Members
Munich,German
born on 4th.July. I am an r n b,pop singer and music composer.
Poems
judy smith
May 2016
For the fifth year in a row, Kering and Parsons School of Fashion rolled out the ‘Empowering Imagination’ design initiative. The competition engaged twelve 2016 graduates of the Parsons BFA Fashion Design program, who "were selected for their excellence in vision, acute awareness in design identity, and mastery of technical competencies." The winners, Ya Jun Lin and Tiffany Huang, will be awarded a 2-week trip to Kering facilities in Italy in June 2016 and will have their thesis collections featured in Saks Fifth Avenue New York’s windows.
The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.
In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.
Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.
The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.
The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.
These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.
With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.
Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.
Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.
The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.
However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.
Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.
Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.
While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney
The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.
In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.
Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.
The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.
The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.
These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.
With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.
Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.
Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.
The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.
However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.
Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.
Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.
While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney
Bunhead17
Nov 2013
[Verse 1: GREEKDAGOD]
You rocking with killers
Rocking with the realist
Rolling around gorillas
So how you going to get us
Yeah they call me greek
Yeah they call me greek
Riding around with hottest
I don't own no jeeps
Catch me up in that c05
Catch me up in that ride
Bad ***** on my side
Yall ****** wonder why
Man i rolling, man im rolling
Money man, im throwing
Dont catch me up in that stop
Yall ****** better know im on it
It don't need no intro
Make shawty go get low
Been real since 89
That shawty already know so
Started from the bottom
Now catch me up on that spot
Riding around with drizzy
We buying out those lots
[Hook: Drake]
Got everything, I got everything
I cannot complain, I cannot
I don't even know how much I really made, I forgot, it's a lot
**** that, never mind what I got, ***** don't watch that cause I
Came up, that's all me, stay true, that's all me
No help, that's all me, all me for real
Came up, that's all me, stay true, that's all me
No help, that's all me, all me for real
[Verse 1: 2 Chainz]
Money on my mind, you should think the same
J's on, pinky ring
******* these hoes, I need quarantine
In the same league, but we don't ball the same
(Ah) She want all the fame, I hear that **** all the time
She said she love me, I said, "Baby girl, fall in line"
Okay, made a million, off of denim, ****, watch me switch it up
Walked in, "Ill ***** alert! Ill ***** alert!"
You need that work, I got that work, got ******* in my condo
Just bought a shirt that cost a Mercedes-Benz car note
From the A to Toronto, we let the metal go off
And my **** so hard it make the metal detector go off
This that sauce, this that dressing, Givenchy, ***** God bless you
If having a bad ***** was a crime, I'd be arrested (True)
[Hook]
[Verse 2: Drake]
I touched down in '86
Knew I was a man by the age of 6
I even ****** the girl that used to babysit
But that was years later on some crazy ****
I heard your new ****, ***** hated it
Damon Wayans, homie don't play that ****
I get paid a lot, you get paid a bit
And my latest **** is like a greatest hits
*******, ain't no wishing over on this side
Y'all don't **** with us, then we don't **** with y'all
It's no different over on this side
*******, should I listen to everybody or myself?
Cause myself just told myself
"You're the ******* man, you don't need no help"
Cashing checks and I’m bigging up my chest
Y'all keep talking ‘bout who next
But I’m about as big as it gets
I swear y'all just wasting y'all breath
I’m the light skinned Keith Sweat
I'mma make it last forever
It’s not your turn ‘cause I ain't done yet
Look, just understand that I’m on a roll like Cottonelle
I was made for all of this ****
And I’m on the road box office sales
I’m getting paid for all of this ****
Ask you to please excuse my table manners
I was making room for the table dancers
‘Cause if we judging off your advances
I just got paid like eight advances
*******!
[Hook]
[Verse 3: Big Sean]
**, shut the **** up!
I got way too much on my mental, I learn from what I've been through
I'm finna do what I didn't do and still waking up like the rent's due
Not complicated, it's simple, I got **** ladies, a whole Benz-full
And to them hoes I'm everything -- everything but gentle
But I still take my time, man, I guess I'm just old fashioned
Wearing retro ****, that's old fashioned
*****, see what I'm saying, no closed caption
I paint pics, see the ****, good ***, need to hit
Keep a broad on the floor year 'round like season tickets
I plead the fifth, drink a fifth
Load the nine, leave you split, in the half, smoke a half, need a zip
My new girl is on Glee and ****, probably making more money than me and ****
I swear to God I got 99 problems but a ***** ain't one
I got 99 problems, getting rich ain't one
Like I got trust issues, I'm sorry for the people I've pushed out
I'm the type to have a bullet-proof ****** and still gotta pull out
But that's just me, and I ain't perfect, I ain't a saint but I am worth it
If it's one thing, I am worth it, ****** still hating but it ain't working
Lil' *****...
