[Verse 1: Drake]
Versace, Versace, Medusa head on me like I'm 'Luminati
This is a gated community, please get the ******* the property
Rap must be changing cause I'm at the top and ain't no one on top of me
****** be wanting a verse for a verse, but man that's not a swap to me
Drowning in compliments, pool in the backyard that look like Metropolis
I think I'm sellin' a million first week, man I guess I'm a optimist
Born in Toronto but sometimes I feel like Atlanta adopted us
What the **** is you talkin' 'bout? Saw this **** comin' like I had binoculars
Boy, Versace, Versace, we stay at the mansion when we in Miami
The pillows' Versace, the sheets are Versace, I just won a Grammy
I've been so quiet, I got the world like "What the **** is he planning?"
Just make sure that you got a back up plan cause that **** might come in handy
Started a label, the album is comin' September, just wait on it
This year I'm eating your food and my table got so many plates on it
Hundred inch TV at my house, I sit back like "**** I look great on it"
I do not **** with your new ****, my *****, don't ask for my take on it
Speakin' in lingo, man this for my ***** that trap out the bando
This for my ****** that call up Fernando to move a piano
**** all your feelin's cause business is business, its strictly financial
I'm always the first one to get it, man that's how you lead by example
Versace, Versace, Versace, Versace, Versace, Versace
Word to New York cause the Dyckman and Heights girls are callin' me "Papi"
I'm all on the low, take a famous girl out where there's no paparazzi
I'm tryna give Halle Berry a baby and no one can stop me

[Verse 2: Meek Mill]
Versace, Versace
Its killers, real ****** that's all in my posse (shooters!)
I'm getting so rich that they making up rumors that I'm illuminati (rich!)
Just me and my ****** we killin' these *******, go body for body (murders!)
These suckers be hating, they praying to God that I don't cop a Bugatti
Hold up, drop the top on the rari
Pull in the club and I'm stopping the party
Hold up, got ******* on *******
They poppin' on molly's I'm prolly at Follies with PeeWee and Tip
Of course i went with Lou
I did everything that I said I would do
I really won't tell you that I'm better than you
But we're not on the same level as you
Cause the G55 got a hell of a view
Regular ****** make regular moves
With ya regular ***** and ya regular crew
And you ***** still smokin on regular too? Like word?!
What a shame, my *****
Louboutin blood like Game, my *****
Get left tryna aim, my *****
Like Saddam Hussein, my *****
I'm whippin' this brand new machine
100 bands in my jeans
Call yo ***** Barry Sanders
She done ran through the team
I got hoes out the D
They playing on the team
Do anything for me
I mix that xan with the lean
Hold up, let me get it back
Versace, Versace
I'm gettin' this money, I'm stackin' my broccoli (racks!)
I'm running my city
You might gotta pay me if you land on my property (tax!)
I bought the boardwalk and I parked on the ave
****, my life's like monopoly
You caught a new case and you got outta jail
Boy, you look like a cop to me
(Get out of jail free card?)

[Verse 3: Tyga]
Aughh! Versace, Versace, I brought that **** back, all these ****** they copy
Medusa head on me I'm at the hotel, Versace Palazzo
I rented the yacht for a week, but I bought the convertible Lambo
Six mill for the mansion
I see haters coming I need some more ammo
These ****** gay that's Elmo
So much green I turned camo
Some hoover ****** on flannels
Light light you up no candle
Grip on that handle Yosemite Sam ya, that ***** bang like a banjo
Told my arms dealer no need for a box, I don't read the instructions, I throw out the manual (WOO!)
Versace, Versace, my brother king Trell he in a Ferrari
I don't look the same, my camera the same, I made too much money (WOO!)
Paul Pierce is my neighbor, I told him he should of went to the Clippers
I got some crazy ideas for Versace, get them and tell'em my number
Versace, auggh Picasso, Basquiat I'm cocky
23, 15 mill I'm just getting started
Pop water my water
I walk around on my wallet
I don't **** with Saddam but, that's gold all in my toilet
Statues of Horus, and the annubis is polished
I don't got to, rap about, coke for you to enjoy it
I'm bout' to join the money team, just holla' to Floyd about it
Versace, Versace, I'm taking my money to the Cayman islands (WOO!) Versace Auggh!!

[Outro: Quavo]
Versace, Versace, Versace, Versace
Versace, Versace, Versace, Versace
Versace, Versace Versace, Versace Versace
Versace, Versace Versace, Versace Versace

[Intro:]
'Sace, 'sace
'Knock one, 'knock one
Mustard on the beat, **

[Hook:]
Shirt, shirt by Versace
***** you better **** sumn
**, Hoes wanna knock one
***** you better **** sumn
Shirt, shirt by Versace
***** you better **** sumn
**, Hoes wanna knock one
***** you better **** sumn

[Verse 1: Kirko Bangz]
I just bought a shirt for tonight, **
And it cost five-hundred (Better **** sumn!)
I seen a bad ***** at the light, oh!
My car cost two-hundred (Better **** sumn!)
Uh, got 'Sace on the chain
Louis, that's my side **. Versace, that's my main
'Sace in the car so that's 'Sace in the lane
All day I dream about Versace on the linen
****** at work and now she bugging me. Versace John Lennon.
I only want the ***** if she expensive
**** the ** in Versace, had some boojie *** children
Doing what I’m suppose to do
I'm in Versace my ****** they in 'Sace too
Ain't no fun unless we all get some
If I'm *******, then my ******, they ******* too

[Hook:]

[Verse 2: French Montana]
Hundred-Thou' what I'm buying here?
Talking lion head (***** better **** sumn!)
Hundred-Thou' on these Cuban Links.
Medusa Face (***** better **** sumn!)
And my shirt eight-hundred
And just copped a honey (***** better **** sumn!)
These bottles they hundred
I just copped a hundred (Man, ***** better **** sumn!)
Got syrup by the liter. *****. Homie, Ima beat it
Catch the ***** like Jeter haa
Picture a ***** balling the ***** get to calling
******* get to fallin
Kamikaze. Shirt by Versace
Know my diamonds flash paparazzi
Give a **** about a hater
I be getting to the paper
**** ***** get your weight up haa

[Hook:]

[Verse 3: YG]
It's YG 400!
Shirt Versace, ******* is a hobby
I love a ***** that **** **** so sloppy
In high school she was a **
Hundred dollar bills on the floor
***** you better **** sumn!
And that's straight up
I prefer a bad ***** with no make-up
I got my cake up. Ya'll playas say sumn
I'm never paying for ***** and I'm never going bankrupt
My shirt's Versace. ***** red like Rudolph
Try to rob me I'll **** back that shooter
Trying to count how many ******* ***** I ate
Why you do that? Cuz I love how it taste. Ooo!
Me and Kirko on that purple
Geeked up like Urkel
Middle fingers in the air I don't trust you *******
Spent my money on me so I can ******* *******. Ooo!

[Hook:]

[Verse 4: G-Haze]
Got a shirt by Gianni
In your main ** that's where you can find me
Why these haters want to mean mug me
Cuz I'm coming down clean and they ******* wanna **** sumn
Trick you better **** sumn
Stepped in the party make a ***** wanna cuff sumn
Po-Po that's a No-No
Give me Ocho-Cinco!
Uhh, **** that ****** by Versace when I hit from the back
She gon' call me "Papi" while she sit up on my lap
Sip syrup lean and I got it from the trap
But I ain't a dope boy
Shirt by Versace got me feeling like a coke boy
Gold grillz, gold chain, LMG be the game
***** you better **** sumn!

Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

gets up from chair, and breathes in deeply

     people are made up of so many things, it's amazing

     1. Oxygen
     2. Carbon
     3. Hydrogen
     4. Nitrogen
     5. Calcium
     6. Phosphorus
     7. Potassium
     8. Sulfur
     9. Sodium
    10. Magnesium

  i guess paying attention in biology did pay off

    i remember when i was 11 years old my brother showed me a movie clip where Charlie Chaplin spoke in-front of tons of people

  he said "we think too much and feel too little".... i finally understand

and if you feel sad, i hope you can find a therapist, or i hope you can afford a 12 pack of beer at the liquor store to ease what you feel right then


  *walks out the house

                       looks around and smiles

i found hope on the corner of arapaho and shiloh, it was 7:32 pm, i remember because i texted myself saying "dude you're finally happy"

no more desires of being dead ever came to mind

   i found out what a man i can be if i pushed myself and loved without regretting, without being scared of falling for things for the wrong reasons

i found out to learn everything and grasp whatever came my way even if it brought me to my knees

   i'm going to die fulfilled


                         i feel like rhyming, sorry, i'm not a good rhymer, but here i go....


          garden of green leaves
               glistening tress
   scented hives, buzzing bees
               we lie under shaded trees
    we pray to who we're afraid to deceive
             if we do, we rot even if we pleaded on our knees
    summer breeze, ******* and THC
            don't leave
  addictions are hard to let go when i love you like grinded holy mary ****
        


   i'm not a good rhymer, i think the song that goes like "versace versace versace versace versace"

was better than what i just w. r. o. t. e.

    haha.


