THE NEXT RATED "MR. PECULIAR" DROPS THE REMIX "KARBI DAUKAKA"



Yes! Mr peculiar Just meliorated Karbi daukaka into a groove, a tech-no fuse percussion with a moderate dance-able pace. Four-in-hand Mr. Peculiar, Amos Praise, Macquin, Mr. Joe [Project Supervisor] and Ebenezer Iriemi [Producer] twigged.
"Most unlike Ebenizer's production, Karbi Daukaka [rmx] assures he [Ebenezer] is extremely negotiable in terms of music production, pattern and genre. Without guess, he is a full listener" CEO Discman Musicbox.
Amos Praise the chanter in the track, is a shock for blending in back and forth after in a long time, positioned himself as a still age in the class of high life in the Nigerian entertainment. I will tag Macquin as the last man standing on the porch, doing rap in Hausa Language.
Nigerian music entertainments' mirror just close-cropped Mr. Peculiar and his rattling talent as THE NEXT RATED in the Gospel scene.

Follow Mr. Peculiar on twitter @mrpeculiar
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Was oldest gospel really found in a mummy mask?




Media outlets have been abuzz this week with the news that the oldest fragment of a New Testament gospel -- and thus the earliest witness of Jesus' life and ministry -- had been discovered hidden inside an Egyptian mummy mask and was going to be published.
The announcement of the papyrus' discovery and impending publication was made by Craig Evans, professor of New Testament at Acadia Divinity College in Wolfville, Nova Scotia. Evans described the papyrus as a fragment of the Gospel of Mark.
He added that a combination of handwriting analysis (paleography) and carbon dating led him and his team of researchers to conclude that the fragment was written before 90 A.D. This would make it at least a decade older than other early fragments of the New Testament and, thus, an invaluable resource for biblical scholars and object of considerable interest for Christians the world over.
The fragment, according to Evans, was discovered when an Egyptian mummy mask -- known as cartonnage -- was dismantled in a hunt for ancient documents. Mummy masks were an important part of ancient Egyptian burial practice, but only the very wealthy could afford examples made of gold.
The majority of mummy masks were made from scraps of linen and papyrus, which were glued together into a kind of ancient papier-maché. Dismantling these masks yields a trove of ancient documents. Evans claims that in addition to Christian texts, hundreds of classical Greek texts, records of business transactions, and personal letters have been acquired. In the process, the mask itself is destroyed.
Though it may be making headlines now, the claim that the "oldest known gospel" has been discovered is not new.
News of the fragment first came to light in 2012 when its existence was (perhaps inadvertently) announced by Daniel Wallace, founder of the Center for the Study of New Testament Manuscripts at Dallas Theological Seminary.
No one saw the text then, and no one has seen it now; though it has been mentioned repeatedly by a select group of people who evidently have been given access to it, its planned date of publication has been consistently pushed back, from an original plan of 2013 to 2015 and now, just this week, all the way to 2017.
Despite the seemingly explosive quality of the news, therefore, it is important to take a step back and consider what is actually being revealed here.
Some people are saying they have this really old and important thing, and they will show it to all the rest of us in a few years. (Essentially, this papyrus is the scholarly equivalent of "my girlfriend who lives in Canada.")
It is unclear why anyone would start talking about a text like this, a year, indeed now at least two years, in advance. The most important established fact about this papyrus, at this point, is that it has not yet been published—which is to say, only a small handful of individuals have seen the text and are able to say anything at all about it.
As Roberta Mazza, an ancient historian and papyrologist from the University of Manchester in England, told us, the academic community has not "been given access to firm information and images on the basis of which could eventually say something."
In other words, this sort of notice really serves mostly to remind us of just how little we know about this purported discovery. Here, for example, are five key, unanswered questions.
1. What is the actual text on the papyrus?
We are told that it is from Mark, but, after all, no one has seen it. Which part of Mark?
2. Is the handwriting consistent with the supposed dating?
Brice Jones, a papyrologist at Concordia University, told us that dating a text by handwriting, or paleography, "is not a precise science, and I know of no papyrologist who would date a literary papryus to within a decade on the basis of paleography alone."
