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Nigerian music company Chocolate City in trouble, may lose 60% shares…… + Details of the Loan agreement, and genesis of the Dispute!

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Chocolate City’s trouble is a fallout of a recent judgement of a High Court in London.

A leading Nigerian music company, Chocolate City, may lose as much as 60 per cent of its equity to an international partner, WEA International, a subsidiary of New York-based Warner Music Group (WMG).

This is a fallout of a judgement of the Commercial Division of a High Court in London on a loan dispute between the parties.

The judgement bars Chocolate City from prepaying a $1.7 million loan it took from the American record label ahead of the loan’s due date in 2024, while also affirming the lender’s right to choose to be paid back with 60 per cent of the borrower’s shares.

The judgement, delivered on 16 November, affirmed that WEA/WMG has the right to either choose to accept the payment with full interest at the due date or convert the loan to 60 per cent of Chocolate City’s shares.

The High Court’s decision put an end to the move by Chocolate City to exit the loan obligations early, to preempt the lender from taking the option of demanding 60 per cent of its shares as a means of offsetting the loan.

Chocolate City had sought to prepay the loan in 2022, whereas the loan has a term of five years, from 2019 to 2024.

In his judgement, a copy of which was obtained by PREMIUM TIMES, the judge, David Foxton, ruled that prepayment of the facility before the due date was not envisaged under the agreement the parties signed.

“There is no right to pay off any negative balance under the ADA Distribution Agreement before the Maturity Date or termination of the Facility (implicitly under clause 17.21),” the judge said.

Chocolate City, founded in 2005 by Audu Maikori, Paul Okeugo and Yahaya Maikori, obtained the loan in issue from WEA under a contractual agreement they entered into on 27 March 2019.

According to the court judgement, the agreement signed by the parties was for $1.8 million ($1,832,500) ‘Convertible Term Loan Facilities’.

A convertible loan is one which will either be repaid or, in most cases, converted into equity at a future date. It is a form of financing that ordinarily takes less time than an equity funding round, which can be costly and time-consuming.

The loan obtained from WMG was to be “payable in full or convertible into 60 per cent of the equity interests” of Chocolate City.

Promising deal

At the promising beginning of the deal, on 28 March 2019, a day after the agreement was signed, Warner Music Group (WMG) announced a pioneering partnership with Chocolate City.

Under the partnership listed on its official website, Chocolate City artistes would join WMG’s repertoire and receive the support of the company’s distribution and artiste services via its independent label services division, Alternative Distribution Alliance (ADA).

At the time, WMG said that the partnership with Chocolate City would dramatically grow the reach of African artistes worldwide and create new opportunities for global superstars in the region.

Under the terms of the deal, music from the label’s artistes would join Warner Music’s repertoire, and they would receive the support of the company’s global expertise, including distribution and artiste services via ADA.

WMG also promised financial support for Chocolate City to help achieve its mission of signing and developing the best local talent in this fast-growing market.

Chocolate City loan agreement details

Details of the loan deal were reproduced in the court’s judgement on the dispute that later ensued between the parties.

The judge referenced some pre-contractual documents signed by the parties for a better understanding of the deal.

The judge said the pre-contractual documents are not legally binding but help shed light on the unclear details of the contract itself.

Some of the documents include the Letter of Interest (LOI) dated 15 August 2018 which was signed by Chocolate City and Warner Music Inc (of which WEA is a part).

There was also a non-binding Term Sheet dated 17 January 2019 signed by Chocolate City and WEA.

Certain correspondences were also cited by the judge as helping to establish the facts and details of the loan agreement.

From the Letter of Interest, the judge said, the agreement was designed for WMG or its affiliate(s) to provide financing to Chocolate City “in the form of a convertible note”.

The loan was to be “payable in full or convertible into 60 per cent of the equity interests” of Chocolate City.

The judge referenced an email dated 27 September 2018 which WMG sent to Chocolate City, explaining what the “convertible loan structure” that parties had been discussing entailed.

WMG explained in the email that at the end of the term loan, that is, after five years, the investor (WMG) would have “the option of accepting a return in the form of principal plus interest or equity in the company”.

