google-site-verification=cXrcMGa94PjI5BEhkIFIyc9eZiIwZzNJc4mTXSXtGRM Pastor Mike Jr. calls Tye Tribbett ‘irresponsible’ for calling the institution of the Church ‘silly’ - 360WISE MEDIA
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Pastor Mike Jr. calls Tye Tribbett ‘irresponsible’ for calling the institution of the Church ‘silly’



Pastor Mike Jr. slams Tye Tribbett


Eight-time Stellar Award winner Pastor Mike McClure Jr. (PMJ), had to tug the plug on one of his gospel bandmates after he called the church “crazy” during an interview earlier this week.

The 38-year-old founder and senior pastor of Rock City Church in Forestdale, Alabama, took to social media to call out Tye Tribbett by name and inform him that not only were his comments irresponsible, but that he wouldn’t win the Grammy-nominated singer. without your support.

Pastor Mike Jr. sharply criticizes Tye Tribbett
Pastor Mike Jr. sharply criticizes Tye Tribbett, calling the institution of the church “stupid.” (Photos: @pastormikejr/Instagram; @The Breakfast Club/YouTube)

“I heard Tye Tribbett’s interview on The Breakfast Club this morning and I understand what he was trying to say. However, he made a very irresponsible statement on the wrong platform. He said, “The church sucks,” PMJ said in a recording circulating on The Jasmine Brand.

“How can you stand on a national platform and completely throw under the bus the very institution that made you who you are?” he then asked.


The “Victory” singer said in an interview with Charlamagne Tha God, DJ Envy and Jess Hilarious hosts this conversation that he doesn’t need anything to distract him from God as his “source” and that every part else ought to be a “resource” in pointing people to God.

DJ Envy asked about the “pastor” trend where everyone desires to be a preacher and begin a church, when Tribbett shared his belief that the church is a “religious system” and its “structure” is “stupid.”

“I do not subscribe to this service, even though I grew up with it and benefited from it,” the recording artist said. “But I found out that God is not a church, and when I realized, ‘oh, God is not a church,’ for me – you know, it means I’m not from the street – that was a huge event for me.”


Charlamagne then referred to Acts 17:24, which states that “The Lord of heaven and earth doesn’t dwell in man-made temples,” to which Tribbet asked, “How often do you hear this sermon?”

According to a Camden, New Jersey resident, pastors make people care more about the identity of a church member than about serving and loving people, and cite this as the reason he left the church. “The church should focus on people, but it is the people who care about the church.”

PMJ, who recently performed at the WOW Gospel Live event in Savannah, Georgia, believes Tribbett missed the mark by trying to put his opinions ahead of responsible service.

“You had the opportunity to shine God’s light… to push people back to a place of healing, but instead you wanted to feel peace. You could have been the light. You could tell people, “Man, falling in love with God was the neatest thing I ever did and I discovered the right church.” Go and find the right church,” he said.

Adding: “There is no telling who will accept this statement and leave a church that could have truly impacted their life.”

People move on social media he believed that PMJ was defective.

“This ‘reprimand’ only proves his point! Instead of listening to his words… you took up arms in defense of the institution! You are this system and I promise it won’t save any souls!” one person wrote.

“And here we go!!!! Smh!!! More divisions among brothers in Christ!!!” another person wrote. “He could have called or had this conversation in private!!! This is a mess!!! Tye never said the church sucked. He said that the SYSTEM… The institution of the Church is useless… But OK!!! I pray people watch the entire interview and LISTEN to understand and not respond!!!”

One person agreed with PMJ, writing in part: “This is definitely irresponsible. Some lost souls MAY still need to associate with other believers to strengthen their walk with Christ, and if they reach the point in their lives that they decide to leave the church, they will have all the tools necessary to do so.

The preacher-turned-singer confessed in his remarks that his church is not perfect and neither is anyone else’s.

“There is no perfect church, just like there is no perfect restaurant… there is no perfect radio show. Everyone fails,” he said, before adding, “I literally met you at a church meeting. You changed my life forever. The Church is not stupid.”

PMJ, whose real name is Michael McClure, grew up in the church, his father was a pastor and his grandfather was civil rights leader Bishop Calvin Woods.

With his old-school heritage and newer way of reaching people, he amassed a following that made his church one of the most popular in Birmingham and helped him gain over 830,000 followers on Instagram alone, where he shares inspiring words with those who are looking for a message inside or outside the church.

He said God told him he would be “an interpreter for the generation that was leaving the Church,” and with that guidance he started his church in 2009 with ten people. In two years, his church has grown from just a double-digit number to thousands, and now he is spreading his message around the world, redefining church “systems” as his father and grandfather knew them.

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Rick Ross verbally punched Drake in the face, calling him a white boy





OPINION: “Champagne Moments” is a diss album intended to query Drake’s identity in hip-hop

“Champagne Moments” by Rick Ross” gives us Ross spitting like a devil. This album has the nastiness that a diss album must have. Ross sounds slow, smooth and evil. And he obsessively calls Drake “white boy.” This song is wild. What a time to be alive.

