text:
I thought it would be fun to do a mid-day post featuring one of my favorite Webster's Pages collections:
"Growing Up Girl"
And I'm on a bit of a card/tag making streak, if you hadn't noticed ;). Just loving the smaller projects at the moment...AND I ran out of photo black ink for my printer...but that's beside the point! Ha!
I've got a card and two tags for you:
"A Perfect Moment"
The beautiful floral design in the "Embrace Life" paper was just what I needed for this card. Brandin is a genius at designing her gorgeous collections, and she never fails to give us flowers! Love that :)
Webster's Pages Products Used:
Growing Up Girl Paper Collection
Growing Up Girl Sentiment Stickers
I've also featured a couple of chipboard pieces from Blue Fern Studios:
Lace Rounds
Mixed Chains
Flowers, Clock: Prima Marketing
Vintage lace and seam binding
Next, I have a set of tags that I created earlier this month for Webster's Pages, using once again the beautiful Growing Up Girl Collection...
"Today Was So Exciting" Tag
"Stay True" Tag
These tags are great for attaching to gifts for all occasions! Sweet, simple reminders. I follow a pretty basic plan when I set out on my tags (I have a couple of different tutorials under the Tutorials heading of my blog); the most fun part is picking out the patterns and colors that I want to combine, as well as the fun, pretty details to go with them! Here I've used Webster's Pages trims and embellishments to accent these tags, as well as some pretties from Prima such as the flowers and bling.
Webster's Pages Products Used:
Growing Up Girl Collection
Camera & Heart Charm Embellishments
Thanks for stopping by on this fine afternoon!
See you again soon :)


text: Our Call Girls in Aerocity in Delhi are great experts in almost anything. Just name whatever you need from them and they will be there to provide. When it comes to serving their clients, it is not a matter of trial and error; it is a matter of perfection. Take a break from the hustles of life and allow your body and mind to relax in the hands of these angels

subset: commoncrawl


text:
Modell's Urges NY Assembly to Pass Bill Legalizing MMA
Good for Business, Good for Fans
Mitchell Modell, CEO of Modell's Sporting Goods, today called upon the New York State Assembly to pass the bill legalizing mixed martial arts (MMA) in New York and allowing the State Athletic Commission to regulate it. The bill – Assembly bill 6506 – has already passed the Senate this year, for the fourth year in a row.
"I know sports and I know sports fans. Not every sports fan is a fan of MMA. Just like not every sports fan is a fan of basketball or baseball or soccer or any other sport. However, there are millions of New Yorkers who are fans of MMA," Modell said.
"MMA is the fastest growing sport in the nation. How can it be possible that New York is one of only two states in the entire country where professional MMA is banned? It's clearly not because there's no fans. It's clearly not because it's a tough sport where participants could be injured. If that were the standard, we'd have no sports in this country other than maybe chess," Modell said. "Having another great sport in New York State will drive tax revenue and economic activity and that is what we need"
Modell noted that the Ultimate Fighting Championship (UFC), as well as other MMA promoters such as Bellator and World Series of Fighting, have all pledged to hold multiple fights in venues across the state in the first years of the new law, generating more than $100 million in economic activity statewide.
"As the CEO of the nation's oldest family operated sporting good's store, and a major retailer and employer in New York, I know that bringing professional MMA to New York will be good for my business and I know it will be good for arenas, hotels, restaurants, and other retailers. I know that it will help create much needed jobs for New Yorkers," Modell said.
"I also know the 'buzz' MMA is creating. In advance of UFC 159 next week in New Jersey, MMA fans have been flocking to Modell's stores across the region. I can only imagine the buzz and the business that would be created if the UFC held an event in New York City and across the state on a regular basis," Modell said.
Jamahal Hill Talks UFC 300 Main Event
Hall Of Fame