In response to the clarification by WMG, the judge said while reviewing the documents filed by the parties to the case, Chocolate City responded by stating, “We are aligned”, and “We are happy to move ahead with the deal.”

In the Term Sheet which the parties also signed, it was stated under the ‘Proposed Transaction’ section that the transaction was an investment “by way of secured loan, convertible into equity in the Company at the Lender’s option at the Maturity Date.”

How dispute started

By 2022, Chocolate City had drawn down on the $1.8 million facility to $1.7 million.

Dispute between the parties over the facility began to rear its head when, on 8 September 2022, Chocolate City served a prepayment notice on WEA, indicating its decision to prepay the full amount of the loan together with accrued interests on or before 20 December 2022.

Citing Clauses 8.3(a) and (b) of the Facility Agreement, Chocolate City asserted its right to prepay the loan, and requested that WEA provide its bank details for prepayment to be made.

On 13 September 2022, WEA responded that Chocolate City was not entitled to make a prepayment. Therefore, WEA did not provide its bank details.

Chocolate City then filed an application in court for summary judgment seeking declarations to the effect that it is contractually entitled to prepay the amount outstanding under a convertible term loan facility ahead of the specified maturity date.

Chocolate City was represented by Nathan Searle and George Harnett of Hogan Lovells International LLP.

WEA, represented by Tamara Oppenheimer KC and Gillian Hughes of Dentons UK and Middle East LLP, cross-applied for summary judgment for a declaration that Chocolate City is not entitled to prepay the facility.

Citing Clause 7 of the loan agreement, WEA insisted that “the borrower shall repay the loans in full together with any interest accrued on the Maturity Date”.

Judgement

In his judgement, Mr Foxton ruled that prepayment of the facility before the due date was not envisaged under the agreement.

This finding, the judge said, tallies with WEA’s rights recognised in clause 7 of the facility up to the maturity date.

He said the clause “presupposes that the Facility will only be terminated on the Maturity Date or pursuant to early termination under clause 17.21.”

The judge, who said WEA’s interpretation of the agreement was more acceptable than Chocolate City’s, said he was satisfied that “the commercial purpose of the transaction” affirmed WEA’s construction of the agreement.

He said the loan agreement “gave WEA an embedded right to swap the outstanding debt for equity at the Maturity Date if it decided it was in its economic interests to do so.”

“That commercial purpose lends strong support to WEA’s construction, but Chocolate City’s construction would be inimical to it,” the judge said.

In conclusion, Mr Foxton noted that “Chocolate City does not have a real prospect of establishing a right to prepay the loan made to it by WEA, and WEA’s construction is correct. Chocolate City fails on its application for summary judgment, and WEA succeeds on its cross-application for summary judgment.”

Implication for Chocolate City

The judgement, affirming WEA/WMG’s interpretation of the agreement, gives the American conglomerate the discretion to accept payment in cash or convert the loan sum to 60 per cent of Chocolate City’s equity when the facility is due for repayment.

The judge ruled that it was at WMG’s sole discretion to decide whether all or a portion of the loan “be converted into an unrecouped balance under the Distribution Agreement”.

PT contacted Chocolate City’s CEO, Abuchi Ugwu, on the phone on Wednesday to find out if the company will appeal against the judgement or has other plans to avert losing a majority of its shares to its estranged partners. Mr Ugwu asked our correspondent to email the questions to him, but he has yet to respond to our email enquiry as of the time of filing this report.

Chocolate City has been home to recording artistes such as M.I Abaga, Nosa, Dice Ailes, Victoria Kimani, Ice Prince, DJ Caise, DJ Lambo, Jeremiah Gyang, Ruby Gyang, Pryse, Brymo, Koker, Jesse Jagz, Lemon Adisa, Mr Gbafun, Ijay, and Kahli Abdu, VHS Safari and more.

But the artistes currently on the label are Tariq, Noondave, YoungJohn, Blaqbonez, CandyBleakz and MajorAJ.

Source: Premium Times.

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UBA’s REDTV premieres ‘13 Kinds of Women’ live on YouTube on Sept. 19

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UBA’s REDTV, the lifestyle entertainment channel powered by the bank has premiered its anticipated series ‘13 Kinds of Women.’

 

The 13-episode Ghanaian series, directed by award-winning filmmaker Eddie Seddoh, will be available for a global audience on YouTube this Thursday, September 19.

