Raekwon – “Only Built For Cuban Links Pt. 2” – @@@@@

Over the last few years, we’ve heard the cries that “hip-hop is
dead”. Perhaps a more accurate diagnosis is, “the hip-hop album is
dead”. Reason being, the days of multiple, seminal classic albums
being released each year are gone, as the music industry is now more
focused on single track sales and ringtones. Today, the label’s aren’t
concerned with whether or not an artist can make a “classic” album –
instead they want a collection of singles that they can market over
and over, like in the instance of Flo Rida’s R.O.O.T.S. LP, which is
packed with club-bangers and R&B tinged radio hits. With people
downloading albums illegally, now the labels can make more off of a
record if it has five or six hit singles that can top the Itunes
charts. That being said, what incentive does an artist have to create
a true piece of art at this point in the game if a label refuses to
get behind it? Thus, the hip-hop album is dead.

Things may have come full circle for the W, however. We’ve seen
the dramatic rise and fall of the Wu-Tang dynasty over the years, as
these naturally born, rugged and raw Staten Island rappers attempted
to change their styles to keep up with the rapidly shifting sound of
commercial hip-hop. Where at one point, the ten-man team could do no
wrong, soon they would find themselves on a slippery slope, watering
down their sound with radio ready singles, which in many cases only
hurt them. After an initial stint of give-or-take six consecutive,
classic LP’s, they slowly disappointed fans with several
less-than-stellar releases, leading many longtime fans to believe they
had fallen off for good.

This harsh dose of reality may have been the wake-up call that the
Wu-Tang Clan needed, however. With music industry sales decimated
across the board, the Wu have finally realized the error of their
ways, and have taken things back to basics with the release of
Raekwon’s Only Built For Cuban Links Part 2. They realize that the
mainstream media will never accept them as commercially polished
rappers or guys that make songs for the club, as this was never what
they were meant to be. With Rae’s follow-up to arguably the greatest
Wu-Tang album ever released, the stakes are higher than ever, so the
utmost care has been taken with in construction of this brilliant
companion piece to the original.

One of the first things noticeable is that Only Built For Cuban
Links Pt. 2 is not produced entirely by The RZA, like its predecessor.
While this might seem like a red flag, first consider that Irvin
Kershner directed The Empire Strikes Back, not George Lucas. Raekwon
realizes that RZA – while still a brilliant producer – has a sound now
that has taken on a life of it’s own, evolving from what was found on
that first handful of classic Wu-Tang LP’s. As proven on Wu-Tang’s 8
Diagrams LP, that sound however, would not suit Raekwon’s sequel to
Only Built For Cuban Links II perfectly, which is why Rae assembled a
team of the best hip-hop producers of all time to craft the sound for
this LP.

It’s obvious that these guys hold the original Cuban Links LP in
the highest regard, as virtually everyone has come to the table with
their A-game, doing their best to emulate the sound found on the
predecessor. RZA himself does contribute to this album, but only on
three tracks. He’s actually responsible for perhaps the album’s
strongest, stand alone track, “New Wu”, which finds him in classic
form, looping a Magictones sample, and lacing it with dirty, dusty 36
Chamber style drums, as Rae, Ghost, and Meth effortlessly slip back
into Cuban Links mode. RZA chimes in later on the soulful “Fat Lady
Sings”, a minimalist track driven by a some light percussions and
strings, as Raekwon weaves a short-story atop it. And just when you
thought the theme from The Godfather had run it’s course in hip-hop,
RZA reinvents the wheel (and perhaps on no better album to do so) with
“Black Mozart”, which doesn’t sample the original, but the illest
cover you ever heard (by The Professionals), which RZA wraps his new
beat around.

Like RZA, J. Dilla also found ways around expensive samples, as his
contribution “House of Flying Daggers” kicks the album off, with an
aggressive classically styled Wu-Tang beat – brilliantly built around
a Four Tops cover of The Beatles’ “Eleanor Rigby”. Here, each
Inspectah Deck, Ghostface Killah, Method Man, GZA, and Raekwon himself
rip the track to shreds, as if Wu-Tang never missed a beat. Ironically
– perhaps even symbolically – the dearly departed Dilla also produces
“Ason Jones”, Raekwon’s personal memorial track to Ol’ Dirty Bastard.
Here, Dirty’s sampled words speak louder than ever, after the harsh
lessons learned by the Clan over the years: “If you try to jump and
crossover to the other side, people won’t understand that and they
don’t like that….That’s why they don’t be buying people’s music. See
Wu-Tang, we keeps it real….”