   it's getting dark, i need to go to sleep

*turns off light

could you ever, with your ears, express a piece of music, as: fluffy? dark soho's piece is fluffy; and by god i was the pretentious one at the beginning of the 20th century critical of the emerging music... but i'm the one merging at the beginning of the 21st century: and it's a T.S. Elliot scenario: the overload of rhythm: industrial core due to the industry being foetal sieg heil! and so many have fallen for the nostalgia trap... it's not coming back: against the thump thump gyroid reproductive muscular we emerge from... for whatever lack of drums in the orchestra: we're paying for it with an excess of techno techno Bob the goldfish cardboard box dance sequence... or as some would suggest: filling in the gap about the joke concerning a triangle being a part of the orchestra and the person educated in it, rather than the harp.

ah, the blank, and i have to work on it: let's imagine i was just
cooking a pork stew for my father and you don't
bother to ask why someone's surname is written
Raßer - and you don't know how
to pronounce it: and you end
up with razors - which you end up saying
racer - or how about sharpening
the s into a zed - how's that?
this is surgical activity while you you're
at at the butchers: necromancy aplemty:
when god speaks, the devil whispers -
American divergence of the pronoun
y'all / you all -
                           we the safeguard
and they the paranoia -
                                    take it slow,
imagine yourself living in Alaska:
you're exposed to the elements
and Prometheus isn't handy:
  all you have is west London drool
that later translates into easter in London,
Ld: isn't even an postal code:
given Greenwich, bellybutton on the world
they're bound to abuse / feel special
                 about, it's just a John Bishop
          Scouser type of beating.
                  ya - i say i aye, you frostbite of
culture, ya yarn ball of ****!
    oh 'ere we go: the red-coats are hunting
foxes: sort of scenario -
   the sooner they ******* a killing
the better for me: 'ave that one with a grizzly:
             some say the longer the yawn
the greater the applause -
      yo! Yogi! turntable of Las Vegas
says you better gamble on hibernating in the
effing Hermitage!
  - we say a lot of y'all when we imply the
plural, don't we? terrible, ****** thuggish
'n' all, to say it.
   i have five pages worth of notes,
and even though i'm drunk,
i came across a foundation, i'll never be ask happy
at i am right now,
   i signed a copy of my book (look! i don't
have a publicist, i don't have the ******* swagger,
i have the inferno that says:
  when the writing dries up, get a proper job;
if the writing doesn't dry up?
             you're less than necessary than a
supermarket shelf-stacker...
                 there are succumbing reasons that
explain the affair later) -
      no i'm about to sell my first copy -
  i say to her: when you working this circuit next?
Friday night? i'll tell you how much i'm selling
for, well: i'll never be this happy: ever -
it really doesn't matter how much for how little:
   i'm not exactly a family animal: farmed -
i'm political: through and through -
   by the time i finish this whiskey i'll be
demanding something new...
    i don't think your able limbs do idle chores:
i just think admire that they do them
and hardly complain: i blame it on the workers'
encouraged banter - and that's called solidarity.
still, right now, it's all about
dark soho's: dark moon in stonehenge -
       or why you never take l.s.d.
   question arises with Bach...
and polyphony - again, non-linear polymers:
   back when the Germans were at it
music sliced through the air
                   - or the modernity of lost
string (quartets) and woodwinds -
          only the thing plucked rather than in slicing
stroked kept from the strings:
    it was truly a devolution via brass -
   you can have the iron age,
but this is the brass age -
                   and subsequently the evolution
or filling the void of orchestral percussion,
which began with jazz: how orchestra was stripped
of woodwinds and strings and elevated
the humble triangle and enforced drums
and the rhythmic transcendence of limb and heart
and less ear and mind -
           oh the spontaneity thus involved:
forever the enigma of the composer's ability
to say much more than *A, when saying in A# -
oh hell: music used to be the Mongolian horde
of all things imaginable,
                  the screams, all the entrenching
embodiment of battle: soothed -
  but in our apathetic guises: music is a variant
of the once exfoliated, thus hushed:
music is expressing a war in waiting - or a war
that's not to be - once music music ascribed
wind and tornado toward its elemental composition -
these days there is less wind, and more earthquake:
we are exposed to a trembling -
           an overt percussion methodology:
that's not fire and the storyteller / poet by
the lonesome huddling of nomads by the fire
with oud and recitation of the to come Quran:
we are experiencing a complete reversal of wind:
here we have dark soho's tectonic cardiovascular:
over stating the percussion until the eventual
obliteration of breath, and subsequently
the flatline of the heart's rhythm: to reach the zenith
of a flatline: beehive musicology.
         it's all earth: and the quaking
rather than a waking into.
                  sure: to the alien ear outside the populace
of those that listen to that kind of "****":
but let me assure you:" you can intellectualise
anything beyond the guilty pleasure:
or else - care to disclose your opinions about doggy?
once we were slicing and ******* -
these days? we're hammering, Soviet committee
said: hammer hammer hammer...
            gravitational drilling against the Catholic
lessons of worldly-detachment akin to a Gagarin:
and all the world's problems morphed into
an image of moving away from earth...
    far far away...       well: we're grounded, like it
or not.
              i love that: y'all -
                          it's as if we all need to agree, ~.
and what better way to actually open a poem up
if not to say how prose is a miser and poetry
the mad spender, or compose: he had / another thought
he wished to take / but...
           originally
                    he had
                  another thought he wished to take
                 but...
saving an Amazonian tree, suggesting that: one by one.
i'll sell my first copy on Friday,
i just need to know how much money was put
into printing it -
   and it will be the happiest i'll ever be -
who cares that it's only 1... if i were selling
100,000 copies i'd be thinking of buying a Mercedes
to do away with the capital...
      oh right, the poem (six pages of notes):
the question, what does it all mean?
       i'm thankful that the all means very little,
or at least enough for physicists to take a bother
in answering:
               i'm just thankful to say that at least
bites / bytes / isolated units have more meaning
than the whole... i.e.?
do i care what the universe means, more so
than i known what the word darkened means?
                 pause for thought -
the well established organic search engine that memory
is: and never will be: an algorithm (engine) -
           still the organic variation of accessing it
reveals Rodin's statues -
                        post-Rodin (Rho-dan: ****** iota!
why so naked in the first place?!) -
            the point where it's not so much enigmatic that
you wish to replicate: but entomb, and mould
a statue worthy of the perpetuated cut-short
and mediating the idea that thought has also
the faculty of imagining and memorisation
that hardly translate into being via ergo...
       if that's the case: you're demented via the
ergo of memory... and deluded via the ergo of
imagining -
                      or Frankenstein / Disney respectively:
but never the extinguished cogito, somehow,
oddly enough:
                          and by the way - no one is going
to question my opinions because dialectics was
giving the hemlocks... my opinions
will only become passed around like Bulgarian
Versace copyright thefts, or because they
were never ideas: attachment .pdf
                   will never entertain someone else's thought,
or because they were originally always opinions
will be consecrated on the attachments of .jpeg:
ever wonder why the crucifix always
mobilises so much emotional foundation to
react and protect a torture-filled instrument
worthy of worship? me neither.
                but that's the whole beginning:
we ensured our memory is eroded by an easily
accessed algorithm - we prefer the goggles to
mensa -
                   and if i were a technophobe: e ah e ah oh...
McDonald would turn out to be McTrump:
'cos' i wouldn't be using it.
              then how to synchronise the senses:
you surely can't leave one the prime consumer of
all the things around you:
     i guess that as stated: you can't live out a life
whereby one is polarised, and the others recessively
make your thinking into potato -
   then again: not polarising one of your senses
will leave you thinking that old fantasy that
you live in a hologram "reality": which i mean by saying:
if one of your pentagram limbs isn't polarised
like a blind person, your thought will claim a sixth
sense status - and subsequently you'll experience
either a second chance of allowing one of your senses
to be stressed / polarised, or all your senses will become
overpowering your non-sense: that's thought into submitting
to a polarity / vector: kindred of
the manual worker feeling his trade take
perfect replication -
a composer polarised by "hearing" -
a painter polarised by "seeing" -
a poet polarised by "speaking" -
a chef polarised by "tasting" -
   a perfumer polarised by "scenting" -
and within the sixth sense extension:
a politician polarised by "thinking" -
  the first antonym suggestion comes within the latter's
parameter: mobilising or puppeteering:
would i care to find variations for the latter? no.

     interlude... opening of page 3 of notes on a windowsill...