text:
Sana'a, Yemen (CNN) -- Reem al Numeri is 14-years-old and recently divorced. She was 11 when she says her father forced her to marry a cousin more than twice her age.
Reem says she has been stigmatized by her divorce and now lives the life of an outcast. Without a husband or father to support her, she cannot attend school.
Her story has echoes of Nujood Ali -- the Yemeni girl whose story sparked an international outrage that many thought would force change in the country.
But a bill to outlaw child marriages got blocked and the practice continues. On Saturday, Yemen's parliament will look again at child marriage.
Reem's desperate pleas to stay a child fell on deaf ears as her father forced her to marry a 32-year-old cousin. "He said you need to go into the room where the judge is and tell him you agree to the marriage," Reem said. "I said I won't go in there - he took out his dagger and said he'd cut me in half if I didn't go in there and agree."
For Reem, the terror and the trauma were just beginning. She said she was told to sleep with her husband, but refused. She locked herself in a bedroom every night to ensure her safety but, according to Reem, he managed to sneak in and raped her.
Reem said members of her family first ordered her to submit, then expected her to celebrate. "They chose not to buy me any bridal dresses until they were sure I'd had sex with him because they didn't want their money to go to waste," she said. "Once they were sure, they bought me the bridal clothes and threw me a party. After that, I burned the white bridal dress I was given and then I used a razor to try to kill myself." Reem's father and ex-husband did not return CNN's calls.
In Yemen, a deeply tribal society, the issue of child marriages is a complicated one.
Two years ago, 10-year-old Nujood Ali shocked the world when she took herself to court in Yemen's capital city of Sana'a and asked a judge for a divorce.
After a well publicized trial, she was granted one -- and became a heroine to those trying to shine a spotlight on the issue of child brides in Yemen, where more than half of all young girls are married before age 18, mostly to older men.
In 2009, Yemen's parliament passed legislation raising the minimum age of marriage to 17. But conservative parliamentarians argued the bill violated Sharia, or Islamic law, which does not stipulate a minimum age of marriage.
And because of a parliamentary maneuver the bill was never signed into law.
More than 100 leading religious clerics called the attempt to restrict the age of marriage "un-Islamic".
Mohammed Aboulahoum, who advises Yemen's president, said the law should be passed, but he added the fight against child marriage restrictions were a distraction -- a way for the parliament to avoid bigger, more sensitive, political issues.
"I think there should be an age limit," Aboulahoum said. "And if you sit even with the religious people and you ask them, would you let your daughter marry at the age of 12 or 13, they would tell you no. So it is something, we use it more for politics."
Reem's attorney, Shada Nasser, is one of Yemen's most well known advocates for children's rights.
Nasser has represented several child brides seeking divorce, including Ali. She doesn't even think the practice should be called marriage. "I think it is rape," she said.
But Nasser also has hope that Reem's generation will help build a new Yemen, free of child marriages.
"Who can build this Yemen?" asked Nasser. "Me? No - all these small girls -- they must build Yemen. But all these girls need a good law - a family law." Nasser begs the clerics standing in the way: "I ask them to give these girls mercy."
A prominent Yemeni human rights activist, Amal Albasha, is also outraged the practice continues. Her organization, Sisters Arab Forum, tries to intervene on behalf of child brides, to stop the marriages from taking place. Albasha added that nothing will change until people in Yemen try to fully understand the horror a child bride goes through.
"You know, just two days ago, a 9-year-old girl got married in Taiz." she said. "Just think about the pain, the fear -- just think about a 9-year-old with a 50-year-old in a closed room," said Albasha. "The experience remains until the day of death."