We know Drake is biracial. He’s never hid it, but lots of us consider him as black, or no less than a part of the culture. (versus e.g. Logic.) On this album Ross wants to alter that. In a black space, calling a biracial person white is a strong diss statement. It’s also hyper-problematic. We shouldn’t exclude biracial people from the Black community, but in an all-is-fair rap environment, as a way of attacking someone and undermining their credibility and identity, it’s a powerful message.

Ross says you are not one in all us. You are an outsider. We shouldn’t even take you seriously.

In the sickest a part of the song, Ross tells Drake, “Another white boy in the park wants to hang out with the crew.” We all know that white guy who desires to be down because he fetishizes a culture. We do not like him in general. I feel like he’s making the most of us. Matching him with Drake is… wow.

We also know a biracial guy who suits a little awkwardly into black spaces. (I’m not saying that every one biracial people don’t fit in. I’m talking about a specific group of biracial individuals who don’t fit in.) Ross wants us to think about Drake as such. This is a bad move since it goals to alter Drake’s entire relationship with the hip-hop audience. It’s something someone could pull out of Ross’s files and tell Drake to harm him.

As I discussed in my “Push Ups” breakdown, the two most vital elements of a diss record are:

1. Say true things that embarrass your opponent.

2. Say things that may change the audience’s mind about who your opponent is as an artist or person.

Ross says something true about Drake – he’s biracial – and uses it to alter the way viewers view Drake.

Seriously, Drake should hire Ross as a author because this is precisely the sort of record he ought to be making. Ross sees Drake’s financial boasts and offers his own – I even have a lot of cash too. What’s up? But he also has all the street-tough braggadocio that Drake could never drop.

Ross mentions Drake’s ghostwriters, which for a lot of is the most disqualifying thing that may be said about Drake. Many people wonder in the event that they have writers; he can’t be considered one in all the best. There is a separate level for rappers who don’t write their very own rhymes – they’ll never reach the top – identical to a foreigner can never change into POTUS.

The “white boy” jab is the most devastating to my ear, but the line that basically stands out is, “Like his moves, but he never had to fight in school / He was always running away, the other n… had to write his beats.” ” Ross takes us back to Drake’s childhood, portraying him as a scared kid, as if to say he was always lacking heart. He always persuaded others to do their dirty laundry for him. I imagine a young Drake running away from beef. Now he’s not running away from it, but he’s still asking others for help, while Ross, like Kendrick, A$AP Rocky and everyone else currently fighting against Drake, writes for themselves.

“Push Ups” is a deeply memorable album. “Champagne Moments” is an album that I want to come back to many times. Ross loves to troll, and hip-hop’s current favorite sport is trolling Drake.

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The Notorious BIG, Doug E. Fresh, Slick Rick and More Join the 2024 National Recording Registry




Biggie Smalls,

Artists were chosen based on the historical and cultural impact their music has had on society and the industry.

Recordings by Notorious BIG, Doug E. Fresh, Slick Rick, Bobby McFerrin and other influential black artists have been inducted into the National Recording Registry.

American rapper Notorious BIG (born Christopher Wallace) attends the 1995 Billboard Music Awards on December 6, 1995 in New York City. (Photo: Larry Busacca/WireImage)

Librarian of Congress Carla Hayden on Tuesday announced a choice of 25 records which have gained recognition and protection. The selection includes several musical genres, from jazz, rap, pop, dance, Latin, country, rock, classical and bluegrass.

“The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry” – Hayden he said in a press release. “This year we have selected audio treasures worth preserving with our partners, covering a wide range of music from the last 100 years, as well as comedy. We were thrilled to receive a record number of public nominations and welcome public comments on what we should retain next.”

Biggie’s first album, Ready to Die, was one among several debut projects inducted into the registry. The Library of Congress recognized popular songs from the rapper’s album, equivalent to “Juicy” and “Big Poppa,” for his or her cultural significance in hip-hop and record-breaking numbers on the Billboard Hot 100.

Doug E. Fresh and Slick Rick’s single “La-Di-Da-Di” was one other landmark recording that was considered one among the most sampled recordings of all time attributable to its place in music history. Additionally, Bobby McFerrin’s 1988 single “Don’t Worry, Be Happy” makes the registry for its critical acclaim and reach amongst generations past and present.

The chosen titles range from 1919 to 1998. The Library of Congress annually selects 25 titles which can be a minimum of 10 years old and have “cultural, historical, or aesthetic significance.” The added songs increased the variety of recordings in the National Recording Register to 650.

Other black artists chosen include Jackie Brenston and His Delta Cat’s “Rocket ’88′” (1951), Johnny Mathis’ “Chances Are” (1957), 369th European U.S. Infantry Band “Clarinet Marmalade” by Lt. James Reese (1919 ) and Lee Morgan’s “Crosswind” (1964). click here to see the full list of inductees.

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I’m sorry, but Drake is losing the fight against Kendrick





OPINION: Drake’s Kendrick Lamar song ‘Push Ups’ didn’t achieve what battle songs really should strive for.

I swear Drake should be a tasty donut already after a few of you criticizing him about his latest diss album.Push-ups” Can we add some clarity to this rap war? In all the rap fails I’ve seen and discussed in my career, there are a few things that successful diss records have in common.