and how often is soul ascribed a sensual dimension?
i guess as many a time thought isn't ascribed one:
necessarily made into nonsense.
soul? what do i mean by that? the part of you
that isn't indestructible, but, rather,
the part of you that feels that ease: the uninhibited
correlation (verbiage necessary, darling,
if you want the gist of it) -
when at ease you're not really ascribing to yourself
thinking, but a narrative -
  hence your notion of being indestructible,
or young.
      when thinking is easy we're not actually thinking,
we're narrating, hence the majority of us
are clogs in the machine, and once the machine works
we're upbeat about it, because we prefer to narrate
ourselves into life than think ourselves into it:
primarily because (even i included):
we lack a public addressal attache to make
vague concerns over our: inhibitions -
we are entrusted with inhibitory encrusting
for the sole purpose (we should be afraid of
suggesting): let's see who falls off the ferris wheel
first and we can entrust our congeniality toward
the joke: thank **** it wasn't me, later...
          but still:
if were were really intended to think
rather than narrate we'd be given global warming
solutions everyday...
   there's nothing in us that suggests an 'ought',
a moral choice to later say: thought
                      that could fish-hook us out of
kissing the narrative goodbye -
  narration is an undisturbed faking of thought -
as such the 'ought' is never thought of:
because there's a narrative going on
that's more important than anything requiring
even the most basest obligation.
       we are never obliged to be, because we are
never obliged to think: it's strange how the
two are anti-synonymous due to the ergo disparity:
as if one produces the other, or the former
the latter.
              thinking you're good never precipitates
into being good - and vice versa:
   for all i know i know fake rather than falsifiable
saintliness: the power of the scientific
  suggests that i should be Baron von Scorn
when it comes to the ignorance of testifying
         against people who abhor science
and reproduce, nonetheless, with failure to
transcend deformities: because deformities are
glorified and all forms of ability demonised:
so it looks quasi-Vatican-e.
                   preface to a Michelin star:
start with a ******: work your way down:
enjoy your meal, bygones-be-bygones:
you very happy people.
                  but i never understood why
the idea of thought has never the opinionated phrase:
me, exponentially, to no book's avail!
        p.s. as to be ever written!
    thought conscripts man to rubrics -
for example? examinational candélabre -
  some call it i.q., other's call it: for god's sake man,
****** shoot! shoot!
                        and the flying toes and digits:
thumbs away: booh booh Blitz.
                        first thought: that Jersey song:
fifth of November - that Fawkes ****
who almost.... n'ah.
                            in case you're narrative:
thought has its narrative: it's transcendental -
phenomenology comes into play with
narratives and Lady Gaga and how you're an
"individual": thought is acquired trying to transcend
atomic electron orbits that says: electron clouds -
or it's there, but it isn't there, but it's not there,
but it's there: huh?
                         narration conscripted to the rubric
of school exams at school: palpitations, sweat,
nerves... in this scenario thinking is actually
regurgitation -
                          actually we're still doing the Elvis
Costello hope: while narrating we pass from
these shackles of having to think lessons through
when in fact: we're gearing to having no need
in having to learn them primordially, period!

the paranoiac "they" are eroding our protective
membrane -
    they begin with memory -
         it's not that we care to remember certain things,
but by educating us in the Pythagorean theorem
they're not necessarily dressing us in bow ties either -
they need to implant an abstract educational
thought to replace our natural assimilation into
a narrative that we ourselves have created -
       they need to create erosion within our
memory to stop us coagulating our sense of memory
within a framework of us imagining backwards
rather than forwards:
      the cinema of the mind means memory utilises
imagination to do cartwheels backwards
rather than forwards: because forwards is always
a Disney pharmacology of the neon hyper colouring.

or how they made us escape the "Alcatraz"
of the couch of cognitive narration into an
iron maiden of thinking -
                    in this realm narrating is disparaging
from thinking: narrative is a comfort zone:
thinking is a discomfort zone -
                       but neither me nor you will
become a Newton in terms of narrating the ideas:
so why the hell would they want us to think?!
       concerning Heidegger:
the problem is not that we're not thinking -
the solution is that we're narrating and have
no urge to write books, and thank god for that!
               or man, as the pentagram of the senses,
reversed into thought as the sixth sense calamity
and reversed back as that sense missing
and the tetra exemplified...
         when learning what is the weakest point,
the audio or the optic-receptive stimulation?
                         i mean, the senses over accuse
thought's complexity as if it were a sense akin
to them, hence the suggestion nonsense;
well of course, thought is actually non-sensory -
     i just suggested that when thinking
i'm not polarising any of the penta -
         i'm suggesting that when thinking i'm
invoking the tetra - as if blind or deaf -
but that means i'm deviating from the superstition
that a sixth correlative mediatory balance exists
between the two dichotomies -
                            the senses will always treat
obscure thinking as if obscure narratives:
even though i know how much a price of bread
costs in the 21st century -
                              what i'm saying is that
the nonsense assertion is also true for the other:
not having had the chance to polarise one
of its senses to point toward the artefact use of
wh

If I once again saw the sullen and timeworn eyes resting not quite comfortably beneath his meager gray mane

I would be ever so quick to believe that his all too familiar, yet paternally foreign face has surely seen better days

Days which I for many a nights had precariously pondered the choice I had made

To not chase but to erase such a great yet fleeting charade

What I once held onto dearly as a weekly escape, a glorious escapade we could never sustain

You were in a Donatella Versaci masterpiece
I was in a Bottega Veneta custom
Diana Krall was in the stereo
Lemon lobster baking in the oven
And you and I
You and I were slow dancing like eighth graders
In the living room
With the coffee table pushed to the wall
And the T.V. cabinet cupboard shut
So we could have a little more room for our evening waltz
I guess that's what I get
For watching a romantic comedy and the Emmy's
On the same night
And even though that dream may be twenty years from ever coming true,
Because both you and I were in our forties
Trying to impress each other with how interesting
We could keep our relationship
Even though we both knew all we had to do
Was wake up in the morning and smile at each other
To fall in love again,
It was worth it because in that dream
I could actually dance
And the lobster was amazing
Say what you will
I have very sensory dreams
And things feel, taste, and smell like they do in real life
And it may have had something to do
With how beautiful you looked in that dress
Or the scent you were wearing
But that lobster was amazing
And your hands on my shoulders
Was a massage you weren't giving
As we two stepped through the room
And my lips mouthing every line
That danced through the air
Directly onto you earlobe
Was just an excuse for my cheek to touch yours
And as Veneta and Versace got comfortable on the floor
And my sensory dreams turned into a little bit more
My fleeting thoughts were of your smile in the morning
And I know you don't see yourself there yet
Taking pleasure in slow dancing
And waking up next to each other
But I see myself there just as clear
As I see myself right here
And I'll to drop the Veneta for jeans
Your Versace for pajamas
Lobster for KFC
If I'm slow dancing with you to Diana Krall in our living room
I don't give a **** if
We own the coffee table to push out of the way
I want to spend my life with you
I want to spend my life slow dancing with you
I want to spend my life whisper-humming
Standards into your ear slow dancing
In the living room of our house with you
Duplex with you
Apartment with you
Trailer with you
I don't care
I want to spend my life slow dancing with you
I want to spend my life with you
And I'm not being too sweet
I'm being too honest
And I know grand romantic gestures aren't your thing
Girl, flowers on Valentine's Day aren't your thing
But I hope someday soon you make a hobby out of slow dancing
Because I had a dream last night
I'd love to come true

“Ever since I started this job and anyone asks how I’m doing, I always say, ‘I’m great!’ ” Maayan Zilberman excitedly explains. And why shouldn’t she? The former Lake & Stars lingerie designer, who has since founded confections lineSweet Saba, happens to have the sweetest career around. Concocting a literal visual feast out of her Park *****, Brooklyn, kitchen and Fort Gansevoort Meatpacking pop-up shop, the Israeli-born polymath uses her background in sculpture and a biting sense of humor to create her vibrant, indulgent delicacies. Think sugarfied tubes of lipstick, rap mixtapes, and Rolex watches—with their raw handiwork and dead-on wit, these in-demand pieces match Zilberman’s equally enticing wardrobe. Hardly barefoot in the kitchen, Zilberman teeters about in her workspace in vintage Betsey Johnson Mary Janes, while throwing on a customized Adam Selman pearl-laced apron to protect her Prada skirts andProenza Schouler knits. Here, the dazzling candymaker reveals how she has always been more En Vogue than grunge, why she never forgoes a perfect press-on manicure, and her plans on taking Sweet Saba herbal.

From Jerusalem to Vancouver

I was born on a kibbutz, where the first clothing I had was a mix of unisex hand-me-downs, so I was given a pretty blank slate. When I lived in Jerusalem we were surrounded by several sects of Orthodox communities, and the fabrics associated with each group were inspiring to me. During those years, designer brands were becoming popular, and the only place I was seeing this was in the shuk [market] where one could find imitation Calvin Klein and United Colors of Benetton next to tzitzit and shawls. I think it was in the early ’90s that I first understood how to mix my ethnicity with fashion and food.

Also, one of the most influential books of my childhood was Color Me Beautiful, which the women in my family took very seriously. I learned at the age of 6 that I was a “Winter” and haven’t veered off course since. I still have the book and love to pull it out at parties. Later in high school in Vancouver, grunge was the big trend and there wasn’t much room for my sensibilities in that environment—even when I wore my Revlon Blackberry lipstick and grunged out with irony. I was always far more En Vogue and Versace than the Pacific Northwest could handle.

Taking Cues From ’90s New York City Street Style

When I first got to New York, when I was 15, one of the first things I discovered was all the music I could get on Canal Street. I used to buy mix CDs from girls in monochrome outfits and big name-plate earrings. They pointed me to Fulton Mall in Brooklyn, and that’s where I finally got pants that fit right and jewelry that reflected my personality—a departure from the stuff I’d received for my bat mitzvah.

A shift in style for me meant a tougher, more confident look, where a short skirt is a reference to an era, not a call for attention. Music and lyrics played a big part in teaching me about how to dress and how to feel feminine. I had a Versace quilted skirt that I wore a lot—it made me feel like the supermodels in the ad campaigns: Cindy, Claudia, Stephanie, et cetera. I also had a Jean Paul Gaultierdouble-breasted pinstripe suit that I’d wear casually. In fact, I’m still wearing most of my clothes from those days: Betsey Johnson floral dresses, Donna Karanbodysuits, a metallic Byblos pouf skirt, and a grommeted Pelle Pelle jacket.

