Optimist Ibukun Ahisu’s Post

Have you ever wondered what some of your favorite country artists have to say about their faith? You don't have to wonder anymore! We are so excited to bring you "Country Faith," a vibrant compilation of 70 inspired stories from top country music stars, including Reba McEntire, Carrie Underwood, Alan Jackson, Trisha Yearwood, and more, sharing their favorite Scriptures and faith experiences. Read more in this article from Woman's World: https://lnkd.in/gT6b2iKN

The Elephant in the Room...The Truth Hurts. "Every single one's got a story to tell Everyone knows about it From the Queen of England to the Hounds of Hell" - Seven Nation Army, The White Stripes Let's face it, music industry folks get it wrong often. But mistakes and getting it wrong are key and crucial to learning and getting it right. We all have stories. When I was at V2 back in the day, went with Jeremy Pearce etc to see The White Stripes for the first time as we were looking to sign them in a big deal. They had just independently released their "White Blood Cells" album. I liked them but wasn't 100% convinced especially with the weight of the deal. Thankfully the rest of the crew saw the potential, V2 signed them, and the album they delivered, the mighty "Elephant" (featuring "Seven Nation Army") ended up being one of our label's biggest successes and The White Stripes ended up being one of my favourite groups ever. The Lesson? Surround yourself with the greatest team of really talented authentic smart music people you can find, so if you slip up and make a mistake, the others won't, and you'll all win. The big question is, what will the UK Music industry choose to learn from Raye? “Raye’s six Brit awards marked a huge vindication for the newly independent artist and rightly shamed the major label that apparently couldn’t see her potential”. #music #musicbusiness #ukmusic #truth #womenentrepreneurs #womeninmusic #musicindustry #lessonslearned

Gospel Singer Moses Bliss Faces Backlash for Allegedly Charging N7 Million for a Performance Moses Bliss, a prominent gospel singer, is currently under fire online for reportedly charging N7 million for performances. Critics argue that such a steep fee contradicts the humility and service typically associated with gospel music. Many are voicing their discontent, suggesting that this high charge is at odds with the core values of the genre. However, some supporters defend Bliss, arguing that the fee reflects the value of his talent and the costs involved in delivering high-quality performances. They contend that charging for performances does not necessarily undermine the message of the music. This controversy has ignited a broader debate about the commercialization of gospel music and the delicate balance between ministry and business. While some believe that the essence of gospel music should be about spreading a message rather than making a profit, others feel that artists deserve to be compensated fairly for their efforts and contributions to the industry. The ongoing discussion highlights the tensions between maintaining the spiritual integrity of gospel music and navigating the practical realities of the music business. #NaijaPerspective #NigeriaOpinions #NaijaComments #NigeriaEditorial

The Massive Money of the Christian Music Industry: Exploring the Empire in Tennessee Discover the staggering revenue generated by Christian music in Tennessee, with over half of the state's music empire coming from religious and gospel genres. Journalist Kelsey McKinney raises thought-provoking questions about the impact of emotional manipulation and divine intervention in the documentary about Hillsong. Uncover the financial power behind this booming industry. #ChristianMusicIndustry #TennesseeEmpire #ReligiousMusic #GospelMusic #MusicIndustryInsights #HillsongDocumentary #EmotionalManipulation #DivineIntervention #FinancialPower #MusicBusiness

Simi Defends Her Voice Against Critics _____ Nigerian singer and songwriter Simi, also known as Simisola Kosoko, responded to critics of her voice and music style, asserting that her voice is unique and stands out. In a recent post, she addressed comments about her voice and music style, emphasizing that her voice is distinct and special. She described it as beautiful, sweet, soft, and even piercing at times. Unlike many voices that blend into the background of a beat, she stated that hers maintains its clarity and presence. ... CLICK LINK FOR FULL ARTICLE #makesensepromotions #beyondbuzzbuildingbrands

In a recent publication of Forbes' 30 Under 30 list, Bad Bunny was named one of the most important and recognized artists of his generation. His musical creations have become global hits, and he was the first Latin artist to headline the Coachella music festival in April 2023. He did it singing only in Spanish. The controversy surrounding the title "King of Pop" that Forbes assigned to Bad Bunny is understandable. For years, the only "King of Pop" was Michael Jackson, who passed away in 2009. Even with his multiple industry awards, global influence and visibility, and streaming records, many social media users opposed this designation for Bad Bunny. Comments such as "The day Bad Bunny has 1% of the talent to sing, dance, produce, and compose at the level of Michael Jackson, we'll discuss the title of 'King of Pop,'" "Bad Bunny doesn't sing pop," or "I think it's a total disrespect that Forbes qualifies Bad Bunny as the King of Pop when there is clearly only one, the GREAT MICHAEL JACKSON" are all hostile towards Bad Bunny. Regardless of the controversy, it is very relevant to point out the influence and global recognition that Bad Bunny has today. Whether his music is liked or not, his success in the industry is undeniable, as is his effort to position Puerto Rico and Latin music at the center of the global discussion. For his tremendous influence and outstanding career, Bad Bunny is among the kings of today's music, perhaps not at the level of Michael Jackson... yet. But someday, he could be. What do you think of Bad Bunny's impact on the music industry? #WeAreConquista #MusicIndustry #Latinos #LatinMusic #Business #30Under30 #KingOfPop