1. Say true things that embarrass your opponent.

2. Say things that might change the audience’s mind about who your opponent is as an artist or person.

3. Create a great song that people will want to play again just because it’s popular.

4. Show that you are a better rapper than your opponent.

One example #1 is Megan Thee Stallion embarrassing Nicki Minaj in “Megan’s Law.” After that, we will never see Minaj the same way again. He’s still making a career, but now we look at it a little differently. We will never forget who she married and what he did.

One example #2 is Jay-Z in “Takeover”, saying that Nas’ career wasn’t very good (“I can share…”), which made people reconsider this beginning of his career.

No Vaseline” by Ice Cube stripped the NWA of any claim to being tough because, in his opinion, how could they be tough in the event that they were robbed by their white manager? Furthermore, “No Vaseline” is example #3 because this album is so rattling hard. He could rock any party now.

As for instance #4, well, let’s do it this manner: Drake’s “Push Ups” doesn’t prove he’s able to going forwards and backwards with Kendrick Lamar. It doesn’t portray him as an MC on par with Kendrick in fluidity, lyrics, complexity, voice, or any of the major MC categories. Drake is the hottest rapper of his generation. Kendrick is arguably the best rapper of his generation. “Push-ups” can work against many other MCs, but against Kendrick? Stop.

Kendrick’s foremost premise in “Like That” is, Drake, that you just’re a silly pop star while I’m an artist. Drake’s answer in “Push Ups” is: I’m an enormous pop star. And you are in for a foul deal.

“Push Ups” is not a song that individuals will play over and another time due to its sound. “Like That” is a monster hit that will be heard all over the place lately – especially the “big me” line. In “Push Ups,” Drake can have said a couple of things that irritated Kendrick – and the line about his wife can have enraged him – but where’s the memorable punch line? What phrase will people keep saying to troll Kendrick? Sorry, I do know all the boys love seeing offended hip-hop beef and I would like you all to have it, I actually do, but we want to calm down a bit.

“Push Ups” doesn’t change how audiences view Kendrick Lamar. It doesn’t give us a brand new way of him that makes him seem soft, dishonest, or silly. “Like That” modified Drake’s opinion – after years of individuals talking about the Big Three, Kendrick dispelled this notion. The idea of ​​the big three now not is sensible. Fans need to select a side. After “Like That,” it sounds silly to consider Drake as being on the same plane as Kendrick. “Push Ups” was intended to bring back the concept that Drake was on Kendrick’s level, but did it succeed?

The foremost points of the song, so far as Kendrick beef goes – because that is where the real beef is available in – are that Drake is an enormous artist, Kendrick is short (this is not a metaphor, Drake really does make “you’re not tall” jabs), and Kendrick he has a foul deal. Apparently he pays his man Top Dawg an excessive amount of and Top has control over Kendrick’s profession. These are the foremost themes that Drake returns to repeatedly throughout the song.

Does anyone really think Kendrick is being forced to make songs he doesn’t wish to? Do you actually think Kendrick was forced to rhyme to Taylor Swift’s monster hit “Bad Blood” and that he did it against his will or his own judgment? Didn’t Drake make an Apple ad using a Swift song?? Kendrick seems to barely care about fame and… he is not even on Top Dawg Entertainment anymoreso what’s the point of the middle board of Drake’s diss?

In “Push Ups,” Drake repeatedly reminds us that he is an excellent artist. “I’m bigger than you commercially” doesn’t win the battle. “I’ve sold more records than you” doesn’t win the battle. Since when is a rap battle a numbers game? Especially when the other guy is the most critically acclaimed rapper of his generation. Much of this song has Drake saying, “I’m very popular,” so what?

Drake repeatedly says that Kendrick is short. What are we doing? Also: Drake criticizes Kendrick for making a not-so-good deal. What is the essence of his song? Can Drake tell us he’s all the time had great deals? I’m sure he cannot. But can we discuss what number of, many artists earn significantly less? This is an industry-wide problem, not only Kendrick’s. And when you think veteran, multi-platinum selling Kendrick has been fooled by TDE, I actually have an excellent oceanfront property in Chicago that I’d be joyful to sell to you.

But wait, what? Are we talking about record deals and managers? (Are we talking about practice here?) Seriously? It’s not like Ice Cube is leaving NWA and using “No Vaseline” to say that these guys have a foul cope with a white man, and I do know that because I just left the group due to that deal. This is Drake talking about another person’s business in the industry, and we do not even know if it’s current or real. Truth matters in battles. You cannot just say something and let it land.

I understand it seems funny to consider Drake as the center of a 20-on-1 rivalry, but Drake is not. Darek is a team. He is helped by ghostwriters, which he discussed discreetly AND others also discussed. When I heard “Push Ups” I assumed: did he pay for this? He called his best writers and this is what all of them got here up with? Really? I hope he kept the receipt because he should take it and confer with the manager. He didn’t even drop the best diss track of the weekend. This was done by Rick Ross. I’ll work on this recording tomorrow.


The post Sorry, Drake Loses Fight Against Kendrick appeared first on TheGrio.

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