[Verse 4: Drake]
Oh me, oh me, oh my
I think I done ****** too many women from the 305
Before the end of this year, I'll do King of Diamonds three more times
Smoking on that kush all in our section like it's legalized
Girl, you can't always have your way, sometimes it be like that
They dont really **** with you like that, they ain't never did me like that
I just took my time, you got your shine, I let you eat like that
I've been taught to never loan somebody what you need right back
And I need that **** right back? (no more free Randy)
I’m blessed than a *******
****** been stressed than a *******
****** getting nervous, clutching they chests like a *******
**** that’s a *******
Tell the truth, I don’t listen to you
‘Cause I don’t like being lied to
And that ship won’t sail
And that wind won’t guide you
Daddy was in jail we was talking through the window like a ******* drive-thru
That was back then man, now my ****** rich enough to do whatever I do
You rocking with killers
Rocking with the realist
Rolling around gorillas
So how you going to get us
Yeah they call me greek
Yeah they call me greek
Riding around with hottest
I don't own no jeeps
Catch me up in that c05
Catch me up in that ride
Bad ***** on my side
Yall ****** wonder why
Man i rolling, man im rolling
Money man, im throwing
Dont catch me up in that stop
Yall ****** better know im on it
It don't need no intro
Make shawty go get low
Been real since 89
That shawty already know so
Started from the bottom
Now catch me up on that spot
Riding around with drizzy
We buying out those lots
[Hook: Drake]
Got everything, I got everything
I cannot complain, I cannot
I don't even know how much I really made, I forgot, it's a lot
**** that, never mind what I got, ***** don't watch that cause I
Came up, that's all me, stay true, that's all me
No help, that's all me, all me for real
Came up, that's all me, stay true, that's all me
No help, that's all me, all me for real
[Verse 1: 2 Chainz]
Money on my mind, you should think the same
J's on, pinky ring
******* these hoes, I need quarantine
In the same league, but we don't ball the same
(Ah) She want all the fame, I hear that **** all the time
She said she love me, I said, "Baby girl, fall in line"
Okay, made a million, off of denim, ****, watch me switch it up
Walked in, "Ill ***** alert! Ill ***** alert!"
You need that work, I got that work, got ******* in my condo
Just bought a shirt that cost a Mercedes-Benz car note
From the A to Toronto, we let the metal go off
And my **** so hard it make the metal detector go off
This that sauce, this that dressing, Givenchy, ***** God bless you
If having a bad ***** was a crime, I'd be arrested (True)
[Hook]
[Verse 2: Drake]
I touched down in '86
Knew I was a man by the age of 6
I even ****** the girl that used to babysit
But that was years later on some crazy ****
I heard your new ****, ***** hated it
Damon Wayans, homie don't play that ****
I get paid a lot, you get paid a bit
And my latest **** is like a greatest hits
*******, ain't no wishing over on this side
Y'all don't **** with us, then we don't **** with y'all
It's no different over on this side
*******, should I listen to everybody or myself?
Cause myself just told myself
"You're the ******* man, you don't need no help"
Cashing checks and I’m bigging up my chest
Y'all keep talking ‘bout who next
But I’m about as big as it gets
I swear y'all just wasting y'all breath
I’m the light skinned Keith Sweat
I'mma make it last forever
It’s not your turn ‘cause I ain't done yet
Look, just understand that I’m on a roll like Cottonelle
I was made for all of this ****
And I’m on the road box office sales
I’m getting paid for all of this ****
Ask you to please excuse my table manners
I was making room for the table dancers
‘Cause if we judging off your advances
I just got paid like eight advances
*******!
[Hook]
[Verse 3: Big Sean]
**, shut the **** up!
I got way too much on my mental, I learn from what I've been through
I'm finna do what I didn't do and still waking up like the rent's due
Not complicated, it's simple, I got **** ladies, a whole Benz-full
And to them hoes I'm everything -- everything but gentle
But I still take my time, man, I guess I'm just old fashioned
Wearing retro ****, that's old fashioned
*****, see what I'm saying, no closed caption
I paint pics, see the ****, good ***, need to hit
Keep a broad on the floor year 'round like season tickets
I plead the fifth, drink a fifth
Load the nine, leave you split, in the half, smoke a half, need a zip
My new girl is on Glee and ****, probably making more money than me and ****
I swear to God I got 99 problems but a ***** ain't one
I got 99 problems, getting rich ain't one
Like I got trust issues, I'm sorry for the people I've pushed out
I'm the type to have a bullet-proof ****** and still gotta pull out
But that's just me, and I ain't perfect, I ain't a saint but I am worth it
If it's one thing, I am worth it, ****** still hating but it ain't working
Lil' *****...
[Verse 4: Drake]
Oh me, oh me, oh my
I think I done ****** too many women from the 305
Before the end of this year, I'll do King of Diamonds three more times
Smoking on that kush all in our section like it's legalized
Girl, you can't always have your way, sometimes it be like that
They dont really **** with you like that, they ain't never did me like that
I just took my time, you got your shine, I let you eat like that
I've been taught to never loan somebody what you need right back
And I need that **** right back? (no more free Randy)
I’m blessed than a *******
****** been stressed than a *******
****** getting nervous, clutching they chests like a *******
**** that’s a *******
Tell the truth, I don’t listen to you
‘Cause I don’t like being lied to
And that ship won’t sail
And that wind won’t guide you
Daddy was in jail we was talking through the window like a ******* drive-thru
That was back then man, now my ****** rich enough to do whatever I do
I love this song..."All Me" by Drake ft. 2 Chainz ft. Big Sean ft. GREEKDAGOD...lol, i love Big Sean's part! :D