3. Is the ink or papyrus itself consistent with the supposed dating?
According to Jones, if paleography is inexact, "radiocarbon dating is equally (and perhaps more) problematic, since one must allow for a time gap of a century or more."
They say that these lab tests have all been done, but as no one has actually seen the reports, they are less than confirmatory.
4. Who owns the papyrus, or the mask from which it was taken, and from whom was it purchased, and when?
The time and place of a text's discovery, known as its provenance, are crucial for verifying its authenticity, especially in a period of extensive looting of archaeological sites and museum theft.
According to international law, if the mask was taken out of Egypt after 1970, it is officially "unprovenanced," and is effectively prohibited from being sold or published. Evans told us "I do not know the specifics" about the provenance of this mask.
5. Who has seen the text, who has verified it, and who has studied it?
Evans is not a trained papyrologist, but is rather a scholar of the New Testament. To this point, none of the papyrologists, text critics or other highly specialized experts, who must have worked on this text before these claims could be made about it, have been identified or spoken publicly about it.
These questions are not necessarily challenges to the authenticity of the text. They are, rather, a recognition that, until the scholarly world has been granted access to this papyrus, the public statements made about it are no more revelatory than if we announced that we had found Moses' private copy of Genesis in a hummus container, and we'll show it to you later.
There is, however, one bit of information about this text and its discovery that can be discussed now, without having even seen it: the fact that it was uncovered by destroying an ancient Egyptian mummy mask.
Evans said the cartonnage destruction was acceptable because "we're not talking about the destruction of any museum-quality piece."
We are, however, talking about the destruction of 2,000-year-old Egyptian antiquities: funeral masks, painted with representations of people who lived and died and were commemorated by their families.
We might wonder, at the very least, who it is that gets to determine which masks are worth preserving and which aren't. Evans told us that such decisions "are based on expert opinion," but as to who exactly makes that determination, he said, "I do not know specifically."
Evans has said, "We dug underneath somebody's face, and there it was."
He has since clarified that he was not personally involved in the destruction of the mask. But it is unclear precisely which individuals did the dirty work.
Evans' language of "digging" makes the dissolving of mummy masks sound like archaeology, but some would characterize it, and some have, as cultural vandalism.
There is an implicit sense that the discovery of a rare Christian piece outweighs the preservation of a relatively common Egyptian artifact. And this may be so, but surely the optics would be better if this were announced by someone from, say, the Egyptian Ministry of State for Antiquities.
"The destruction of mummy masks, though legal, falls into an ethically gray area right now because of the difficult choices scientists have to make in the lab when working with them," said Douglas Boin, a professor of history at St. Louis University.
"We have to ask ourselves, do we value the cultural heritage of Egypt as something worth preserving in itself, or do we see it simply as vehicle for harvesting Christian texts?"
Even if one agrees that these masks can be taken apart — archaeology is, by its very nature, a destructive process — it should be remembered that the process is a crapshoot: If a mask contains no texts, then the equation changes, and even a relatively unimportant cultural piece has been destroyed for nothing.
Mazza also reminded us that "you do not need to completely destroy masks for getting out texts if you use methods developed and improved by papyrologists since 1980."
If a mask is to be destroyed, surely that process should be documented thoroughly, with constant photography and annotation, rather than undertaken as a classroom project with undergraduates using a bottle of Palmolive and a little elbow grease.
It is possible that the earliest text of the Gospel of Mark has been discovered. But until the world is given access to the papyrus through its publication, there is no story here, except that ancient Egyptian mummy masks are being destroyed in the ongoing search for Christian relics.

Editor's Note: Joel Baden is professor of Hebrew Bible at Yale University. Candida Moss is professor of New Testament and early Christianity at the University of Notre Dame. The opinions in this column belong to them.