Legendary producer Marley Marl steps out of the shadows with “Pyrex
Vision”, a bubbling, simplistic loop finding Raekwon back in the
kitchen, intricately breaking down the cooking process, while his
Future Flavors partner Pete Rock precedes him with “Sonny’s Missing”,
a reworking of NY Finest’s “Questions”. Alchemist also fits right in
here perfectly, with the brooding “Surgical Gloves” which is rooted
within his usual trademark style. The most surprising addition however
is that of Dr. Dre, who defies all expectations – first by even
showing up. History is made here with the first ever Wu/Dre
collaboration – something that’s been rumored since the pre-Wu-Tang
Forever days. Dre’s polished style seems like the antithesis for a
Wu-Tang LP, but given the how seamless this LP is put together,
instead the opposite is true. A wink-and-a-nod sample from John Woo’s
The Killer (which helped knit the original OB4CL album together)
introduces Dre’s first contribution, “Catalina” (feat. Lyfe Jennings),
while later he delivers dark and lovely pianos on “About Me” (feat.
Busta Rhymes), giving the audience a snapshot of the Aftermath lineup
that never was.

Ultimately, this cohesion is what makes Raekwon’s Only Built For
Cuban Links Pt. 2 a classic. Much like Nas’ Illmatic – also produced
by a varying team of producers – the flow of the album and way it is
put together sounds like the work of one producer. But really it’s not
just the work of the producer, it’s the ear of Raekwon himself, who
assembled these producers and chose these beats. Surely we’ve seen
plenty of other albums with similar “dream team” lineups of producers,
but without the same results. From top to bottom, it’s Blu-Ray clear
that the utmost time, care and consideration was taken into the
construction of this LP, as if this was his first album. But again,
the stakes are that high now. Raekwon realizes that purpose of the
Wu-Tang Clan was never to churn out disposable club tracks that would
be forgotten about six months later. Their purpose, his purpose, was
to produce epic, hour long, almost symphonic classic hip-hop albums.
Once again he has done that; behold – the hip-hop album is alive. – DJ


Ghostface Killah – “Ghostdini: The Wizard Of Poetry In Emerald City” – @@@

When talking about the most consistent MCs of the last five years
or so, Ghostface Killah has to be up near the top of the list. While
Wu-Tang’s fortunes fell, Ghostface pushed it along with a series of
invigorating releases (The Pretty Toney Album, Fishscale, The Big Doe
Rehab). Whether or not you dig his style, one thing you have to say
for Ghostface is that he hasn’t been phoning it in – he’s one of the
more creative lyricists in the game.

With Ghostdini: The Wizard of Poetry in Emerald City, he’s made an
R&B album with guest singers on almost every track. That may give
some pause, but at the same time it makes a kind of sense. Much of
his earlier work has been steeped in dusty old soul tracks (Supreme
Clientele, The Pretty Toney Album) and it’s worked to great effect.
What’s surprising about Ghostdini is how much of it sounds like a
typical modern R&B album – a bunch of flaccid love songs – that just
happen to have Ghostface rapping on them. You would have expected
something more innovative from someone with Ghostface’s unique

“Not Your Average Girl” featuring Shareefa and “Let’s Stop
Playing” featuring John Legend are just generic mid-tempo jams.
Legend, the R&B genre’s foremost purveyor, is wasted here as he
predictably croons, “All I’m saying, come here lady, let’s stop
playing…I got no patience, I hate waiting…let’s get naked…”
Honestly, it’s yawn worthy. The Marvin Gaye sample only makes it
worse – if you’re this uninspired, please don’t kick some more dirt on
Marvin’s grave while you’re at it.

Making matters worse, some of this material sounds dated – “I’ll Be
That” featuring Adrienne Bailon and “Back Like That (Remix)” featuring
Ne-Yo and Kanye West (which was also included on Ghostface’s More
Fish) recycle lines we’ve already heard from R. Kelly and Jay-Z.
“Homie-lover-friend” is not a term you would think someone as verbally
creative as Ghostface would employ.

There’s a couple auto-tune joints (“Baby” featuring Raheem “Radio”
DeVaughn and “She’s a Killah” featuring Ron Browz) on here too that
just make you cringe a little, knowing they’ve already gone stale
before even being unwrapped. What makes them somewhat forgivable,
though, is that Ghostface knows they suck. If you check out the
Wikipedia page for Ghostdini, you’ll find a link to video of a
dejected Ghostface talking about how Jay-Z’s “DOA (Death of
Auto-Tune)” killed “She’s a Killah.”