Lingerie Beginnings

I studied sculpture at the School of Visual Arts, and for a year at the San Francisco Art Institute my major was “new genres,” a very ’90s thing. Right after I graduated from SVA, I did an artist residency with Ilya Kabakov at the Fondazione Antonio Ratti in Como, where they also manufactured some of the world’s most beautiful silks. A tour of their factory opened my eyes to a potential dip into fashion, but it wasn’t until I met a pair of women in New York City that same year looking to start a lingerie brand that I took a chance on garment design. I bought a bunch of bras and took them apart and figured out how they were put back together. I cofounded The Lake & Stars in 2007 with the desire to make a brand that was in line with the story I wanted to tell as an artist. Lingerie was a tool, a structure that gave me rules so I could tell a sci-fi tale while inherently delivering romance and *** appeal.

read more:http://www.marieaustralia.com

www.marieaustralia.com/short-formal-dresses

And I always find, yeah, I always find something wrong
You been putting up with my **** just way too long
I'm so gifted at finding what I don't like the most
So I think it's time for us to have a toast
Let's have a toast for the *******
Let's have a toast for the *******
Let's have a toast for the scumbags
Every one of them that I know
Let's have a toast for the ****-offs
That'll never take work off
Baby, I got a plan
Run away fast as you can

[Verse 1: Kanye West]
She find pictures in my e-mail
I sent this ***** a picture of my ****
I don't know what it is with females
But I'm not too good with that ****
See, I could have me a good girl
And still be addicted to them hoodrats
And I just blame everything on you
At least you know that's what I'm good at

[Hook]

[Bridge]
Run away from me, baby, run away
Run away from me, baby, run away
It's about to get crazy, why can't she just, run away?
Baby, I got a plan, run away fast as you can

[Verse 2 - Pusha T]
24/7, 365, ***** stays on my mind
I-I-I-I did it, all right, all right, I admit it
Now pick your next move, you could leave or live wit' it
Ichabod Crane with that ******* top off
Split and go where? Back to wearing knockoffs, haha
Knock it off, Neiman's, shop it off
Let's talk over mai tais, waitress, top it off
Hoes like vultures, wanna fly in your Freddy loafers
You can't blame 'em, they ain't never seen Versace sofas
Every bag, every blouse, every bracelet
Comes with a price tag, baby, face it
You should leave if you can't accept the basics
Plenty hoes in the balla-***** matrix
Invisibly set, the Rolex is faceless
I'm just young, rich, and tasteless
P!

[Verse 3: Kanye West]
Never was much of a romantic
I could never take the intimacy
And I know I did damage
Cause the look in your eyes is killing me
I guess you are at an advantage
Cause you can blame me for everything
And I don't know how I'mma manage
If one day you just up and leave

Fashion show finales follow a familiar rhythm: after the models march along the catwalk for a last hurrah, the designer comes out to take a bow. Their demeanour is often telling, an indicator of their attitude to the collection they've shown – are they a bag of nerves, or grinning from ear to ear?

Also noteworthy is the look they choose to take their bow in. Are they even wearing their own work? One of the most celebrated designers of our time never wears his own designs. Karl Lagerfeld may create the occasional menswear look at Chanel and he designs a whole men's collection for his eponymous label but he has long been a customer elsewhere: Dior Homme.

Lagerfeld started wearing Dior Homme when he was in his late 60s, shedding 41 kilograms to fit into the skinny styles of the label's then designer, Hedi Slimane. Lagerfeld has stayed loyal to the brand ever since, even after Slimane, now creative director of Saint Laurent, quit in 2006. And although the label is known for its emphasis on youth, Lagerfeld, now in his 80s, remains one of Dior Homme's most visible clients.

Raf Simons, meanwhile, Dior's creative director of womenswear, is partial to Prada: his presence in the documentary film Dior & I (2014) is most clearly announced via his distinctive studded Prada sneakers and he often takes his catwalk bow in a head-to-toe Prada look. For his first Christian Dior ready-to-wear show he wore a vintage denim jacket with red stripes by Austrian designer Helmut Lang.

And yet many designers do wear their own work, especially if the brand carries their surname. Editors scan the wardrobe of Miuccia Prada for clues to her latest collection: is she feeling utilitarian, elegant or purposefully off-kilter? When Donatella Versace takes her bow, she often wears a look from the collection she's just shown – for autumn/winter 2015, it was a pinstriped, flared pantsuit. And even Simons has worn pieces from his own label collaboration with Sterling Ruby.

So if the name is on the label, does it mean the clothes will always be on the designer's back? Not necessarily. "I've never been into wearing clothing with my own brand name inside," says Jonathan Anderson, designer behind JW Anderson and now creative director of Loewe. "I find it odd and arrogant."

UNIFORM DRESSING

Anderson's own wardrobe is a familiar uniform: crewneck sweater, faded blue jeans, Nike sneakers. It's entirely opposite to the menswear looks he creates for his own label's catwalk presentations, which have included bandeau tops and frilled shorts. He seems to favour a clean-palette approach: keeping himself neutral so as to not deflect from his experimentation elsewhere.

This kind of wardrobe is common among fashion designers. Jack McCollough and Lazaro Hernandez of Proenza Schouler appear to have no desire to create menswear for themselves or others, dressing instead in a similar style to Anderson: crewnecks, polo shirts or button-downs, usually with jeans and sneakers.

Mary Katrantzou, meanwhile, recent winner of the 2015 BFC/Vogue Designer Fashion Fund, may have built her business on print and embellishment but she is usually found in a black knit dress by Azzedine Alaïa. Alaïa himself has perhaps the ultimate clean-palette wardrobe: for decades he has worn black cotton Chinese pyjamas, fastened by simple floral buttoning.

Each of these designers has a successful business with its own clear signature. So maybe it doesn't matter if they don't wear their own clothes. And yet when designers do, it can be so seductive. Men buy Tom Ford because they want to be like Tom Ford. Women buy Céline because they want to look like Phoebe Philo. Stefano Pilati, creative director of Ermenegildo Zegna Couture, is often said to be his own best model; Rick Owens, in his long draped vests and baggy shorts, is the perfect ambassador for his own alternate universe of otherness.

The style of Roksanda Ilincic is synonymous with her own brand. "I create pieces that embrace the female form," she says of her bold colour palette and silhouette. "Being a woman means I'm able to feel and test those things on a personal level … I tend to favour long hemlines and nipped-in waists, with interesting shades and textures, pared down with simple basics and outerwear." Does she ever wear anyone else? "Of course! Black polo necks from Wolford are an absolute staple and in winter I am rarely without my favourite black cashmere coat by Prada, which is on permanent loan from my husband."

It seems like an industry divided between designers who wear their own work and those who don't. But sometimes things change. Backstage at Loewe earlier this season, Anderson said: "With Loewe, I have a detachment. I wear a lot of it. Now I'm more, 'Does this work?' I've got a bit of a love back for fashion."

Two months on, his interest in wearing his own designs has grown still further. He is the cover star of the new issue of menswear biannual magazine Fantastic Man, posing in a slash-fronted sweater and leather tie trousers. The pieces are both his work from current season Loewe. Womenswear. In for a penny, in for a pound.Read more here:www.marieaustralia.com/formal-dresses-2015 | www.marieaustralia.com/long-formal-dresses

me? these days?
i have to bribe bonsai tigers
to fall asleep by giving them
excess treats,
drink myself to a limit
and then take insomnia tablets,
glance at the stars
and gag up a bolshevik black hole,
think about russian
newly-wed millionaires
spending so mcuh the taxes go up,
testifying: well when the full circus
with elephants and missing acrobats
comes... and there's no french revolution
versace... we're in bigger crap
we thought we were...
so i took to peddling, keeping heart
rate with feeling rather than
a heart-rate keeper on the wrist known
as apple / iWank...
you'll never believe the amount
of creativity that comes from Onan...
it's like that story of onan and samson
like it's that story of cain and abel...
you'd have to be a mozart to find a creative
continuum in women rather than
beethoven in the hive of being deaf...
say rich and thus say spend...
say poor and thus say like a primate
with two flint stones... what the hell is this?!
japanese crow reduced their beak for
nut crushing purposes into a car tire.
FIRE! FIRE! PROMETHEUS!
so came the world favouring thought
from prometheus' liver
when in diaper-shelter postman pat delivery
by a stork... but each of us that got the slit
of liver never claimed origins in the apple
adam ******* out when eve forgot
that satan's singularity was expressed in
a pluralism: eat this apple, depilate,
and you and adam will be like the gods...
but then the metrosexual emerged
with shaved legs and a shaved chest...
down the drain that dream went:
as long as you eat the apple and know
you have hairy legs... i'm sure whatever you
say he will be ordained with pleasure to perform...
eve - i need a hammer
adam - here babe
eve - i need a nail
adam - here babe
eve - i need five planks of wood, four legs one like an abdomen
adam - here babe
eve - mash it up
adam - hey babe, what's that?
eve - a ****** table, tapestry for porcelain!
adam - woah! that's great!
eve to god - this adam is a ****** robot!
satan to eve - well... get ready for ******.

i never knew that
i'd wear jealousy
so well
that my veil would
perfectly match my
broken in heels
or that my eyes would be smoked
with various fumes
or that when i spoke
your world would continue
to move
unlike the first time
that i met you.

Valentino has its red, Versace its Medusa logo, Chanel the tweed that lines dresses and jackets and handbags each season. In the fashion world, these nuances of texture and color, in conjunction with shape, are what help define a brand's identity, what ultimately makes them feel familiar to consumers; they are fashion's version of DNA. Designers carving out their place within the industry will often land on their own set of signatures that are built upon with each new collection—but Patric DiCaprio, the 26-year-old designer of Vaquera, isn't interested in "buy-ability" or recognizable traits. "We are obsessed with keeping people guessing" he says. "We want that to be our thing."

