@GodwinTom You are right. But major stakeholders like you need to enlighten and educate the Federal law makers and the civil servants at the Nigerian Copyright Commission about the current and the best practices in intellectual property space.
Born on March 27, 1946, in Oba-Ile, Osun State, Kola Oyewo began his acting career in 1964 with the Oyin Adejobi Theatre Group. He later became one of the most recognised figures in Yoruba theatre and Nigerian film.
He was widely known for his portrayal of Odewale in Ola Rotimi’s play, “The Gods Are Not to Blame,” a role that earned him recognition across the African theatre scene.
During a career that spanned more than six decades, Oyewo featured in several productions, including “Saworoide,” “Sango,” “Koseegbe,” “Super Story” and many Yoruba-language films that contributed to the growth of Nigeria’s movie industry.
Beyond acting, Oyewo was also an academic. He earned a doctorate degree in Drama from the University of Ibadan and taught at Obafemi Awolowo University, Redeemer’s University and Elizade University.
Through his teaching and mentorship, he helped train and guide generations of actors, playwrights and scholars, leaving a lasting impact on Nigeria’s theatre, film and academic communities.
I have reviewed more than 20 Alaba Marketers contracts across 20 Artistes, Estate of Deceased Star Artistes & Labels with hit Albums . From kennis Music catalogue to Gongo Aso to CEO to Superstar etc
TJoe
UBA Pacific
Golden Point (The Biggest still Yet). Three of the "highest paying". Reviewed about 10 direct contracts with Artistes from them.
@Osi_Suave , "NO" Alaba Marketers ( To even add those who had direct deals with printing house i.e NIRA) was paying more money than what DSPs are paying today to Artistes
Not in Advances
Not in Royalties
Not in Aggregate payout
Not in "Jacket Fees"
And there was never anything called a "Royalties Report" to even verify this claim of yours.
The facts I have shared above are from contracts and bank statements .
@EmekaLectern@Wizarab10 Those they trained abroad wanted to undermine the project by trying to join the trade unions that killed government refineries.
@GodwinTom Even the existing CMOs need to embrace corporate governance in their dealings.
For just like the directors and permanent secretaries in government, the Chief Executives of CMOs should have tenure.
They should not be there for ever.
@GodwinTom Well done.
Thank you for the labour of love and quiet service to the industry.
I hope you let them realize that one CMO cannot possibly cover different areas of creative space.
I dont like talking much but a big shout out to the poeple that have been fighting to fix our IP and Copyrights reforms as well as CMO regulations!
There is still work and I am honoured to know you guys!
A robust Collective Management Organisation regulation in Nigeria is not a niche administrative matter. It is economic infrastructure — and fixing it is, simultaneously, an act of policy reform, a trade enablement measure, a commercial infrastructure investment, and an act of cultural justice.
Work dey o!!!!!!
“We reviewed over 5,000 tweets of sustained harrasment on Simi and Adekunle Gold. They wanted to make sure she became a shadow of herself, while pregnant at the time. We won’t allow you do that to our client all for monetization.”
— Foza Fawehinmi, Simi’s legal counsel.
@AyoShonaiya Even AK One, Kemi Adetiba, Gbena Salu, Mex Films, Akin Alabi too, before we can start bringing MEJI Alabi or Dammy Twitch and TG into the conversation
Fist line of “OG” video directors in Nigeria…
Philip Trimnell
DJ Tee
Shina Adediji
Uzodinma Okpechi
Then…
Clarence Peters
Wudi Awa
Sesan
Then the rest, which definitely should include TG Omori who surprisingly you must have forgotten when making this list.