Entertainment
Ope Banwo’s Downward Spiral: A Tapestry of Legal Woes and Artist Uproar Unveiled
In a shocking turn of events, Ope Banwo, the once-respected producer behind Ghetto Dreams and the founder of Stingomania Records, finds himself entangled in a web of controversies that threatens to tarnish his reputation within the Nigerian 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
Nollywood actress Lizzy Anjorin has questioned the authenticity of an interim order issued by the Lagos State High Court on 2 September 2026, restraining her from publishing photographs of Priscilla Ojo’s one-year-old son, Rakeem Mkambala, and from posting editorials concerning the family on specified social media platforms.
Anjorin raised the issue during an Instagram Live session on Friday, 4 September, after Priscilla shared a copy of the court order online.
The actress argued that publicising court documents before formally serving the respondent undermines the case.
“Your case na dead on arrival. If you post court letter on any platform before serving person wey you wan go serve, that court case na fake court case,” Anjorin said during the live session.
Her comments came shortly after the High Court of Lagos State granted an ex parte application brought by Priscilla, her husband, Tanzanian singer Juma Mussa Mkambala, and their son, Rakeem.
Justice Yetunde Adesanya issued the interim order in Suit No. LD/ADR/6646/2026.
The order restrains Anjorin, as well as people acting under her authority, from publishing, posting, circulating, uploading or broadcasting photographs of Rakeem on specified social media platforms, including Instagram, Facebook, WhatsApp and TikTok.
The court also directed Anjorin to cease publishing or broadcasting editorials concerning the applicants on the platforms covered by the order.
An ex parte order is made at an interim stage without the respondent being heard. The order is therefore not a final determination of the dispute and remains subject to further proceedings.
Priscilla shared the certified copy of the order on her Instagram Story on Friday, bringing the legal development into public view.
Anjorin’s reaction centres on the timing and manner in which the court documents were publicised. Her assertion that such publication makes a case “fake” is her own claim and is not a finding contained in the court order.
The development marks another chapter in the prolonged public dispute between Anjorin and Priscilla’s family, particularly Priscilla’s mother, actress Iyabo Ojo.
The disagreement has played out largely on social media and has previously resulted in legal action, including a ₦1 billion defamation suit filed by Iyabo Ojo against Anjorin.
In recent weeks, the dispute has also drawn Priscilla and her young son into the controversy, following public comments by Anjorin concerning the family.
Kesiena Tony Adjekpovu, popularly known as Kess, has said that participating in Big Brother Naija can make life harder, offering a candid reflection on the challenges that may come with the reality television experience.
The former Big Brother Naija housemate made the comment in a statement shared on social media, where he suggested that winning or simply taking part in the reality show does not necessarily make life easier after leaving the house.
“Big Brother makes your life harder,” Kess said.
The remark has drawn attention because life after reality television can bring a different set of expectations, particularly as former housemates adjust to increased public attention and the pressure that can accompany visibility.
Kess was a housemate on the seventh season of Big Brother Naija, which aired in 2022. He entered the show as a businessman and was among the contestants who competed for the season’s grand prize.
His time on the programme also placed him in the public eye, giving viewers an opportunity to follow his personality and relationships inside the house.
Kess’s latest comment offers a more reflective view of the reality TV platform, suggesting that the experience does not end when a contestant leaves the house.
However, he did not provide further details in the available post explaining which specific aspects of life after Big Brother he was referring to.
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