In the three seasons since launching the New York-based brand, DiCaprio has infused Fashion Week with the sort of Dionysian energy once felt at early John Galliano shows. For his Summer/Spring 2016 show, staged at the Church of the Ascension in Greenwich Village, models walked the aisle to the Smashing Pumpkins in baptismal baby-doll dresses and ruffled bloomers, with DiCaprio's boyfriend closing the show in a wedding gown. In February, with new partners David Moses and Bryn Taubensee on board, a debaucherous cast of models dressed in Victorian-meets-club looks danced, lifted their skirts and put their cigarettes out in audience member's drinks at the China Chalet venue in the Financial District.

"Vaquera is about constant reinvention," DiCaprio says of his no-guts-no-glory ethos. "It's about the future; the future of style and clothes, but not in the cliche of futuristic spandex and metallics."

Much like his collections, the designer's path in fashion has been far from linear. Born and raised in Alabama, DiCaprio attended a private Christian school before studying photography at a public university in the South. An internship with DIS Magazine offered him a crash course in art direction and styling, and the opportunity to draw creative fuel from New York—a city that has very much proven to be his creative elixir.

"I felt like I had been underwhelmed for my whole life," says DiCaprio, who moved to the city five years ago and taught himself to sew through YouTube tutorials. "When I first came to New York it felt like I had finally gotten my head above the water and had oxygen for the first time. This place was overwhelming in the best way." DiCaprio spoke with PAPER about his creative approach, his unconventional path to fashion and his idolization of David Bowie.

What sparked your interest in fashion?

I think it's always been about clothes for me. When I was in middle school and high school I was always in bands. I was obsessed with Screamo and David Bowie—the groups that had such strong visual aspects to their work. But I think part of me always felt like I was doing that so I could assume the look. Screamo bands would let me wear the size zero, ultra-stretch white jean. With David Bowie, I wanted to wear the gold eyeshadow; it was always about the look.

How did studying photography lead you to fashion design?

My school was very focused on the craft—the dark room and perfect exposure—but I think I was on the opposite end, I was interested in what was happening in the photo. I left college to do an internship with DIS Magazine and because they're involved in so many creative avenues like photography and styling and art and video, I was able to get a realistic vision of things. The experience [with DIS] made me realize I was less interested in photography and more interested in creating these characters.

When school ended, I moved to New York and and worked with DIS again and then with VFiles in [the archives department]. I'd go through old issues of ID and Paper and Dazed and it taught me a lot about fashion history. I had been removed from all of that when I was growing up, there was no Chanel store in Alabama, there was no Dazed And Confused at the Barnes and Noble in Alabama. Coming to New York I was able to get my hands on the clothes and study these old magazines.

How did you get that initial internship though?

I'm obsessed with Tumblr. I got on it more than eight years ago, and it was a huge part of helping me reach out to people. People that I'm still friends with now—Hari Nef and Juliana Huxtable—I met through Tumblr; they moved to New York before me and motivated me to do the same. So I emailed the team at DIS, and asked if I could show them my photography portfolio—which sounds so funny to say now—and they offered to show me the ropes. They hooked me up with Avena Gallagher, who is an inspiration and has taught me everything I know about styling.

About two years ago I started working for her and became obsessed with styling. I styled Charli XCX for a year—and it was exciting, definitely closer to what I wanted to do but it wasn't exactly it. I wanted to pull specific things—1980's Issey Miyake, but there was no way a no-name stylist like me would be able to get my hands on it. So I bought a sewing machine and started sewing the things I wanted for photo shoots. Vaquera started as an art project that wasn't about wearing the clothes or making something for Opening Ceremony—it was about making clothes that I could then shoot. The final product was the look book.

What made you decide on the name Vaquera?

A few different reasons. I was reading a book by Tom Robbins called Even Cowgirls Get The Blues and it was really informative for me at the time. I was also working in a kitchen as an expediter with a bunch of Mexican line cooks and they had a lot of pet names for me, like "el pato" which is gay slang for f—got, and "little baby doll." They knew I was from the South so they'd call me "La Vaquera" because that's Spanish for cowgirl—even though cowgirls aren't Alabama, it's more of a Texas thing. So I just called the project Vaquera. It seems so arbitrary now, I'm stuck with it for better or worse.

What's been one of the challenges of keeping things future-focused?

I've had criticism from people that it's such a bad business model to reinvent yourself each season, that no one's going to know what to expect from you. Buyers are going to be confused, you're never going to make any money. And I've just been like, "Well, I think we don't have any interest in that." We are obsessed with keeping people guessing—we want that to be our thing. I try my best to keep it a secret until the day of the show and then just let loose.

So we're going to assume you won't be giving any clues about next season's show.

Oh my god, i don't want to give it away! I think people want to see billowy-sleeves but that's out the door. We're doing something completely different. Romantic but a whole different definition of romance.

How has working with David and Bryne changed things for you and the brand?

Last season it was like a whole new brand. We came together through Avena and it feels like we're progressing, which is exciting. I got sick of doing everything alone. For the Spring show I sewed everything, produced it myself, got the location, cast it myself.

And did you collapse after the show ended?

It was a serious problem, it became impossible. I realized I was either going to have to plateau so I could get my life together or I was going to have to find a way to expand the vision. I trust Bryne and David with my life and they understand my vision but have their own ideas. It was a necessary change.

So many designers have expressed concern about the relentless pace of the industry recently.

All these different seasons—pre-fall, couture, designers showing things that are going to be available for purchase the day after the show. That's so scary for people like us who are on our hands and knees in the living room cutting the clothes and can barely get them made in time for the show.

Do you want to stay independent? What are the benefits and detriments, in your opinion?

I think we want to stay independent. I want to make money but I don't want to feel pressure to do certain things. I'm already so sick of that show we just did—already on to the next one. It's like with Demna Gvasalia getting the Balenciaga job: I was so disappointed to see him doing the same thing he did at Vetements at Balenciaga, but then I realized, with all the money that's involved and when you're working with these huge offers, there's contracts. Money complicates things in a way that I think can hurt people's creativity. Maybe you'll make a lot of money for a few years, but you might forget how to make exciting things because you're stuck with the designs that worked well one time. I want to make money, but we want to find different ways of doing it.Read more at:http://www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-adelaide

met a man once
and he took me to a steakhouse
the type where tuxedo men come back
with a twee bite-sized piece of meat on a plate
he ordered my steak for me
and though it glistened
the slab barely satisfied
the crack in my teeth
i was starving
and he kept talking about
business deals
and networking
to the type of cars that make him hard
which one of these thousand ******* forks
is best to stab?
making friends
with a bunch of pruned men
chatting business
he introduced me
she speaks Spanish
how exotic
raw and juicy
STEAK
sure does go well with potatoes
i started ordering loads of wine
when they all agreed that it was time
to make America great again
i downed even more down my throat
‘till I was seeing spuds in Versace
drinks for everyone!
we ordered like five bottles
so drunk
that I started mooing
but if this gasbag ever hopes to get laid
he’ll need to go to the slaughterhouse for that
meanwhile, let the bartender do the milking

I feel life from the words I write despite them being words I slurred over night it's like I fight but my pen is the sword of course I force myself into creative prospects I expect to wreck what in front of me is set
I wondered what would happen if I ruled the world gimme a shot at the top I'm not Clinton I only need one girl but seriously I hate this place controlled by industry it's ****** me up the environment and desire for right went out the window when the dead presidents kept talking from beyond the grave the money you made won't matter so cut it like a beanstalk

DaSH:
And fall into a pool of tears
From all the single mothers over all these years
Tucking youngins under covers
Undercover trying not to let the pain show through
This is the same strong woman that still holds you
Even though you're older and make your own decisions
Its gotten colder in the later years just wishin
You could go back to the beginnin
Back to when **** was simple
And all you had to do was listen
To another bedtime story
Next thing you know you're drifting
Away from all these problems and all these lights
Fluoride will **** our dreams they tell us to brush our teeth and cringe when we say reality bites
But I'm just trying to figure what's more important
Being myself
Or being Your kid
Just another thought from the tortured
I can feel the flames lick my body 'fore the torch's lit
Society's trying to burn us
And if they think they can teach us before they learn us then its straight out the frying pan and flying into the furnace

Nero:
I'm all alone like a watchtower my life turned sour but I'll devour any chance to **** up fools with rhymes perchance I'll leave you entranced with my writings but I'm sliding off topic so dash if you're ready then go a ahead and rip because we're cyphering on some poetic mafia ****

DaSH:
**** clips in the toilet with the ******* safety off
******* blood royal flushing with my king homie Alucard
All your ******* are old and lack any kind of support
So I'll hang em make their back straight with that ******* IV cord
If this cipher is random
Hope they deal with what I hand em
Four grenades a box of tampons
Watch these ******* explode while standing above the commode
Uncan them
The whoopass they deserve
Then im swervin in their hearse
Hopping over every curb
Speeding through every sharp turn
I love to watch their bodies burn
I love to catch every single ash between my teeth and eat them
DaSH is such a beast you freed him
By acting like a priest
When youre a demon in the streets
*******, capish?