 

13 Kinds of Women offers an intimate look into the lives of diverse women, exploring their real-life relationship dynamics, challenges, and triumphs.

The star-studded series features some of Ghana’s most talented actors, including Prince David Osei, Harold Amenyah, Peter Ritchie, and Jasmine Baroudi, among others.

 

At the exclusive premiere event held last Friday at Silverbird Cinemas, Qazeem Bello, Chief Operating Officer at UBA Ghana, highlighted the significance of the series.

 

‘13 Kinds of Women’ is more than just a show; it’s a celebration of the strength, resilience, and diversity of women. We are thrilled to bring this powerful story to life and share it with audiences worldwide,” he said.

 

He further emphasized the bank’s commitment to fostering African creativity through REDTV.

 

“As UBA’s lifestyle channel, REDTV is dedicated to telling Africa’s stories and empowering young content creators and filmmakers across the continent.

 

“We believe in the power of storytelling to shape cultures and communities, and we’re proud to celebrate creativity and collaboration through this series.

 

“It reflects UBA’s ongoing mission to engage with our audience while supporting emerging talents in film, scriptwriting, and production.”

 

 

 

REDTV, proudly powered by UBA, continues to deliver rich and engaging content that showcases the very best of Africa, spanning fashion, news, music, sports, drama, travel, and more.

 

With 13 Kinds of Women, UBA reinforces its commitment to enriching the African creative arts industry and promoting local talent on a global platform.

 

‘13 Kinds of Women’ will be available for streaming on REDTV’s official YouTube channel from September 19.

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AFRICAN UNION WRITES SOUTH AFRICA, NIGERIA AS RACE FOR AFRIMA 2025 and 2026 HOSTING RIGHTS HOTS UP

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… As Morocco expresses interest

 

Johannesburg, South Africa –South Africa may become the host of the next two editions of the All Africa Music Awards (AFRIMA) after receiving a letter of invitation from the African Union (AU) to take advantage of the hosting rights for the 2025 and 2026 editions of the prestigious award

 

The invitation was extended through a letter with reference number HHS/CUL/16/170.23 signed by Her Excellency, Ambassador Minata Samate Cessouma, the African Union Commission’s Commissioner for Health, Humanitarian Affairs, and Social Development.

 

The Republic of Nigeria has also received a letter similar to the one about South Africa hosting the music event. This has caused excitement and discussion within the African music community.

 

The AU stated that the invitation aligns with its policies for the strategic transformation of Africa through social integration as per the AU Agenda 2063, the Charter for African Cultural Renaissance, and the AU Plan for Action on Cultural and Creative Industry.

 

The AU said AFRIMA is a global platform that celebrates and develops Africa’s diverse musical talents and cultural heritage, highlighting the significant opportunities hosting such a prestigious event presents for the selected host country.

 

“Since 2014, the African Union has been partnering and working successfully with AFRIMA to develop, celebrate and promote African music globally for integration/inclusivity, economic prosperity and world peace via its seven core pillars: (1) Music Awards, (2) Music Festivals; (3) AFRIMA creative Academy; (4) Talent Discovery and Promotions; (5) Music Business Hub; (6) Advocacy; (7) Advisory and Policy Debates,” the letter reads.

 

“AFRIMA is the biggest and longest-running music award and platform in Africa, with a huge global appeal, diaspora audience, and youthful fans. The main events of AFRIMA are usually broadcast live to over 84 countries around the world after a continental and global roadshow, with thousands of music artists, actors, celebrities, members of the diplomatic corps, professionals in the creative space, tourists, media and fans from all over the world converging on the host country.”

 

The last edition of AFRIMA was successfully hosted and partnered with the government of the Republic of Senegal in the city of Dakar. The privilege of hosting AFRIMA is typically granted to a country that demonstrates the ability and determination to fulfill the requirements and conditions.

 

Nigeria, Ghana, and Senegal have been reliable hosts that have helped the event grow and succeed in the past. However, South Africa’s potential bid presents the possibility of new perspectives and opportunities.

 

AFRIMA’s Country Director, Lekunutu Seboko, confirmed that his country’s government received the letter from the African Union. He added that there have been very positive reviews about the possibility of hosting the show in South Africa.