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Both major party candidates running for President, Barack Obama and Mitt Romney, say America faces a clear choice in November. But good luck figuring out all the fine print, especially when it comes to their positions on health care reform.
Here are their stated positions on one topic, the idea of imposing an individual mandate, which requires all citizens to buy health insurance:
Barack Obama, who ran for President in 2008 by promising to oppose an individual mandate, is running in 2012 on his success in passing the individual mandate in to law. He insisted the mandate penalty was not a tax until his lawyer argued before the Supreme Court that it was a tax.
(PHOTOS: Political Pictures of the Week, June 23-29)
Mitt Romney, who ran for President in 2008 describing the individual mandate he passed in Massachusetts as a model for the rest of the nation, is running in 2012 by promising to dismantle the individual mandate. He believes Obama's healthcare reforms will burden American with economy-killing tax increases, though Romney does not believe that the mandate itself constitutes a tax.
Those sentences are confusing. So let's try again. This time, in the form of a hypothetical Q&A:
What do you think about an individual mandate?
Obama: I opposed it in 2008, but started supporting it in 2009. Now I hope the thing I ran against to get elected will be my historical legacy as president.
Romney: I supported it in Massachusetts, and called the state reforms a model for the nation in 2007 and 2008. But now I hope to dismantle the federal version of my state-level success.
Is the penalty for not following the individual mandate a tax?
Obama: It is not a tax, unless I am arguing my case before the Supreme Court. Then, it is a tax, and the court agreed with me, and I am happy about this.
Romney: It is not a tax, even though my own party leadership now claims it is a tax. But I still want to dismantle Obama's health care reforms because it raises taxes.
(MORE: How the Supreme Court's Medicaid Ruling Endangers Universal Coverage)
Still confused? Let me describe it another way, as a set of talking points:
Obama Talking Points
–Individual mandate was bad in 2008, good in 2009.
–Penalty for not following mandate was not a tax in 2009, but is a tax in 2011.
Romney Talking Points
–Individual mandate was good in 2008, but became bad after 2009.
–Penalty for not following the mandate was not a tax then, even though all my Republican colleagues now call it a tax. I am consistent!
–But there are other parts of ObamaCare that increase taxes, and for this reason even the non-tax parts must be stopped.
If this is still confusing, I can't really help you. Both candidates have tied themselves in knots standing on principal while bending to political necessity. In the case of Obama, the necessities were beating Hillary Clinton in the 2008 primary, passing an historic health care reform through Congress and winning an argument at the Supreme Court. In the case of Romney, the necessities were solving the problem of the uninsured in Massachusetts, trying to win the 2008 Republican nomination, and recreating himself as the anti-Obama in 2012.*
Though the two men take a similar approach to political expediency, that does not mean that they support similar health care policies at the moment. So let us not let the tactical absurdity cloud the real impacts:
If you elect Barack Obama, there is a solid chance his health care reforms of 2010 will become the accepted law of the land. That means lots of things, including insurance reforms, millions more with insurance, a major expansion of Medicaid in most states, and the possibility that if you refuse to buy insurance you will see your tax refund withheld. It also will likely put some long term pressure on federal budgets, unless health care costs rise slower than expected.
(MORE: Health Care Issue May Fade Fast for Romney)
If you elect Mitt Romney, there is a solid chance that some or all of Barack Obama's health care reforms will be repealed. That will likely mean relatively less federal spending on Medicaid, which helps provide medical coverage to the poor. It will also probably means less long term pressure on the deficit, and millions more Americans without health insurance. Depending on how the repeal goes, this could also mean a loss of some of the insurance reforms.
But then even these positions are not set in stone. Unless you go third party, you will be pulling the lever for a candidate with a demonstrated ability to shift his rhetoric and policy positions to meet the political moment. And whoever wins is almost certain to face the task of governing with a squabbling Congress in an impatient country. All campaign promises are subject to change.


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A couple weeks ago I wrote that I would be attending the 4th Annual Linux Foundation Collaboration Summit. I wrote about much of my experience there and at the Open Source Business Conference back in March over in my personal blog: "Lessons from Open Source Business Conference and the Linux Foundation Collaboration Summit".
However, I also wanted to make a post here to cycle back to some of what I learned from the Collaboration Summit in relation to my March 30th post about contributing, "How and why contributing to FOSS can benefit your organization". In this post I discussed using community tools, getting involved in the community and what steps you could take to get there. This was based upon several years of my own involvement in the FOSS (Free/Open Source Software) community directly and now my experience working for a company which makes FOSS contributions.
The talks at the Collaboration Summit strengthened my resolve in and increased the clarity of my understanding about the right way of going about contributing to FOSS as a company. At this conference there were multiple talks from major companies and figures within the FOSS business world which drove home the need for working with the community. All of these companies had stories about how they had tried to contribute to FOSS and struggled because they went about contributing as a walled off company rather than contributing just like other contributors did and using the same tools that contributors did.
A keynote which really stood out and succinctly discussed all of this was Dan Frye's talk, "10+ Years of Linux at IBM" (video). The first half of the keynote discusses the progress of Linux within IBM, but then he moves into discussing contributing itself. Some of their take-aways were that they needed to get involved directly with small contributions and do away with closed-door meetings and canned corporate responses, IBM employees were empowered to become community members. They needed to learn to collaborate with the community to develop higher quality solutions than they could have in-house, and to start these discussions with the community early in the brainstorming process. Related to collaboration, he also discusses control, and how a company does not have it within a community and needs to learn to deal with that, instead what a company should strive for is influence within a project to help guide direction and priorities. He also suggests never creating a project. Instead he encourages companies to join a project that's close to what they need and work with them to take it in a direction that can benefit everyone and reach their goals and scratch their itches.
What struck me most at the conference regarding the subject of contributing is they are all reaching the same conclusions about the proper ways to successfully contribute. In the end, they learned that they must fully collaborate openly throughout development with the open source communities they're working with.