Nero:
Alucard the damphir ******* blood like canned beer I'm near my apex others are below I'll free flow like arkham you won't question in a session when I leave your ***** barkin rhyme sparring call me Ali all these fools stay trying to Rock me like cheap Versace but I'm high quality leather built for your pleasure linkin words together you'll take home and treasure like Sinbad I don't sling crack but my rhymes are the pipe because reading this I know your *** got addicted tonight

DaSH:
Slicing high up on their frame
Like I'm aimin for the throat
Lots of gore on the floor
Need a boat to stay afloat
The walls needed more paint
You donate another coat
But I don't need your ******* charity
I'll stumble and I choke
Before I ever let you get to me
Before you start ***** you'll be history
How you ******* plan on ending me?
Just get Gone, Girl, be a mystery

baby, du dufter af gode minder

The world is an addiction
Eyes filled with vanity
Wonder if it's green like envy
Wonder if it all spring from the same seed
See one with it and you have to get it
By any means, necessary
Even running at them at a red light
Close to a district
But how we split a watch three way
Guess two must have to die today
The world is an addiction
Selling ***
We want to see more violence
More brutality even the headlights on our cars getting meaner
Is this what the media is teaching us?
In 30 second intervals feeding us
That poison
The world is an addiction
But where to find rehab
Is it with in a church
For even pastor Mason wants his dough and he doesn't pray for a dollar
So I come to my knees and ask for forgiveness
For the Versace and Dolce and Gabbana
Everything I don't need while there are kids who don't eat
I was like them, hungry  
guess that's why I buy things
The world is an addiction
It flows through my veins like heroine, it goes up my nose like *******, inhaled it through my mouth like drough, smoke it of a pipe like Crack
For I desire everything I don't have
The world is my addiction

it's largely based on the introduction, drunk poetry of Bob Dylan's blonde on blonde, or Dave Bowie's heathen albums that can be treated as fully-loaded novels with missing charting song, you can champ the narratives akin to nearing ancient symphonies making Nietzsche more of a German Chopin than an idea formation, excusing himself with too maxims; yep, Bob Dylan's blonde on blonde given Nick Hornby's care for the music in what's a fluke of care for piquant fidelity, country and blues, bought at a supermarket; or avoid both and head straight for Ticlah's si hecho palante.

for some strange reason i woke up early,
usually i miss the morning staying up
till 5 or 6 a.m., like a vampire scared of sunrise,
winter is my most productive period,
summer my least productive,
spring and autumn are seasons when
magic happens, just today the oak tree was
brushing away its flowery bloom
before the fat yoke of chestnuts would fall
a few months later, the spring bloom
of pink or white was already tailored for
the excess greenery of summer, over a period
of two days the flowers withered and
the green leaves appeared.
she once complimented on my cooking skills
and my taste of music, notably *tool,
i first met her when we got together in the
student flats and two girls were *******-up
frying pancakes... the dough stuck to the
frying-pan... so i said 'you need to put some
oil into the mixture!' hey presto a Michelin star
on my attire rather than Victoria's crux
of a soldier... that's how it goes with philosophy
nothing pompous i promise you,
Plato misquoted Socrates talking about
looking funny at men who sought brothel comforts
(the norm in Amsterdam, no guilt, no tabloid spice,
o.k. o.k. Leo Getz style, 'it's like going to the gym,
she was South American, plump, she had a little nergo
boy fetch beers for her clients, she kept the window
open so passersbys could hear her moan after laughing
at my addressing her genitalia with may i taste the fleshy
floral patterns? ah ****, didn't work, you get to write
about *** and it just ends up a string of cliché
like philosophy and the maxim - prostitutes and the
Gemini lips, try kissing both at the same time);
i'd be funny-looking at the other route of philosophers,
mainly through the army, i'm all lazy eye cross-eyed with
those *******... (i do "pending" interludes since
with drunk finger playing the keyboard i tend to
delete by accident about 1 poem for each 10, heartbreaking
experience) - lost the drift, i must be in Birmingham:
no river... no flow. standard model always included
rivers for people congregating, in the countryside
a church would be enough, but for urbanity a river...
this phenomenon of canal cities like Venice is
truly staggering, call it the Maldives of the west,
the Maldives of Europe, 100 years from now
it will probably be more than a Glastonbury fashion
statement of donning farmer John's galoshes.
i've lost the plot... fun-*******-tastic!
oh yeah, the pancakes... well after falling in love
with organic experiments i learnt to love cuisine,
well d'uh cooking, my flatmate just cooked risotto
after risotto until i started pulling rice grains from my nose...
esters and perfumes, the smelly ****, like pickled cabbage,
the grand joke of british asians...
yeah sauerkraut and chicken escalopes are the grand
joke, although try shoving asian spices under your
armpits and you'll be walking the catwalk of Versace for
sure (hey man, stick has two ends!)...
it's an escalope and that's hardly the profanity of
a chicken Kiev, also called a schnitzel... but not schabowy...
you know there's this great aesthetic joke concerning
polish graffiti about the orthography of ****** / phallus
in poland? yep, the variations: huj, hój, chuj, chój...
technically they all sound the same,
they're found next to the anarchists' A and swastikas
on communist apartments.
she wanted so so much, i was at the end of the third year,
and there she is, moving out of her student accommodation
to live with me in my private flat (rented)...
i mean, great... but i'm about to sit my final exams
to get a piece of paper telling others i'm qualified...
what a ******* mess: i know a 3rd of examinable material
i was studying i'll fail, physical chemistry is not my
strong point, organic i can ace, inorganic i can do well on...
but she's there, full-on intense teen... it's a juggling
act that requires a clown, rather than a man,
i'm not saying i'm perfect, but there's too much idealism
in her that requires a hefty stash of pecunia bratus
(money trees)... ah i wish, but had i wished it
i would be writing such uninhibited poems...
up-to-speed... on today's menu!
that's the culinary abhorrence of poetry, remembering
ingredients in recipes rather than rhymes,
for example Thai green curry, and the ***** curry,
the former with spoonful of green Thai sauce to replace
the use of lemongrass, and lime leaves,
actually the limes we replaced with lemons,
the Thai sauce was added, the garlic & ginger paste used,
onions, mangetout added last to add a crispness on the bite,
new potatoes avoided, half a jar of Thai green curry paste,
Thai fish sauce, not salty enough soya sauce was added
(both light and dark), coconut milk of course, caster sugar,
chicken (well, d'uh), basil... yes... basil! lemon zest
and rice, chilli powder!
the second curry involved: cumin seeds, fennel seeds,
a cinnamon stick, garam masala, chilli powder,
turmeric, chopped tomatoes, sugar, chicken stock,
chopped coriander... all in all this is a culinary attack
of poetry, it's not clearly an ancient revenge,
but when i was younger i was instructed to memorise
a poem, aged circa 7... the poem in question was
school bell, i didn't get why we had to memorise it,
it wasn't anything spectacular, i protested,
gave an oath in swear words against my classmates,
got told off... culinary principles invoke the need
to memorise recipes rather than poems,
curbing the influence of fast-food outlets...
i rather remember the ingredient lists of dishes than poems...
indeed i did make these dishes today,
but only because i switched the radio off
and inserted bought art into the device:
Tom Petty's and the Heartbreaker's greatest hits
and !!!'s (chk chk chk's) myth takes album.

Six
I showed up in an orange polo
blue jeans, a blonde bowl cut
and the latest light up barbie shoes
my mother dropped me at my classroom door
she left with tears in swelling her eyes
because I was the only child who wasn't clinging to her like the last strand of hope I had
she was so proud
I was on top of the world
until you tore me down
threw your wooden cities in my face
and told me I belonged with the boys

Eight
I showed up in a pink dress
white flats, and shirley temple curls
my mother sent me to school that day
she left with a twinkle in her eye
because I was the only kid in our minivan who wasn't faking fevers
she was proud
I made myself known
until I sat criss cross in that cotton candy dress
and you told me that girls dont sit like I do
and that I belong with the boys

Twelve
I showed up in pink jeans
a graphic giraffe T, straight shoulder length locks
and black chuck taylors
My mother dropped me off that day
her eyes watched me until I was safely inside
because she knew I was nervous
I took junior high by storm
she was proud
you took note of my sports bra
laughed at my cardboard chest
and told me I belonged with the boys

Thirteen
I showed up in basketball shorts
a simple T, shoulder length hair
and tennis shoes
I walked to school that day
My mother was still sleeping
I hid from everyone
you asked me if I liked girls
and thats when I knew I belonged with the boys
I needed these ******* boys

Thirteen
I showed up in black sweats
a hoodie that avoided my curves like roadkill
a half assed ponytail
and running shoes
I was invisible
I replaced the gauze on my thighs that concealed the proof he was here
I wore and extra shirt to hide the proof he was here
I learned to use makeup in all the wrong places in hopes to prove he was never here
His fists played symphonies across my ribcage
He made songs of my pleads for forgiveness and apologies
addressed to both him and god
and I am still trying to forget the notes
I am still trying to forget he explored my depths
I am still trying to pretend that he was never here
He said I could only belong to the boys if they could touch me

Fourteen
I thought the cough syrup would save me

Fifteen
He took the only shred of dignity I had left
I listened as my only hope for a family was ripped limb from limb
The child who's crescendo heartbeat originated from me
was slaughtered at the price of a Versace ring and a fake I.D.
Fifteen
I thought I could hear him screaming


Twenty
I am defined by twenty different men
These scars are proof of me nitpicking the pieces of them from my skin
Proof that I am worth nothing more than a one night stand

Twenty taught me:
1. No one will ever understand how empty you become when you're constantly filled by different men
2. A new canvas will not make you feel any cleaner
3. Hands feel like hands in the dark no matter who is behind them
4. After about the 3rd one night stand you will realize that 2 is the loneliest number
5. My mother is no longer proud to see me

tight silk ******* with the lilac bra to match,
cream coloured knee high socks.
a collection of classic rock on vinyl and a compliments jar covered in news articles.

too many celebrity perfumes, but a versace collection that makes her think of the beach;
peach smelling deoderant.

chapter books on the floor accompanied by hair ribbons of baby blue and cotton candy pink,
****** by Vladimir Nabokov laying near the juvinile pale legs of beautiful sixteen,
as she paints each toe nail red, pink, white.

almost naked body, remember her tight, fresh lace set
hair perfectly auburn, lips perfectly light coral
mouth slightly open
Led Zepplin playing.
hairspray and rose powder,
unlit vanilla candles and twilight scented creams
she smells faintly of Modern by Banana Repulic and her daddy's cigarettes.

silently waving, a flag of patriotism
the beautiful, elegant sixteen.