Simi Defends Her Voice Against Critics ____ Nigerian singer and songwriter Simi, also known as Simisola Kosoko, responded to critics of her voice and music style, asserting that her voice is unique and stands out. In a recent post, she addressed comments about her voice and music style, emphasizing that her voice is distinct and special. She described it as beautiful, sweet, soft, and even piercing at times. Unlike many voices that blend into the background of a beat, she stated that hers maintains its clarity and presence. ... CLICK LINK FOR FULL ARTICLE #makesensepromotions #beyondbuzzbuildingbrands

Simi Defends Her Voice Against Critics ____ Nigerian singer and songwriter Simi, also known as Simisola Kosoko, responded to critics of her voice and music style, asserting that her voice is unique and stands out. In a recent post, she addressed comments about her voice and music style, emphasizing that her voice is distinct and special. She described it as beautiful, sweet, soft, and even piercing at times. Unlike many voices that blend into the background of a beat, she stated that hers maintains its clarity and presence. ... CLICK LINK FOR FULL ARTICLE #makesensepromotions #beyondbuzzbuildingbrands

***** Posts: 78 Gender: Female In your storm, look for the rainbow! Paulean Ministries! Follow BEING AN ANOINTED MUSICIAN « on: September 06, 2003, 02:00:18 PM » In order to be an anointed musician, you must first accept Jesus as your personal Savior. If you're not musically inclined, then you must ask God to give you an ear to hear and then ask him to anoint you in your playing. Paul said, "I can do all things through Christ which strengthens me." (With practice-in time you will get better, determination-you must be willing to learn music theory and motivation-to not give up) As for the skilled musician, it is the anointing that breaks and destroys the yoke. (The anointing is what makes the difference.) Like in times of old, when David played the harp for Saul and drove the evil spirits away from him. Musicians play an important part in the flow of service and they must be sensitive to the spirit. If the musician is not in their place spiritually it throws the whole service off from the pulpit to the door. For instance, playing melancholy chords at the wrong time can bring a dead spirit into the church. Being one with your Pastor is also helpful. (knowing what they want and expect) The church is there to win souls and should be a healing station for those who are brokenhearted, etc... So if those that are in the congregation are not touched by or getting anything out of praise & worship or the sermon; the music maybe the thing to uplift them and encourage their hearts. The musicians job is to set the atmosphere for praise & worship and make it easier for the minister before they preach. The musician should not override the praise & worship leaders or the preacher. The musican is to accompany them. If the music is too loud, those that are in the congregation may not be able to enjoy the service because the music is so loud that it hurts their ears. Most musicians get caught up in playing the instrument but the musician themselves should be getting into the service as well. As the musician is playing, it should be a sweet sound in God's ear. The musician should be praising and worshiping God in their music. In all thy ways acknowledge Him and he will direct your path. Put God first and you will succeed in everything that you do. May His peace be with you till we meet again.

Rachael Kohn today writes in the Australian, following her piece last year protesting at a  ‘statement read out by an orchestra musician that the SSO supported the Uluru Statement from the Heart and the Yes vote’ - Kohn interpreted this as ‘blatant politicking’ and ‘breach of contract’ and links political statements by orchestras to the historical instrumentalisation of the arts by regimes to promote propaganda. In her latest piece, after providing examples of political commentary from artists in the 1960s and 1970s, she then makes a case that the 'rarefied' environment of classical is not the place for such statements. She returns to a point from her earlier piece: that classical music audiences should somehow be protected or sheltered from any form of discourse that may challenge or offend: 'many of whom support classical musicians as generous patrons, and by way of competitions and prizes that keep this notoriously demanding and financially tenuous profession afloat' She views performers as 'these privileged musicians [who] are entrusted with a repertoire of music that has been handed down for generations, centuries in fact, for the one purpose of presenting it to devoted audiences who wish to hear it played to the highest standard.' In other words, in Kohn's view, musicians are simply carriers of repertoire, recreating it to 'the highest standard'. This disregards both the artist's agency, influence, and capacity to move, transform, and effect through performance and the—often—overt social and political context or message of the original works. In other words, art for art's sake. See a fantastic piece by Professor Peter Tregear OAM in The Conversation Australia + NZ for extensive examples that contradict this belief. In my view, viewing classical and orchestral music as 'rarefied' and protecting its audiences like this is one of the key challenges of audience development in heritage performing arts, and it stands in the way of these artforms being living, breathing components of our society - rather than quaint museum pieces. #culturalleadership