“He smashed my shit with that shit,” Ghostface says, as he
half-hearted promotes the single. He’s a good sport about it, and
while it’s great to see “DOA” having a much-needed impact, it’s a
shame it had to happen to the well-meaning Ghostface. The admission
is really classic Ghostface. On his song “Love” off Pretty Toney he
acknowledges the previously unsuccessful Bulletproof Wallets: “Love my
last album, though the joint went wood.”

Ghostface does manage to keep this project afloat. It’s not
awful. Like a lot of R&B albums, it’s listenable. Ironically, the
highlights on Ghostdini come when he relies on samples rather than
guest appearances (“Stay” and “Forever”). There’s also plenty of the
lyrical mischief we’ve come to expect from Ghostface and he doesn’t
slack on tales of infidelity (both perpetrated by and on Ghostface)
and unwanted pregnancy (“of course, she knows now, I didn’t use no

It seems reasonable to guess that Ghostface knows Ghostdini isn’t
up to par, but maybe this will make him that much more hungry on his
next album. He rarely has two poor outings in a row. – Stefan

PAN y PRI, verdugos de la gente.

Por. Enrique Ibarra Pedroza

A más tardar el próximo martes, los diputados del PAN y el PRI, sacarán adelante las propuestas calderonistas en materia de nuevos impuestos y el aumento a los ya existentes. Las reuniones y acercamientos entre esos partidos, en la Comisión de Hacienda, dictaminadora del tema, y sobre todo los acuerdos cupulares entre Calderón y el PRI, así lo anticipan.

La mencionada comisión va a sesionar a las dos de la tarde de mañana domingo. Van aprobar en su lesivo paquete fiscal nuevos impuestos a las telecomunicaciones. La discusión estriba en si le obsequian a Calderón, el 4, o el 3 por ciento, como sugiere el PRI, lo cual desde luego sería adicional al 15 por ciento que ya se paga de IVA. Esta carga se aplicaría por conexión a la Internet, el uso de la telefonía celular y la televisión por cable.

El Impuesto Sobre la Renta, también tendrá alza. Igual al anterior, la discusión es, si aumenta al 29, o el 30 por ciento de los ingresos de las personas físicas o morales. El llamado Impuesto de Deposito en Efectivo, va como lo planteo Calderón, se gravara a partir de los 15 mil pesos mensuales, y se pasará del 2 al 3 por ciento. Los llamados IEPS, (impuestos especiales) al consumo de cerveza, tabaco y licor sufrirán severos incrementos.

La propuesta mas polémica de aplicar el 2 por ciento generalizado al consumo de bienes y servicios, sigue en discusión. El PRI quiere lavar cara de su complicidad con el PAN en este atraco al pueblo, exceptuando del gravamen, las medicinas y los alimentos. Por si ello fuera poco, a partir de enero iniciara, el aumento del 17 por ciento en promedio a las gasolinas, al diesel y a las tarifas de la luz en los hogares.

Otra vez el PAN y el PRI preferirán castigar y empobrecer mas a millones de mexicanos que atreverse a cobrar impuestos a las grandes empresas privadas, que en el debate que nos ocupa se ha demostrado hasta la saciedad que dejan de pagar impuestos anuales por casi 400 mil millones de pesos.


Enrique Ibarra Pedroza


Ask Google Translate to support ODF

 So a few days back I sent this email to the OOoES community in support for the ODF file format to support it on the Google translate upload feature. The upload features allow the user to translsate documents as opposed to URLs or chunck of texts. Adding support for ODF will allow the users to have larger pieces of text translated and also be able to be more productive. 

To let the Google translate team know, they have a form up on their Help files for suggesting features. I will encourage the users to remind them that is a good idea to have support for ODF because is an open standard for docuemnts and that many governments and companies around the world are currently migrating to and also that there are many tools already avialable to provide that support like ODFpy and ODFToolkit.

Here is the form to fill out.

Lista de caracteristicas de OpenOffice.org 3.2

Lista de características de OpenOffice.org 3.2

Thorsten Ziehm

Como pueden ver en el último informe de desarrolladores (DEV300m60) hemos llegado a la fecha principal para liberar el código de programación del OOo 3,2. Las cadenas de traducción se han extraído de este informe y se integraron en Pootle. También se han integrado las últimas características. De modo que todos los equipos pueden iniciar su trabajo para lograr una versión localizada completa y estable del OOo 3.2 para finales de noviembre ’09.