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PS4 - rumored kits have new controller, 4x Dual-Core CPU
Another piece regarding PS4 and its rumored specs and controller has gone up on Kotaku, which has culled information on Orbis from a 90-page PDF document included with development kits.
According to the report, the developer kits contain 8GB of system memory, 2.2GB of video memory, a 4x Dual-Core AMD64 "Bulldozer" CPU - which gives it 8 cores, an AMD R10xx GPU,
a Blue-ray drive, 160GB HDD, and 4x USB 3.0 and 2x Ethernet ports. The audio output is HDMI & Optical, 2.0, 5.1 & 7.1 channels.
Again, these specs are not confirmed nor are they final, if this is indeed a developer console.
The system at present supports both the Sixaxis and DualShock 3 controllers, but there is a new one in development as well, according to the documents.
Called the "Orbis Development Tool", at present, it still sports the four face buttons, two thumbsticks and shoulder triggers, but contains a capacitive touch pad similar to the one of the back of Vita. It can discern two-point multi-touch and it can also be "clicked" for use as an additional input button.
It will also contain motion-sensing like previous controllers, but tilt correction has been improved. It also still contains vibration, and an RGB LED light. No mention of "biometric" technology was made in the documents, a feature which was rumored over the weekend.
There is also a "Share" button on the controller which Kotaku figures will allow users to share various gameplay activities via social networking sites or possibly work as a screenshot button.
However, it may have something to do with a change to the way user accounts are managed. With PS4, Sony is supposedly implementing "multi-user simultaneous logins." This will allow more than one user to log into the console at once, linking the user account to the controller.
As the controller syncs, the player will be logged into the PS4 currently in use. Accounts won't be "locked" to the controller, instead users will be prompted to sign in their account when an extra controller is detected.
This will make things rather easy when you go to friend's house, plus, the purported documents claim four can be in use at a time, allowing all co-op players to receive trophies together locally. It's unknown if this will work using PSN as well.
You can read over the entire thing through Kotaku.
Other rumors regarding PS4 can be found through here.


text:
Just bump in to this form Rev Mugo, a priest who writes on the Jade Mountains blog and a distant relative of Kennett roshi:
Life lessons...
Allow yourself the uncomfortable luxury of changing your mind.
Build pockets of stillness into your life. Meditate – and sleep.
Do nothing for prestige or status or money or approval alone.
Be generous.
…when people try to tell you who you are, don't believe them.
Presence is far more intricate and rewarding an art than productivity.
"Expect anything worthwhile to take a long time."
take care,


text:
Breakeven analysis is a tool used to determine when a business will be able to cover all its expenses and begin to make a profit. For the startup business, it is extremely important to know your startup costs, which provide you with the information you need to generate enough sales revenue to pay the ongoing expenses related to running your business.
A startup business owner must understand that $5,000 of product sales will not cover $5,000 in monthly overhead expenses. The cost of selling $5,000 in retail goods could easily be $3,000 at the wholesale price, so the $5,000 in sales revenue only provides $2,000 in gross profit. The breakeven point is reached when revenue equals all business costs.
How to Prepare a Break-Even Analysis
To perform a break-even analysis, you'll have to make educated guesses about your expenses and revenues. You should do some serious research -- including an analysis of your market -- to determine your projected sales volume and your anticipated expenses. Business plan books and software can teach you how to make reasonable revenue and cost estimates.
You'll need to make the following estimates and calculations:
Fixed costs
Fixed costs (sometimes called "overhead") don't vary much from month to month. They include rent, insurance, utilities, and other set expenses. It's also a good idea to throw a little extra, say 10%, into your break-even analysis to cover miscellaneous expenses that you can't predict. -
Sales revenue
This is the total dollars from sales activity that you bring into your business each month or year. To perform a valid break-even analysis, you must base your forecast on the volume of business you really expect -- not on how much you need to make a good profit. -
Average gross profit for each sale
Average gross profit is the money left from each sales dollar after paying the direct costs of a sale. (Direct costs are what you pay to provide your product or service.) For example, if Antoinette pays an average of $100 for goods to make dresses that she sells for an average of $300, her average gross profit is $200. -
Average gross profit percentage
This percentage tells you how much of each dollar of sales income is gross profit. To calculate your average gross profit percentage, divide your average gross profit figure by the average selling price. For example, if Antoinette makes an average gross profit of $200 on dresses that she sells for an average of $300, her gross profit percentage is 66.7% ($200 divided by $300).
Calculating Your Break-Even PointOnce you've calculated the numbers above, it's easy to figure out your break-even point. The formula for determining your breakeven point requires no more than simple arithmetic. Simply divide your estimated annual fixed costs by your gross profit percentage to determine the amount of sales revenue you'll need to bring in just to break even. For example, if Antoinette's fixed costs are $6,000 per month, and her expected profit margin is 66.7%, her break-even point is $9,000 in sales revenue per month ($6,000 divided by .667). In other words, Antoinette must make $9,000 each month just to pay her fixed costs and her direct (product) costs. (Note that this number does not include any profit, or even a salary for Antoinette.) |
If You Can't Break Even
If your break-even point is higher than your expected revenues, you'll need to decide whether certain aspects of your plan can be changed to create an achievable break-even point. For instance, perhaps you can:
- find a less expensive source of supplies
- do without an employee
- save rent by working out of your home, or
- sell your product or service at a higher price.
If you tinker with the numbers and your break-even sales revenue still seems like an unattainable number, you may need to scrap your business idea. If that's the case, take heart in the fact that you found out before you invested your (or someone else's) money in the idea.
Additional information on determining your break even point:
» Will My Business Make Money?
» 3 Ways to Lower Your Break-even Point
Other On-line Break Even Calculator:
Learn about the 5 C's of Credit Analysis
Posted at 8:19 AM
Financial Education


