Newsline09:
The circumstances surrounding Mohbad's death and the challenges he faced within the Marlin record label highlight the deep-seated rot within the music industry. These issues underscore the urgent need for government intervention to clean up the industry and potentially establish a legal framework for not only the music sector but also other creative industries.

In any environment or organization lacking proper regulations, individuals tend to act without restraint. The music industry, in particular, can be likened to a world where only the powerful and well-connected thrive. This has led to claims of cultism and other fraternities operating within the industry for protection against the mafias like Naira Marley and Kcee limpopo. While Mohbad's situation remains tragic given his demise, it has shed light on a pressing issue that the government cannot ignore, lest more young artists experience the fate and tragedy of Mohbad.

The allegations against Azeez Fashola, also known as Naira Marley, withholding royalties and catalogs from Mohbad due to personal ego and power dynamics only mirror a pattern seen in the industry and not just by Naira Marley. This pattern extends to cases like that of the young flute talent Ojazzy Igbonile, who was exploited by Kcee Limpopo, with whom he recorded the popular Oja piano. Many of us defended Kcee when the little boy cried out, without understanding the underlying issues that may have led to the claims of exploitation by those around Ojazzy. These young and naive talents, driven by a desire for success, often fall victim to established artists and record labels that offer them meager compensation for their talents. In the case of Kcee Limpopo and Ojazzy, the young flutist claimed that Kcee took him to the studio and recorded over seven (7) flute performances by him without any payment or reward, not even agreement on royalties. Instead, Kcee Limpopo requested that he be grateful that he had given him access to his palatial home and recorded music with him. To date, I cannot confirm if the young boy has been paid a commensurate reward for his catalog and royalties from Oja-piano and Oja-ginger.

This pattern of exploitation has persisted within the music industry, affecting numerous talents both in the past and present. Only a fraction have been able to triumph. It's high time the industry undergoes a transformation, with the government stepping in to protect the rights and well-being of its creative talents and establish a fair and just system for all involved.

Mohbad couldn't have died for nothing.

#justiceformohbad

Uloka Chibuike is the convener, Transparency Youth Advocates and Public Policy Critic.

Newsline09:
The circumstances surrounding Mohbad's death and the challenges he faced within the Marlin record label highlight the deep-seated rot within the music industry. These issues underscore the urgent need for government intervention to clean up the industry and potentially establish a legal framework for not only the music sector but also other creative industries.

In any environment or organization lacking proper regulations, individuals tend to act without restraint. The music industry, in particular, can be likened to a world where only the powerful and well-connected thrive. This has led to claims of cultism and other fraternities operating within the industry for protection against the mafias like Naira Marley and Kcee limpopo. While Mohbad's situation remains tragic given his demise, it has shed light on a pressing issue that the government cannot ignore, lest more young artists experience the fate and tragedy of Mohbad.

The allegations against Azeez Fashola, also known as Naira Marley, withholding royalties and catalogs from Mohbad due to personal ego and power dynamics only mirror a pattern seen in the industry and not just by Naira Marley. This pattern extends to cases like that of the young flute talent Ojazzy Igbonile, who was exploited by Kcee Limpopo, with whom he recorded the popular Oja piano. Many of us defended Kcee when the little boy cried out, without understanding the underlying issues that may have led to the claims of exploitation by those around Ojazzy. These young and naive talents, driven by a desire for success, often fall victim to established artists and record labels that offer them meager compensation for their talents. In the case of Kcee Limpopo and Ojazzy, the young flutist claimed that Kcee took him to the studio and recorded over seven (7) flute performances by him without any payment or reward, not even agreement on royalties. Instead, Kcee Limpopo requested that he be grateful that he had given him access to his palatial home and recorded music with him. To date, I cannot confirm if the young boy has been paid a commensurate reward for his catalog and royalties from Oja-piano and Oja-ginger.

This pattern of exploitation has persisted within the music industry, affecting numerous talents both in the past and present. Only a fraction have been able to triumph. It's high time the industry undergoes a transformation, with the government stepping in to protect the rights and well-being of its creative talents and establish a fair and just system for all involved.

Mohbad couldn't have died for nothing.

#justiceformohbad

Uloka Chibuike is the convener, Transparency Youth Advocates and Public Policy Critic.

MSN1:

Listen to these plain truth O.P;
1. Getting recognition and audience in Naija is extremely difficult, unless u will have a very high level of rare Grace or its your destiny to blow fast.
Look at Olamide, Davido and Naira marley. Those guys worked their ass out without help or advantages of being under a label,
Getting attention / Fame that took years of struggle for Baddo and OBO, is what Asake is getting over night!, all thanks to Label.

So, here is the truth, Label bosses are trying really hard, i know what it takes to invest in Artistes and in the end majority of them nor de blow sef, it cost a lot to maintain Artiste, Ordinary video sef nor b joke.

This is the problem with label bosses and Artistes.
Artiste who luckily get the attention of top bosses, the joy that comes with it, make them to forget that, they are going into agreement; which is business amd in business, the one who is at higher advantage (Label bosses) tend to bend the agreement to suite themselves, u can never blame them, its business. While the Artistes out of excitement, sign without a 2nd thought, some don't even bother inviting a lawyer to explain the terms properly to them, in the end; Majority of them come out playing the victims.

Music everywhere in the world requires a powerful Grace or som1 to catapult u (Label), talent na added advantange.

Take a look at Runtown, Omar Lay and Ckay, those Niggas are very dope Artistes but dey don't have the advantage Rema, Ashake and others have that is sounding their names international.

In life, understanding the act of patience and one step at a time, has a lot to determine greatness.

If u think managing Artistes is easy; take a look at Timaya, Phyno etc, where are their Artiste?, How many have they managed successfully?
Davido's saving Grace is; Nigga is rich and making wave if not, im label for don die. When last did ANY of Davido's Artiste dropped a dope song or pulled a big show? that is to say; Davido has been running at lost, because he spends heavily on them.

Being a musician and having a label is 2 different thing.

Look at Asa, both locally and internationally, she has been giving back to back hits but the kind recognition these small boys get these days na bomb.

The fastest way to blow in the industry is big grace or have a big boss, while internationally; U MUST BELONG, Ask Eminem wetin e eye c, despite being a very good rapper.

* Label bosses extort Artiste because its business and dey know Artistes are handicapped and mostly don't have an option. I DONT AND CAN NEVER SUPPORT THIS BUT; IT IS WHAT IT IS. Most humans are just wicked.

animedoli:
https://es.surveymonkey.com/r/8K9TQGZ