 

Seboko expressed South Africa’s eagerness to take on the hosting mantle, citing the country’s rich musical heritage and infrastructural capabilities as key assets in its potential bid.

 

He said, “South Africa has a rich musical heritage and a deep cultural renaissance. Our nation has been at the forefront of pushing the boundaries of African music to a global audience. Hosting a monumental music event like AFRIMA is a testament to our ever-growing influence on the continent, musically and culturally.

 

“AFRIMA is a well-known brand in South Africa, and it would be a fantastic opportunity to host the show for the first time. Our country’s diverse culture and excellent facilities make us confident that we can deliver an exceptional AFRIMA experience. We have state-of-the-art venues, excellent transportation networks, and a diverse cultural landscape that will provide an electrifying backdrop for the awards.

 

“We are aware that South Africa is fully prepared to showcase our world-class infrastructure, vibrant cultural scene, and unparalleled hospitality. We have repeatedly demonstrated our capacity, we have hosted other world-class events, and are not oblivious to the inherent economic benefits of hosting an event like this.”

 

Corroborating Seboko, AFRIMA’s Director of Sponsorship and Partnership, Matlou Tsotetsi, said the event is poised to stimulate the economic boost expected from the influx of visitors, increased tourism, and heightened global attention.

 

“The hospitality, retail, and entertainment industries stand to gain immensely from the thousands of visitors who will be attending the event,” Lekunutu noted. “Beyond the immediate financial impact, the long-term benefits include increased investment in our creative industries and a strengthened international reputation for South Africa as a destination for major cultural events.

 

“AFRIMA is more than just an awards show; it’s a platform for showcasing African talent on a global stage. The exposure that South African artists and industries will receive is invaluable, and we expect this to translate into new opportunities for our local creatives.

 

The Acting Director for Social Development, Culture, and Sports Division, African Union Commission, Ms. Angela Martins, confirming the invitation and request to bid for the hosting rights extended to the two countries, reiterated that AFRIMA provides a unique opportunity for the host country to showcase its rich cultural heritage, develop her music sector, promote tourism, and stimulate economic growth.

 

“This call to action comes as part of the AU’s commitment to promoting cultural exchange, unity, and economic development across the African continent. We urge the governments of South Africa and Nigeria to seize this opportunity to strengthen intra-African collaboration (in line with AFCTA) within the music industry and enhance their international visibility positively.

 

“AFRIMA serves as a premier platform for African artists in Africa and diaspora to showcase their talent, gain international exposure, and connect with audiences worldwide,” she said.

 

She added that as the bidding process is inching towards its deadline, the African Union remains committed to providing support and guidance to ensure a successful hosting of AFRIMA.

 

She also reiterated the AUC’s readiness to work closely with the selected host country to maximize the impact of the event on the African music industry, tourism, general economic growth, and socio-cultural landscape.

 

According to Martins, AU, and AFRIMA are looking for African countries with appropriate infrastructure to play host to the global musical event.

 

Meanwhile, the Moroccan government has also indicated an interest in talking to the International Committee of AFRIMA on the possibility of hosting the AFRIMA main events or the build-up events to align with the hosting of the Africa Cup of Nations scheduled to be held from December 2025 to January 18, 2026.

 

 

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OKOROJI, IN A BLOCKBUSTER “NO MUSIC DAY” BROADCAST, ASKS NIGERIAN CREATIVES TO BECOME GENERALS IN THE BATTLE TO RID NIGERIA OF CORRUPTION & BAD LEADERSHIP

