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Year: 1998 Audio Codec: FLAC (*.flac) Rip: tracks+.cue Length: 01:08:02 01. Intro (0:36) 02. Unspoken Word (4:45) 04. Slow Grind African (1:03) 05.

Airwaves (1:47) 06. Love Jones (4:32) 07. Everything (4:17) 08.

Mantis (3:33) 09. Slow Grind French (0:47) 10. Holocaust (Silkworm) (5:15) 11. Terrorist (3:25) 12.

Abstract The present work demonstrates the nonlinear finite element analysis (NLFEA) of 13 concentrically and eccentrically loaded short rectangular concrete column specimens reinforced with GFRP and conventional steel bars. An NLFEA model for the rectangular concrete specimens was developed using the commercial software ABAQUS Standard and calibrated for different materials and geometric parameters based on the previous experimental test results of the studied specimen. The behavior of reinforced concrete was modelled using the concrete damaged plasticity (CDP) model, the behavior of steel bars was simulated as a bilinear elastoplastic material, and the GFRP bars were considered as a linear elastic material. Concrete design program cdp. GFRP bars are lightweight having the high tensile strength and high corrosion resistance.

Bobby Did It (Spanish Fly) (4:22) 13. Handwriting On The Wall (1:40) 14. Kiss Of A Black Widow (2:48) 15. Slow Grind Italian (1:02) 16.

My Lovin’ Is Digi (4:28) 17. Domestic Violence (5:22) 18. Project Talk (1:47) 19. Lab Drunk (3:34) 20.

Fuck What You Think (3:13) 21. Rusifikator dlya makemusic finale 2014. Daily Routine (4:24) Password to the archive: hiphoplossless.

By: RZA The, born Robert Diggs, has spent the last 20 years building what he refers to as “the mother brand” into what most people know as the Wu-Tang Empire. After the dropped their debut album, Enter the Wu-Tang (36 Chambers), in 1993, the RZA began producing and self-promoting the Wu-Tang brand until it was both a cultural and capitalistic enterprise that has spawned comic books, a clothing line, video games and everything else short of a Wu-Tang breakfast cereal. As consumer-based as this may seem, the RZA’s musical impact on the hip-hop community in the 1990’s is unparalleled.

He followed 36 Chambers by producing the debut album of the soon-to-be Wu-Tang superstar,. Meth’s album, Tical, was followed by an array of debut albums from Wu-Tang members who went on to play a vast role in the world of hardcore rap. The GZA/Genius released the linguistically astonishing Liquid Swords. Started building his discography with Ironman. Put out Only Built For Cuban Linx (widely credited with giving birth to the Mafioso hip-hop sub-genre) and the late Ol’ Dirty Bastard started making headlines after coming out with Return To The 36 Chambers: The Dirty Version, all produced by the RZA. Interestingly enough, when the RZA felt it was time to start his own solo career, he veered away from his leadership position as the abbot of Wu-Tang, and began releasing outside-of-the-box character-based albums under his comic book-esque alias, Bobby Digital.

On the heels of his third Bobby Digital album, (released June 24, 2008), he talked about his alternate persona with JamBase. “Bobby Digital is more fun. It’s more of an original style, more original talent,” says the RZA. “I’ve been trying to make another album for people who are trying to get into my world.

This is a great opportunity to get into a fun and entertaining world of lyricism and music.” When compared to past Bobby Digital albums, such as his 1998 debut, Bobby Digital In Stereo, the RZA says that the new album “is real different. It’s a lot more focused. It’s a lot more in the natural parameters of thought; this one’s not as out-of-the-box.” Tru James, the frontman for, a Wu-Tang affiliated “future soul band” that performed on Digi Snacks and will be backing the RZA on the upcoming Bobby Digital tour, says that the RZA’s development as a musician makes Digi Snacks one of the better albums he’s ever made.

“I think a lot of people don’t know that the RZA plays instruments. He plays piano and you’d be like, ‘Wow, I didn’t know you could play like that.’ He plays guitar and a bunch of different instruments,” says James. “The same way he used to sample albums that had musicians on ’em playing and messing with different things, now that he’s a better musician he doesn’t have to use those samples and pay people for stuff like that all the time. He still does a bit, but he doesn’t have to.” Regarding the heavy emphasis of live instruments on Digi Snacks, James says, “His sound quality is going to be different than it used to be.