text:
- Artist
- Frank Stella born 1936
- Part of
- Black Series II
- Medium
- Lithograph on paper
- Dimensions
- Unconfirmed: 381 × 559 mm
- Collection
- Tate
- Acquisition
- Purchased with assistance from an anonymous donor 2000
- Reference
Frank Stella's Black Series II is a portfolio of eight lithographs. They were published by Gemini G.E.L in an edition of one hundred and the Tate copy is number five. The lithographs transpose the compositions of Stella's diamond-pattern Black Paintings (1959-1960) into prints. Stella gave them the same names as the paintings they were based upon: Tuxedo Park, Gezira, Point of Pines, Zambesi, Jill, Delphine and Hippolyte, Gavotte and Turkish Mambo. The Black Series I of the same year similarly assembled twelve of his Black Paintings with rectilinear compositions. The Black Paintings (1959-1960) are Stella's most important and radical contribution to post-war abstract painting, only rivalled by the shaped canvases executed in aluminium and copper paint between 1960 and 1961.
In 1967, Stella turned down Kenneth Tyler's invitation to make prints at the Gemini G.E.L. workshop in Los Angeles, stating that if he ever made a drawing he used a Magic Marker pen. However, Tyler devised a custom-made marker filled with lithographic ink that could be used to draw directly onto lithographic stones. As a result, Stella began working at Gemini G.E.L (Gilmour 2000, p.6). The two Black Series were the second suites of prints Stella created at Gemini, the first being Star of Persia I and II (1967). The Black Series II differs from Black Series I in the choice of paper and ink. While the first series was printed on buff-coloured paper in metallic black-grey ink, the second series employed bright white paper and 'the sooty richness of French Charbonnel black ink,' enhancing 'the more aggressive optical qualities inherent in the diagonal striping' (Axsom 1983, p.48).
All of Stella's early prints were based on stripe paintings - conceived as so-called 'album' prints which were supposed to be assembled in binders to provide an intimate record of his early work. The Black Series II was based on the complete series of diamond-pattern Black Paintings that Stella created in 1959-60, including Gavotte of 1959 which was destroyed by the artist in 1961. The related print and sketches provide the only surviving record of the work. The prints are not illustrations of the paintings but differ significantly in detail and character. While the application of the ink with a lithographic marker recreates the free-hand quality of the paintings, the stripes in the prints are generally more clearly defined resulting in a more intensely optical diamond-pattern. Stella further changed the striped pattern and number of black bands in order to avoid the prints becoming miniature reproductions of the paintings. The images are situated off-centre, in the bottom left-hand corner of the sheets. Stella thus prevented the geometric figures assuming the object-like quality of the paintings displayed on white walls, instead 'allowing the unpainted areas between the stripes to be identified with the paper,' thus countering 'traditional figure-ground relationships' and introducing 'an element of tension as the eye moves to correct the asymmetry' (Axsom 1983, p.14).
Further Reading:
Pat Gilmour, 'Tyler and the Art of Collaboration,' in The Kenneth Tyler and Tyler Graphics Collection of Contemporary Prints and Multiples, Sotheby's New York, May 6, 2000
Richard Axsom, The Prints of Frank Stella: A Catalogue Raisonné, 1967-1982, New York 1983, reproduced (colour) pp.48-52
Frank Stella: The Black Paintings, exhibition catalogue, The Baltimore Museum of Art, Baltimore 1977
Jemima Montagu
July 2000
Revised by Imogen Cornwall-Jones April 2002
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
- abstraction(8,615)
- non-representational(6,161)
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- monochromatic(722)


