Side (Greek: Σίδη) is an ancient Greek city on the southern Mediterranean coast of Turkey, a resort town and one of the best-known classical sites in the country. It lies near Manavgat and the village of Selimiye, 78 km from Antalya in the province of Antalya.
It is located on the eastern part of the Pamphylian coast, which lies about 20 km east of the mouth of the Eurymedon River. Today, as in antiquity, the ancient city is situated on a small north-south peninsula about 1 km long and 400 m across.
Strabo and Arrian both record that Side was founded by Greek settlers from Cyme in Aeolis, a region of western Anatolia. This most likely occurred in the 7th century BC. Its tutelary deity was Athena, whose head adorned its coinage.
Dating from the tenth century B.C., its coinage bore the head of Athena (Minerva), the patroness of the city, with a legend. Its people, a piratical horde, quickly forgot their own language to adopt that of the aborigines.
Possessing a good harbour for small-craft boats, Side's natural geography made it one of the most important places in Pamphylia and one of the most important trade centres in the region. According to Arrian, when settlers from Cyme came to Side, they could not understand the dialect. After a short while, the influence of this indigenous tongue was so great that the newcomers forgot their native Greek and started using the language of Side. Excavations have revealed several inscriptions written in this language. The inscriptions, dating from the 3rd and 2nd centuries BC, remain undeciphered, but testify that the local language was still in use several centuries after colonisation. Another object found in the excavations at Side, a basalt column base from the 7th century BC and attributable to the Neo-Hittites, provides further evidence of the site's early history. The name Side may be Anatolian in origin, meaning pomegranate.
Cue sports techniques (usually more specific, e.g., billiards techniques, snooker techniques) are a vital important aspect of game play in the various cue sports such as carom billiards, pool, snooker and other games. Such techniques are used on each shot in an attempt to achieve an immediate aim such as scoring or playing a safety, while at the same time exercising control over the positioning of the cue ball and often the object balls for the next shot or inning.
In carom games, an advanced player's aim on most shots is to leave the cue ball and the object balls in position such that the next shot is of a less difficult variety to make the requisite carom, and so that the next shot is in position to be manipulated in turn for yet another shot; ad infinitum.
Similarly, in many pocket billiards games, an advanced player's aim is to manipulate the cue ball so that it is in position to pocket (pot) a chosen next object ball and so that that next shot can also be manipulated for the next shot, and so on. Whereas in the carom games, manipulation of the object ball's position is crucial as well on every shot, in some pool games this is not as large a factor because on a successful shot the object ball is pocketed. However, many shots in one-pocket, for example, have this same added object ball control factor for most shots.
The terms A-side and B-side refer to the two sides of 78 and 45 rpm phonograph records, whether singles or extended plays (EPs). The A-side usually featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and then receive radio airplay, hopefully, to become a "hit" record. The B-side (or "flip-side") is a secondary recording that has a history of its own: some artists, notably Elvis Presley, Little Richard, the Beatles, Chuck Berry, and Oasis, released B-sides that were considered as strong as the A-side and became hits in their own right. Creedence Clearwater Revival had hits, usually unintentionally, with both the B-sides of their A-side releases. Others took the opposite track: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side.
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Get low Bus
Who be the King of the Sound?
Busta Bus back to just put a lock on a town
Lot of my ****** be comin' from miles around
See they be comin' 'cause they know how the God get down
Turn it up
Now you know who holdin' the throne, so gimme the crown
****** solutin' and tryin' to give me a pound
I don't really **** with you ******, you ****** is clown
Makin' the ******* strippin', throw they **** on the ground
Get low Bus
Now that's the way that it goes
When we up in the spot, the *** be flooded with hoes
See, we a make it hot, the chicks will come out their clothes
That's when you get it, mami already know, I suppose
Turn it up
Shorty wildin' and shorty open, she beastin' it out
For the record, just a second, I'm freakin' it out
While she tryin' to touch, see, I was peepin' it out
She turned around and was tryin' to put my **** in her mouth
I let her
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Get low Bus
And as we started, got me ringing her bell
When I come I be doin' it and doin' it well
Then I beat up the ******* and be makin' it swell
Tryin' to hide the smell of the sex, spraying on the Chanel
Turn it up
Then they tried to walk with a strut, so no one could tell
How a ***** got in they ****, made everything jail
Now the tickle wild like a nut, she blowin' my cell
Can't get enough of the kid, I put her under my spell
Get low Bus
It's crowded mami, move it along
If you know you 'bout it then get to removin' your thong
To the whip in back of the truck that's where you belong
After the Yac, see the type of raunchy ****, they be on
Turn it up
Street ****** respect it because my movement is strong
'Cause we consistently reppin', see my money is long
All my ****** is with me, see how they singin' the song
Plus how we give you the stick and we be ******* along
I let her
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Get low Bus
The God of the black, see that I'm back
Every single time that I drop, the **** is a wrap
For the ****** hatin' the kid, I'm close to strap
'Cause all these ****** wanna come talk to sit on my lap
Turn it up
Everytime I give you bang **** to knock in your whip
***** always do his thing, ***** lockin' the strip
Lot of mami's is dancin' and they shakin' they hips
After that they get low and put the thing on their lips
I let them
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it
Turn it, leave it, stop, format it
Touch it, bring it, babe, watch it