-part 1

conceptcollection

If life taught me anything, it's that dreams come with sacrifices.
I had to let go of some bad habits and a couple vices
Cos what's worse than bullets that leave your body lifeless?
Staying alive with ambitions that don't materialize. Its
Pretty funny how some folks fail to realize this
And those who do find the process Pretty demoralizing
It's pretty easy to look pretty in every picture
Changing poses and positions like it's kama sutra
I mean, your life isn't fake, you really own it don't ya?
But in the place of your dreams, you got some guilty pleasure
You swear one day, you'll change and grow
But first let's cop that new iphone;
"Versace Versace, **** I'm glowing"
"No plan B, this is all I know"

Strobe lights, low eyes, blown mind
Four Eyes, neck ice, blown white, no mind
Nice cars, dark fade, night games, insane
I swear this place has no ******* life
And that's exactly how I want it
Room spinning, wheel of fortune
Fortune favored me, so my shackles gold, I am tortured
The tour bus tore us from our exposure, to life
Bass booming, ear drums popping off like a hundred guns
Saluting troops with marching bands, they all cheer in unison
My pains boo'd off by my pill prescriptions
Not a nun, cause we are ******, struck by Smith's arrow
Rock stars chose the path that is most narrow
I don't know where the time went, my mind set
This bombs clock ticks, I die inside on the pursuit of profit
The prodigal son grew up to be a villain
Stuck in the streets, struck so his sins can't be forgiven
Swear this devil is sleeping with finer women
Designer linen, Hermes, Versace, Givenchy
Italian names with a tendency to stop me
But me stopping would lead traffic jams
Tank is empty, can I make it, not sure if I can
Hop out the driver side, you can keep this whip
Wasted all my life, dreaming big, window shopping

Spewing through my pores
are obviously vocal cords
I'm sweating cause don't you notice how heaven is getting bored.

-- And lord I know we children
but give us something appealing,
cause hell it just seems enticing
cause sin is clearly unwilling to,

release us from its wrath and be spiritual,
my spirits in this clash with this alcohol--
but I try not to break the law
by sleeping this poison off

I'm squeamish
believe me
I'm sick
and suffering from withdrawal,

cause all i see is Sandy Hook behind the walls
and in front of my iris
my silence becoming violent
exhaling louder than sirens
I'm sighing cause you be lying,

you say!

That you will save us
if we put nothing above you
but you taking our children
we made them to be just like you:

I'm sleep.

But if I wake up
will you incarnate a savior
cause jesus is highly needed
don't tell me its human nature!?

to pull the trigger,
peal off -- a mind set against the lord,
pop -- pop they let off  should i be packing a sawed-off

Na

But I'm speaking from my core
its obvious that I'm lost
I'm screaming but don't you notice how heaven choose to ignore.

And lord I see the irony
but I'm not even 60
why are you choosing to hire me
is it because I'm gifted, a voice?

I had no choice
cause the devil trying to recruit me rolls royce;
Versace starter kit it's not hard to convince me I swear--

he's talking salary
how the ******* will miss me
just put this ounce in your pocket
and listen Nina closely

"just trust me I got your back with Nina don't need a safety"
  
I'm loyal,
so should I start to bang
cause if you can't beat them stay
I need a hymn to sing as I hold the burner to my face--  

remember what the preacher say,
if your feeling lost, pray  
I never had a voice
Trayvone Martin never had a say

so is the prayer worth it,
will jesus even surface,
the creases on my faith is shaped like Eve and Adams serpent;

I'm lying to my friends
I'm not religious on purpose
I'm a servant to the truth
but seems the truth is out of service.

When the birds devour me
I hope they start with the soft tissue
my eyes and ears and mouth destroyed
my senses lost to the sky

When the birds devour me
I hope they find their fill in my stomach
where the weight of the world was carried far too long
wearing my viscera like Versace

When the birds devour me
I hope they pick my digits - one through ten and ten again
so I may touch every part of the world when they carry me away
so that my feet may fall on grounds I’d only dreamed to grace

When the birds devour me
I hope they tear open my chest and make their way behind these ribs
not realizing the irony of the situation as they sing
and I am filled with the music with each rise and fall

When the birds devour me
I hope they take my bones between them in their thanksgiving, pulling
wishing for legs to run and hands to hold, for lips to kiss
if they only knew, if they only knew

the oil of the high grade pollen
coated in sticky honey-like crystals
old school wrap and a vaporizer
instills calm where there had been chaos
oh how the mighty have fallen

offers to go places
live music in an alleyway bar
cocktails till dawn
a rave under a motorway
the Sub Club for legendary libation
and mingle with familiar hazy faces

and yet,
he warms to the four walls of home
the symmetrical wooden rail border
the OCD driven picture placement
the videos in genre specific
alphabetical order

outside the city streets throng
stag-hen crews in costume
tourists off the beaten path
seeking the Water of Life
students drinking the bank of mum and dad dry
mid-week workers letting of class A steam
that for some is clearly too strong

the hordes
of bar ******
pimping their Versace
and Primark combo
any Glasgow bar
where looks could ****

bar telepathy
means he no longer
even has to speak
just have the fiber
to clear the bill

This he calls home.

Apparently blessings soon wither
Where your star shone

Reminisce
In the darkening sky
There's a Taj Mahal!
Undulating endless
Asimetry of
Love

Floating above
The placid
Waters

One
Glimpse ~
My wet hands
Kyoto protocol
Hair in a Thankfury
Violet Versace

And your smiling coasts
Me wrapped in a black coat
Lush lucrative dynamics
Zarathustrian imperative!

Covering your manly
Shoulders

Dig a grave in my
Hollow submarine
Diminishing distance

Was I, to call your firm hand's
Grip ~a lesser degree in Hiking,
Or a postponed poetic height
Thumbs entwined. . .

Spirited as a killer
Eagles mudra
You stare at
My profile

Well ~we stand
Opposing as a lovers
Of A grand Poetic

Name surpassing the time
Awaiting, courting, questioning
Via simile to the blood under
The Bask's barret

No, the ring I've put aside,
My hands are bare tonight!

Bewildered, I´ll stumble forth
within a bright new day to
complete your sermon.

You usually brake the cliche
Walking hand in hand
With Affar Authors
With Dead Spirits
With Alive Authors
Playing dead, unknown
Within the journalists eyes..

When they whisper

Wisdoms to your son's father

When they sturm und drang my sweetest
Sister

The softest spring is coming forth and
I know where to find you. In southern sighs.
Dreamy. Uncatchable.

Playing

sure, the romance, they are the new gods,
     Paris, Rome, Barcelona (don't ask me about Madrid,
                                                       too royal),
a Venetian mask i would don, and become the quixote fighting treadmills rather than windmills -
although to Rome i have not walked
                for my footsteps to encounter the pave,
but in the Venetian pirate lair, plunderers of Byzantium
i have set foot on, at the same time to have learned
of the number 613 near a synagogue and heard the shofar.
Paris (not the Trojan) is the cliche synonym of Eros -
elsewhere Gemini: St. Petersburg as the Amsterdam
   of the north, and Edinburgh as the Athens of the north.

well, such a verse does indeed desire
                                                 more translation of Horace,
as in nimis ex vos, sed non satis ex "ego",
  yes, "ego" the abstract component of you that's
free from the three tier psychoanalytical *******,
what superego, what id? forget it! there's only you
and only "you" - work with me:
               too much out of you, but not enough
               from your alter (synonym of "ego" -
               Jungian shadow porridge);
but as promised, yet more Horace

               deus inmortalis haberi dum cupit Empedocles
               ardentem frigidus Aetnam insiluit.
               sit ius liceatque perire poetis:
               invitum qui servat, idem facit occidenti.
               nec semel hoc fecit nec, si retractus erit,
               iam fiet **** et ponet famosae mortis
               amorem. nec satis adparet, cur versus factitet,
               utrum minxerit in patrios cineres an triste
               bidental moverit incestus: certe furit ac velut
               ursus, obiectos caveae valuit si frangere clatros,
               indoctum doctumque fugat recitator
               acerbus; quem vero arripuit, tenet occiditque
               legendo, non misura cutem nisi plena
               cruoris hirudo.

but of course i'll translate, but prior in dogmatic proposals...
keep the book of revelation of the Ιωαννης,
discard the rest... the four primers are a parody of
the tetragrammaton - so gentle in his own land
yet such a vicious serpent in Egypt? which one's the fraud?
messiah of just hanging, standing still,
40 years in the desert or 40 hours on the cross?
and all that iconoclasm and modern too via narcissism?
"bring out the selfie shtick! oh wait... my hands are
nailed to a ******* crux!" and this persistent 2000 year old
negation - and being spared, the Romans, or
rather the alphabetum, Roma est mort but you
can still ask the italians of a cappuccino - Chino and
Khaki elsewhere with the Lombardy League ponce
rubbing shoulders with Saxons... Chino Versace
whistle at a Bella... you can still see c b g long after
and the coliseum in ruins... it wasn't swallowed up!
i too though the second H in the tetragrammaton was
intended as a déjà vu - it would sit perfectly with
anti-, the concept, but not the man as such,
and indeed the Y would make a perfect tree of Golgotha
in that tweaked geometric, then W and seas
and continuance - Roma alphabetum, sole constructor
of computer robot? maybe... but you see, the H
is a slippery *****, it's silent, like in Khaki... or
as is the usual case in Hindu - Dhal... it's not so much
déjà vu but silence - a necessary surd to make spelling
pretty... dyslexics think spelling is a bit like arithmetic...
it's actually an aesthetic, but they do find it as hard as
arithmetic, and that's why they're genius at numbers...
but the aesthetics is missing, so they cling to numbers
and the aesthetic is missing, and everything associated
with money... well, it's a bit ugly, isn't it?