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Chief Tony Okoroji, former President of PMAN and Chairman, Copyright Society of Nigeria (COSON), Nigeria’s biggest copyright collective management organization, has called on creatives across Nigeria to become generals and foot soldiers in the battle to rid Nigeria of the rot of corruption and bad leadership.
In a blockbuster 2024 “No Music Day” broadcast streamed simultaneously on several media platforms this Sunday, September 1, 2024, Chief Okoroji said: “To my friends and colleagues in the creative industry, we can no longer hide our heads in the sand and pretend that the battle to wipe out corruption in Nigeria, and enthrone good governance, does not concern us.
“If we have accepted to live with the rot that we see everywhere in Nigeria, we must ask ourselves if it is in this rot that we want our children and grandchildren to grow up.
“So, today, on this “No Music Day” I call on everyone in the Nigerian creative family to become generals and foot soldiers in the battle to rid Nigeria of the rot of corruption and bad leadership. We must deploy our voices, our writings, our movies, skits and drama to lead the war so that when the story is told, it would be clear that we did not run from our responsibilities.
“But, if we are coming to justice, we must come with clean hands. If we are going to fight corruption, we must be sure that we are not corrupt ourselves. If we are fighting bad leadership, we have to be absolutely sure that we are not providing bad leadership ourselves. In other words, we must practice what we preach.
“So, I call on all the organizations in the creative industry to show good examples in the way we operate. Our organizations must be…I say… must be transparent and accountable. I state that no one should assume the leadership of any of our creative industry organizations without an open and clear mandate of the members from a free and fair elections conducted according the rules and constitution of the organization. In each of our organizations, the abiding object must be to uphold and fight for the interest of our members and not the hijacking of the instruments of the organization for the personal enrichment of the leaders. Let me repeat. We must practice what we preach”.
In the broadcast, Chief Okoroji said that the rampant infringement of the intellectual property rights of songwriters, composers, performers, music publishers, record labels and other stakeholders in Nigeria’s creative industry does not stand on its own but is part of a national malaise and a penchant in Nigeria for reaping where people did not sow which he alleged has exposed Nigerians to the free for all looting of the nation’s resources and left Nigerians with a comatose economy with millions of her citizens hungry, desperate and suffering in the midst of plenty.
Said Okoroji: “Sad as it may sound, many have concluded that there is no hope for Nigeria. Some even say that there must be something wrong with our genes.
“I say No! No! The truth is that nothing is wrong with our genes. While our politicians and so-called leaders, with their take-everything and give-nothing-in-return mentality, have left millions of Nigerians with devastating hunger, joblessness and unknown gunmen everywhere, several young Nigerians are flexing their muscles in different parts of the world and soaring in diverse fields.
“Asake, Burna Boy, Tiwa Savage, Flavour and many more are taking what is today called afro beats to the world and filling huge venues with rapturous fans paying pounds and dollars to see them. Bukayo Saka, the Arsenal player, who now wears the shirt of the English national football team, has Nigerian genes. Victor Osimhen who has been a top scorer in the very competitive Italian Football League is a full-blooded Nigerian. Tobi Amusan who may not have won any medal at the Paris Olympics, but still holds the World Record in 100 meters Hurdles, is a Nigerian. Wole Soyinka, the Nobel laureate in Literature, is a Nigerian citizen. The internationally respected, master story teller, Chinua Achebe, was born and died a Nigerian. You might say that Achebe belongs to another generation, maybe. But the renowned writer, Chimamanda Ngozi Adichie, who is relatively young, is a Nigerian”.
In conclusion, the life long advocate for the rights of creative people said: “I very much recognize the deep despair in the land, the hunger that threatens the life of millions of Nigerians, the insecurity that has snatched the lives of so many of our countrymen and the anguish under which many Nigerians wake up in the morning and go to bed at night.
“Nigerian creatives cannot afford to give up. We must work together for the unity of our country and the progress of our nation. We must contribute to making Nigeria a nation in which people do not brazenly reap where they did not sow and comfortably steal what does not belong to them and amass wealth which they have not earned.
“On this “No Music Day 2024”, I pray for all Nigerians who are going through trials, tribulations and hardship and beg the Almighty to please meet their needs. God bless the Nigerian Creative Industry and God bless the great people of Nigeria”.
On September 1, 2009, practitioners in the entire Nigerian creative family massed in front of the National Theatre in Lagos and for days, refused to eat or drink and demanded that the over 400 licensed broadcast stations in the country, who use music as the key raw material for their operations, should broadcast no music for a significant period of that day. So began what the creative industry has celebrated every September 1 as “No Music Day”.
*Watch the No Music Day 2024 Official Broadcast by COSON Chairman, Chief Tony Okoroji on behalf of the Nigeria music industry.* Click link to watch: https://youtu.be/OC_ChF54UaA?si=1i4ka8SoMOiiwfHV

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