Source; http://edition.cnn.com/2015/01/21/living/gospel-mummy-mask/
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The Second Coming of The Word: Rockin' gospel supergroup returns.

 
 The Word: Cody Dickinson, John Medeski, Chris Chew, Robert Randolph and Luther Dickinson


Would it be sacrilege to say the new album by gospel supergroup The Word is a hell of a good time?
"Soul Food," the first offering from the occasional band in 14 years, is brimming with energy and a good-time spirit.
"We know each other so well now, that's just what happens when we get together," said pedal steel guitarist Robert Randolph. "We sit down and start playing and all these magical things happen."
Those magical things come from the funky mix of influences that make up The Word.
There's Randolph with his sacred steel heritage, avant-garde jazz keyboardist John Medeski, and the southern rock and blues of the North Mississippi Allstars -- Luther Dickinson, Cody Dickinson, and Chris Chew. 
"There's something that The Word has that nothing else is and it's worth doing," Medeski said.
The band is known for its explosive live jam sessions.
"Soul Food" is no different. The effort is brimming with the confidence that 14 more years of experience bring.
"This time everyone's probably played a thousand gigs," Randolph said. "This time we went to the studio and came up with idea after idea."
It's a far cry from 2001 when Randolph, now 34, was a newbie in the business. He hadn't recorded his first album with the Family Band or toured with Eric Clapton yet.
"A lot of people don't know the history," he said. "It was my first time doing any recording."
Still it was groundbreaking.
The Word's self-titled debut introduced Randolph's sacred steel guitar work to an audience outside The House of God -- the New Jersey church where he exercised his musical chops.

Back in the studio

Fourteen years is a long time between albums.
It's not like the band members didn't stay in touch. They'd reunite from time to time at music festivals like Bonnaroo or play some club dates. It's just that everyone was busy with their own gigs.
But last year, the quintet decided it was time to hit the studio again. They recorded first in New York, then Memphis.
It was a productive time. The fire was lit.
"We had so much material," Randolph said. "By the time we got to Memphis we had 14 songs and came up with 14 more there."
It all comes down to chemistry, according to Medeski.
"It's always a beautiful surprise when it works and the sum is greater than the parts, where it sounds like a band," he said.

The meal

And a little good food doesn't hurt the creative process either.
The album's title, "Soul Food," and two tracks by the same name were inspired by a tasty meal the band shared in Memphis.
It was an epic spread prepared by the daughters of Royal Studios founder, Willie Mitchell.
"They had cooked a big soul food spread -- healthy and delicious," Randolph recalls.
The vibe was so good, it couldn't be wasted. Back into the studio they went.
"Next thing you know we went into a 30 minute jam that turned into 'Soul Food' I and II," he said.
Medeski's not surprised that one thing spurred the other.
"Music is one of the absolute necessities, just like food," he said.
The band hopes listeners will find the music just as tasty.
  • "Soul Food" is the first album by The Word in 14 years
  • The band is known for its explosive live jam sessions.
Like THE WORD on facebook @ https://www.facebook.com/thewordtheband

Source; http://edition.cnn.com/2015/05/05/entertainment/randolph-medeski-word-soul-food-album/


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Gospel music legend Andrae Crouch dies


Andrae Crouch, legendary gospel figure, performer, songwriter and choir director has died. He was 72.
(July 1, 1942 – January 8, 2015)
His publicist, Brian Mayes announced the death of the icon and said Crouch passed away Thursday afternoon at Northridge Hospital Medical Centre, where he had been admitted Saturday after a heart attack.
 He is one of a handful of Gospel artists with a star on the Hollywood Walk of Fame.
During his career spanning over more than a half-century, Crouch recivieved a total of 7 Grammys. The Recording Academy said in a statement that he was "a remarkable musician and legendary figure" who was "fiercely devoted to evolving the sound of contemporary, urban gospel music." His work graced songs by Michael Jackson (Man in the Mirror) and Madonna (Like a Prayer) and movies such as "The Lion King". Andrae Crouch worked on Madonna's
"Crouch was an innovator, a path-finder, a precursor in an industry noted for its conservative, often derivative approach to popular music," Robert Darden wrote for Christianity Today. "He combined gospel and rock, flavored it with jazz and calypso as the mood struck him and the song called for it."