text:
Heard It All Before - Ghostface Killah
Page format: |
That was chunky and all that
No doubt, but yo, where Staten Island at?
Where ya'll at? Make some noise, yo, yo, come on
Yeah, check-check-check-check me out
Check-check-checkin' me out, come on
Take-take-take-takin' me out, whose take-take-takin' me out
Come on baby, take me out, uh-huh, yeah, no doubt, no doubtLyrics provided by TANCODEhttps://damnlyrics.com/" readonly=""/>
Heard It All Before Lyrics
[Intro: Ghostface Killah]Yes, yes, we like to thank you
You are the 77th caller
You know you just won a pair of Theodore drawers and all that
How do you feel about that? (Oh my God, that is good daddy I love ya'll)
Yeah, that's right baby, no doubt... right now, his name is Ghostface
Check this joint out right here, it's new, word up
[Ghostface Killah]I'm the Mighty Joe Young of rap
Live off of mighty gold, tongue and yack
Ya'll be amazed how I brought it back
Two porsche's, big ass ranch with twelve horses
Scarface breeze when I speak, the all bosses
Plus the jewelry so truck, the cuffs get you nauseous
Two years, been through like six divorces
Now the talking put my business in the street, but
I'm like cement, I rock when I step
Kill music with no hands and leave with no weed stuff
Like my bitches better when they wore Reebok's
See hot, let's have a toast, I verbally bomb deacons
Have the whole church praying for Ghost
When we speak we give sermons, and switch our names over permits
The big shit, you might get burned with
God-body fly automobiles with grills
Two thousand, fifteen, nigga, we can take off the wheel
A Georget Jetson, so ya'll sit still
Chill, peace to Queens, so the God Allah reel's reel
It's the takeover, breaks over, make something
For funny ass package, who want, and a cake over
Monster bangels, bojangles got the forty cocked from all angles
Fuck a rope nigga, my gold chain'll hang you
Danish darts, language arts, slanger banger you
Punk motherfucka...
[Chorus: Ghostface Killah]All you talk is poor...
All of your fushu, I got gats, Ghostface that
But your rhymes ain't workin' now, look who's hurtin' now
I had to shut you down, I had to shut you down
[Ghostface Killah]Welcome to Saturday Night Live, write rhymes
Glide on beats, and we high from the police
The dogs bark funny, in fact, when I'm clean
They can smell mark money, truck and mad bummy
Off the peter, grab shoots, Cerebel Paisley
Gats, pull out the mack on cancer, the oo-wop
I bag down AIDS, word to the U.S.
There's no need to panic, yo, we been through a phase
Like, namebelts, got the fronts in Alfa Romeo's
Tent the patrol niggas, that we had on a payrole
I play on niggas like stop and go
And tell the other liquors that Don pop more
And Venus told Mercury she a hot ho
Me, I'm just thinkin' bout what's next for Ghost
The Enterprise worth billions, delay America
To Africa, home away, the six text-tillion
Turn, Siskel and Ebert givin' two thumbs
New York Times call it my best work, bump to it
You can Rolling Stone every bone, and kill 'em at the Grammy's
Have 'em sit down, polly with the top five families
Blocka-blocka, boom, now they all dead
Now I'm the only one gettin' that bread, that's right
And the only one rockin' those threads
See these cowards let the fuckin' lead go to they head
[Hook: Ghostface Killah]I needed to scream on all ya'll bitches, birds
But the more you bite my style, the more I learn
Your rhymes ain't workin' now, look who's hurtin' now
I had to shut you down, I had to shut you down
[Outro: Ghostface Killah]God, yeah, party people
You are now listenin' to the sounds of Ghost Radio
777 F.M. and all that, no doubt
It's real right about now, yeah
The dance floor is packed and all that
Everything lookin' glory, I see asses
I see glasses in the air, yo, put your hands in the air
Come one, let me hear you see Theodore, "Theodore"
Theodore, "Theodore", yeah, yeah
That was chunky and all that
No doubt, but yo, where Staten Island at?
Where ya'll at? Make some noise, yo, yo, come on
Yeah, check-check-check-check me out
Check-check-checkin' me out, come on
Take-take-take-takin' me out, whose take-take-takin' me out
Come on baby, take me out, uh-huh, yeah, no doubt, no doubt