... (postponed translation)... yes, London is Hades...
    doom and gloom.

but indeed the Gemini in the tetragrammaton,
but first the principle of three-dimensional space (Y) -
just look into one of the corners of a cube (yes
the room you're sitting in),
and lastly the principle of waves, whichever,
sine or cosine as you will, looks better that way
than mediating the ad infinitum of 1, 2, 3 etc.,
sea and constant fluxes (fluctuations),
pin-point the opposite, the principle of one-dimensional
space (a definite coordinate, rather than three-dimensional
space and that ****** indefinite coordinate) and
subsequent ripples, which aren't necessarily waves:
my tools? a-       and -the            and every other ism
that might act as an auxiliary attaché - time (W).
but indeed the anti- implementation that serves as
direct Gemini chiral-ism: the latter serves no close
resemblance to be guided to Golgotha,
hence guided toward Megiddo, and a crucifix also there?

**** such religiosity twice over with its vortex,
as promised the Horace translation

       Empedocles, desirous of godliness in being so,
       having icily strutted toward old age and by
       old age near frozen, was prophesied to jump
       into flaming Etna. as they want, let the poets
       have a right to a death (of their choosing).
       who whomever against his will saves,
       twice-over rattles the suicide's intentions.
       it hasn't been the first time, it's not that easy
       to say it: i am human. he wants to immortalise
       himself, fame posthumously. he writes poems.
       why? maybe he urinated on his father's grave,
       maybe in a place basked by throngs he took
       from it the vices and in solitude became
       desolate with inherited uncleanliness of urbanity?
       like a bear with scars, prison bars he breaks open,
       scares off the wise and the foolish, such
       the adamant nature of compulsive poetic labour,
       whoever he grasps with recitations he
       finishes off, the leech attached to his skin will
       not fall off, until satiated with enough blood.

**dicam Siculique poetae narrabo interitum.

How it hit the floor…
Dramatic levitation
Through taut space and time.

Chandelier’s lit
Coaxing playfully, ornate
“Festival of lights”.

Dreamy melody
Seeps outta a gramophone
Velvety delight.

Air’s alive, festive
A blend of calm and upbeat
Layered steamy ambiance.

Mind is a mash-up
Typical tasty mocktail
Tad delectable.

A lot meets the eye
Perception’s a circus of
Bland perspectives.

yo the homie Juan C
pass the mic to me
so i wreck this beat
like SPC protege of k rino
hos call me mandingo poppin' ***** tapes demo
never rode a limo
only smokes primo n got pitches in otcos
8 bars make ya see the star im far from soft
f them boys in the nawf
woth south side ****** til we die
we ride with the hardest regardless
if they try to break our clique
we still gone spit ****
like a cobra ya know its over
once the venom in em then couple.of minutes later
finish em
mortal combat **** all the rats
despise chit chat call my youngest ** ***** cat
pack a black gat
we push loot in the golden regal
every thang we do is illegal
lethal
as gibson they don't want none
boys crackin' rhymes til the crack of dawn
then wake up next day just
to bust another one
my OGs rollin' with Don Key n Pokey
hardest in the pit
and if you disagree we make haters **** our ****
sloppy **** no ****
them ******* can lick the pigment off a ***** stick
but i play it safe n cool
cuz hos try to burn you
got it played smooth groove
to the sound bound to get down
if ya down bow down listen to the gun shots sounds
now ya leakin' where ya be speakin'
now ya body tweekin' n geekin'
soon to crossover
like epmd mic check ya know me my crew be
fascinating minds with our hocus pocus never lose focus
my raw raps got them nervous
got Juan C next to me
and got the tech services
and no playin now from the htown
still holding top with no crown
dont need a status we the baddest
turn the lane three wheel leanin' with bird chirpin'
still smokin' up the scene
with clip fully loaded magazine
glock cocked we aint gone stop
sip the prometh to the day i drop
dont stop
the music cadillac funky so ya know im gonna abuse it
drip up drapped out know what im talking bout
deep in the south we put guns in ya mouth
no flappin' we stay strappin'
like willis ya know whats happenin'
and we aint gone stop the rappin'
mad at us cuz we bring the real
o so real make every nation feel
what them southern slangers do
dangerous as the Bronx Zoo
what ya wanna do
with stay with more than sun tzu when death comes to you
them boys n blue
cant save u
on the mic i gets wicked after a meal ticket sadistic
as charlie manson
got a twenty two mansion
followed a long benz with the big blue lens
zero percent window
so i can smoke my indow
what they dont know wont show
follow the peckin' order my game smarter
jaun n yosef isthe real hip hop martyrs
and we ready to battle
sogo ahead and shake ya rattle
cuz we'll be quick to slaughter


yea man let me come through
versace with the blue
jeans coming clean sip lean
with an ounze of promethazine fiends
be on the look out
cuz ya know im about
to clown harder than Corey Holcomb
boys gettin' dumb dumb
got hos thats chewin bubble gum
shakim' *** too fast
make a ***** urge for a ***** lick
yea im rollin' with the *******
up clique we sick
as a muthafucka
enticin' all types of diseases
cuz the lyrical content pleases
many foes and hoes
i wear baggy clothes with jabos
dont ya know
im rap don vito stack chips like frito
lay i parlay
on sittin on the dock of the bay
jammin k
or that *****
htown is how we do?
ride ***** with the bulls
euro grills caprice with pipes made of steel
o so real still
got every nation on they feet
they cant feel
this uh coming down on ya blvd
ya can see me on tv or 60 inch screens dvd
**** blue rays i rock ray ban shays
like Mj ya can catch me on a fade
doing what i do in the paint
with a Styrofoam cup full of drank
grams of dank
smoke so much we cant think
eyes cant blink im on the brink
of an overdose
ya suppose to rock the flows like me
im like biggie
spittin the classic mr magic
girls call my **** game fantastic
stretch ***** holes like elastic
leave her visions plastered
like she drunk as ****
im pushin luck six flat riding a black truck
40 oz in the gut gangsta strut
im the best ***** whatttt?
im ina rage one luv to homies
in the cage
when i hit the stage
ya know the crowds gone get wild
im flagrant like a fouls problem child
use my cash bills to fans thrills
no spills on *******
ya know the deal
hos be reachin' still teachin'
n im all about mass appeal

You are the heart to my beat
The way you make me feel
It's so surreal

I can talk about you for hours
About how I cherish what is ours
Yeah, you've got a hold on me
Yeah, you really make me feel complete
And I'm not lying when I say
I love you pretty baby
You mean so much to me
I'm not lying when I say you're addictive
I am Chanel and you are Versace

You are the apple of my eye
You are mine
And I'm your cherry pie

They preen, they brag, they cluck like hens
Favorite pastime? Schmoozing with friends

They lunch, they party, they go to the races
Wearing Versace and botoxed faces

They worship the sun, the moon, and the stars
And fill up their lives with mansions and cars

They spray tan each day to enhance their appeal
These housewives are everything...except real

I never promised you
a million dollar home
with a Porsche
in the pavered driveway,
a huge closet full
of glittery Versace gowns
or cases of Dom Perignon.
I never said
I'd give you
three trips a year
to the Italian,
let alone the French Riviera.
Isn't one Prada handbag enough,
why do you have to have four?
I know I promised you
my loving heart,
which I tried to delivered.
But you whispered
when you left,
I wasn't good enough
to deliver
the goods you really wanted.
So long,
keep your Miss Dior,
*****.

She's the beautiful one.
Wears Versace and French inhales myrrh cigarettes.
Behind blinking veils lies the sun,
While in her eyes, your mind forgets.

Never miss a glance,
Denounce mere recognition.
An eager chance,
Herein lies your new mission.

Tempt her senses,
She's unprotected.
Take down defenses,
Now you're connected.

She doesn't think, she dreams.
All she does is disappear.
Nothing is as it seems,
Your whole world, again unclear.

Tender last words spoken,
Dark nails red on fragile hands.
Another dream broken,
The chemical disbands.

This (and you)
Is (are) her gift.
And this (and you)
Is (are) her curse.