Andrae was a pioneer in gospel music who was best known for bridging the worlds of church and mainstream music for more than 50 years and is aptly referred to as the Father Of Modern Gospel.
Some of Crouch's most beloved songs were "The Blood Will Never Lose Its Power", "Soon and Very Soon", “Let the Church Say Amen” and “My Tribute”.

Source: CNN and Associated Press.
Links:
Associated Press: http://bigstory.ap.org/article/a770ef97326244d2bb8133d37361fc96/andrae-crouch-legendary-gospel-figure-dies-72
CNN: http://edition.cnn.com/2015/01/08/showbiz/andrae-crouch-obit/
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DD. BABS: "MASOYI NA" NOW ON YOUR TIME LINE

Like we told on April 3rd 2015, The Second breasting track from DD BABS is on your timeline now.
Singer/songwriter/Film-maker/Motivational speaker DD. Babs will release his full factual style of music in his 4th solo album "MOST GRATEFUL" in the second half of 2015. The 15-track album with few salient producers like Shady Justin, Ebenezer Iremi, Moses Abdulkass, GID, Metro and Grand P. was recorded  and mixed @64BEAT STUDIO, Kaduna Nigeria.
This second single from the album, a slow-burning bluesy salsa and calypso sieve number entitled “MASOYI NA”,  is currently streaming via Reverbnation, Facebook, twitter and hulk share and it is available as a free download.
 Vocals echoes beautifully with the sounds of the tempting Single hit;  bland chord progressions and cushy drum pads on “MASOYI NA”,  the song seems to owe more to the spacious salsa and calypso of eighties. It similarly slams with the same force of Carlos Santana's earlier songs like "MARIYA MARIYA. But the glowing edges of the track "MASOYI NA" are softer, and oddly enough, given it a technophilic inspirations, more human. One sound that probably wouldn’t have been found 17 years ago is the lilting voice of DD. Babs, a vocal synthesizer, He sings through with competence.

Since releasing “MASOYI NA” DD. Babs, His Manager [Comfort Yahaya], Cover art concept  director [Chris Victor of Prowess Media] and his photographer [Mr. Joe of SNAPPA PHOTO] have been busy with the total packaging of the project.
In 2011, DD. Babs released a limited edition of his life experience album “DARIYA VOL. 2,” which chronicled his 2009 album "DARIYA VOL. 1" meaning laughter. God blessed me without measure and caused my mouth to laugh "DD.Babs"
Next to follow MASOYI NA will be "IDIMMA", Like and Follow DD. Babs

  twitter@ddbabsmusicpage

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DD BABS: TUNA DANI [premiere] TO RETAIL HIS FORTH COMING ALBUM "MOST GRATEFUL"


A six foot dark slim fit Nigerian Gospel Minister, always with an enchanting smile, tough-skinned, full of life, has compassion for the less privileged and a very soft spot for kids. He is play full and humble to the core, quick to forgive and open to corrections, a Bajju Native in the southern part of Kaduna State, Northern Nigeria.

Furbished DD Babs with lifelike and entrenched talent is back to anchor the Gospel contemporary and R & B genre with His fluent silver-tongue vocal. First album was ONE TOUCH, Followed by DARIYA SERIES 1 and 2, and now his forthcoming album "MOST GRATEFUL" dangling. But before the official release of this new album "MOST GRATEFUL", we will premiere three tracks to retail the album trend beginning with "TUNA DANI (Remember me)". ACTION!, NO TIME!! DOWNLOAD!!! Don't forget to leave a comment...



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