints Banwo as a victim of an industry-wide issue, but critics argue that it may be a diversion from deeper problems within Stingomania Records.
Adding to the turmoil is Banwo’s withdrawal of consents for the use of the artists’ works and his threat to challenge entities engaging with Baba Nee and Trybson without Stingomania’s consent.
Some view this as a desperate attempt to salvage his reputation, though others question the ethics of such a public airing of disputes, hinting at potential legal ramifications.
The controversy takes a darker turn with Banwo’s claim of receiving death threats from Baba Nee’s fans. Critics argue that this revelation might be an effort to garner sympathy and shift attention away from the allegations against him.
The drama intensifies as Trybson Dudukoko accuses Banwo of exploiting female artists and engaging in inappropriate relationships with them.
Dudukoko’s allegations imply a culture within Stingomania Records that prioritizes personal connections over professional growth. Frank Nero, a friend of Baba Nee, enters the fray, criticizing Banwo for allegedly not compensating Trybson Dudukoko for his role in the movie “Ghetto Dreams” and suggesting that Banwo’s business practices may drive artists to seek alternative means of income.
As if this weren’t enough, a second wave of controversy hits as revelations about Banwo’s shadowy past resurface.
Legal battles with the Copyright Society of Nigeria (COSON) from 2017 rear their head, with accusations of false, baseless, and malicious statements made by Banwo regarding the management of N300,000,000 in copyright royalties.
Demands for a public retraction, an apology, and damages open a chapter of legal woes that adds to Banwo’s already precarious situation.
These dual controversies paint a grim picture of Ope Banwo’s business practices and management style. The resurfacing legal battles and ongoing artist disputes not only expose a willingness to air grievances on social media but also hint at a darker side of the industry figure, casting a long shadow over his once-celebrated career in the Nigerian entertainment scene.
As Banwo faces serious accusations of exploitation, contractual malpractice, and a tumultuous legal history, the unfolding drama suggests that his integrity as a label head and businessperson may be irreparably damaged.