Hace algunas semanas anuncié que voy a terminar la lista de funciones poco después que la última versión compilada esté lista para su uso. Estoy reparado y pueden comprobarlo en el wiki, si están interesados en las funciones anunciadas para OOo 3.2. La lista incluye los números de observaciones, el anuncio de funciones, las especificaciones, la especificación de casos de prueba y el distintivo de CWS. Como puede verse esto no es una “Guía de lo nuevo ‘. Esta lista debería ayudar a los testeadores y traductores a identificar las características nuevas y comprobar si funcionan según las estimaciones y / o según lo especificado. Así que por favor eche un vistazo a:


Para tener una visión más profunda a algunas de las características recogí algunos blogs sobre las nuevas características en OOo 3.2:

Como pueden ver en el protocolo del acta de la Reunión de avance de ayer se aprobó lanzar una versión beta en unos días. Debe ser la construcción de OOO320m2, donde algunos problemas de show-stoper fueron solucionados. Si están interesados en proveer información puede n usar la lista de correo releases@openoffice.org . Si desean promover una tarea crítica para la versión final, no duden en comunicarse también por esa lista de correo – tan pronto como sea posible -. Si usted está interesado en saber más del generalmente llamado show-stoper puede comprobar la lista de tareas 99999.

MC: Mortis Causa

Audio Track

m.c. maquetas y canciones
maremotos y ciclones
materia prima de clones y mediocres
maniobra que consiste en el mana que concive
a muchos coibe por eso…
menester que lo critiquen
mensaje comunica
dime lo que predica sus rimas… que son..
su mujer o concubina
sin marketing complace
sin manager conoce
es un maestro colozal en el momento crucial
el manto que cubre
mar salado que curte
buenos versos como agua en el desierto
mente catarsis
deja el mundo en compacto
a mujeres en cama
a los monstruos en cruces
no cruces apuestas
y menos en su contra
manos con cicatrices
son de varias derrotas
milimetro a milimetro
centimetro a centimetro
micro de colera
rompe mandibulas claviculas
y quedan mancos
por un mega… contacto .. impacto
que los mia y los crucifica
son malos en el campo
son miniaturas ante minotaurios que mastican clavos
tus muertos cuerpos
el amor que coloca
sus mamadas en cloacas sin miedo tienen confianza
muestra canzancio solo por malas circunstancias
maiz entre cisaña
la matra con sobrecarga
mantaraya o cigarra que por su medio o su casa
se desplaza h. h.
marca de su comarca
la musa lo cautiva, muchedumbre lo clama
el mundo se complica
el mantiene la calma
mayor coeficiente, se mantiene constante
no lo mueve corrientes, ni mujeres o cuates
rima muestra calibre, su mania costumbre
su maxima codicia son las masas y la cumbre
su minima codicia son monedas o centavos
mensjaero de chronos
misionero del cosmos
mostaza caracol
el mayor creador
de manuscritos de calor
y menor consumidor
el rap su mansion castillo
multiple catezismo
su madre su cruzifijo
por minutos continuos motiva
matematica cimientos
el es…musculo de conocimiento
un m.c. no muere
es un maestro y convalece
su mente comprende cuando merece corregirse
da un uso positivo a su mapa cognositivo
por los morros en camino
aplica cinco sentidos
comentad claridad manantial de capacidad
por que rimar implica
una responsabilidad

– Pakal “A un paso de la cuarta dimensión”

Lyngby-Taarbeak en Dinamarca migra a OpenOffice.org y subsidia 150 computadoras.

Sale la nota en OSOR.eu el caso de una escuela en la municipalidad de
Lyngby-Taarbeak en Dinamarca, el caso de una escuela que migro a
OpenOffice.org mas de 1700 escritorios. La migracion tiene la meta de
prevenir a estudiantes usen software sin licencia.

La municipalidad debia de actualizar 600 maquinas, al llevar software
libre se ahorro un 25% del costo total y se pudo amortizar 150
computadoras del pedido en base a este ahorro.

Esta migracion a software libre tambien significa que los estudiantes
pueden usar este software en casa ya que permite la libre distribucion
del software.

Adicionalmente a OpenOffice.org, se pretende de que se usen otros dos
proyectos de software libre incluyendo Åben Skrivestøtte (software
para escritura) para entrenar a los maestros asi como OpenOffice
FarvOrd (software que marca en color la puntuacion) para mejorar la
gramatica y la puntuacion.

Declaracion original (en Danes):
Åben Skrivestøtte
OpenOffice FarvOrd