SUPAFLY (also known as Supafly Inc.) is a British dance act composed of Panos Liassi (Mister P) and Andrew Tumi (wOne).
Supafly is best known for 2005's "Let's Get Down" - which was a club hit around the world and used by the Australian television network FOX8 as their summer theme song; and for "Moving Too Fast" in late 2006, which sampled from the Phil Collins' hit "Another Day in Paradise". Supafly picked up the Best Newcomer Award at the 2006 Urban Music Awards.
Supafly's sound is a blend of reggae/hip hop/ and dance. Supafly's success has led them to sold out tours, performing to crowds of up to 25,000.
Now London based, the essence of their sun-filled sound developed partly from Mister P and wOne’s stint in Australia. Inspired by the sunshine and the live music scene in Melbourne, their time away proved to be an inspiration for Supafly's signature tune, "Let's Get Down". It was written on one of the hottest days in Australia's history.
wOne is an accomplished singer, songwriter and producer. He has collaborated on several seminal dance hits and enjoyed a successful career with Supafly spanning more than ten years. wOne is currently in Ghana, West Africa exploring his musical roots and working on a new concept that fuses music and creativity to aid African development.
"Supafly" is a single by British artist Fugative. It was released on 17 January 2010 on digital download on Hard2Beat Records. The track charted at number 48 on the UK Singles Chart.
There were six remixes available on digital download of "Supafly" - the longest is the "Static Shokx Remix", with runs for 6:06. Other remixes include the "A1 Bassline Remix", "Cookie Monsta Remix", "Roska Remix" & the "Bass Slammers Remix". On the other single of "Supafly" there is the "Tek-One Remix".
The song first appeared on the UK Singles Chart on 30 January 2010 at number 48, then in its next week on 6 February 2010, it went down to number 98.
In mathematical finance, the Greeks are the quantities representing the sensitivity of the price of derivatives such as options to a change in underlying parameters on which the value of an instrument or portfolio of financial instruments is dependent. The name is used because the most common of these sensitivities are denoted by Greek letters (as are some other finance measures). Collectively these have also been called the risk sensitivities,risk measures or hedge parameters.
The Greeks are vital tools in risk management. Each Greek measures the sensitivity of the value of a portfolio to a small change in a given underlying parameter, so that component risks may be treated in isolation, and the portfolio rebalanced accordingly to achieve a desired exposure; see for example delta hedging.
The Greeks in the Black–Scholes model are relatively easy to calculate, a desirable property of financial models, and are very useful for derivatives traders, especially those who seek to hedge their portfolios from adverse changes in market conditions. For this reason, those Greeks which are particularly useful for hedging—such as delta, theta, and vega—are well-defined for measuring changes in Price, Time and Volatility. Although rho is a primary input into the Black–Scholes model, the overall impact on the value of an option corresponding to changes in the risk-free interest rate is generally insignificant and therefore higher-order derivatives involving the risk-free interest rate are not common.
Lotna is a Polish war film released in 1959 and directed by Andrzej Wajda.
This highly symbolic movie is both the director's tribute to the long and glorious history of the Polish cavalry, as well as a more ambiguous portrait of the passing of an era. Wajda was the son of a Polish Cavalry officer who was murdered by the Soviets during the Katyn massacre.
The horse Lotna represents the entire Romantic tradition in culture, a tradition that had a huge influence in the course of Polish history and the formation of Polish literature. Lotna is Wajda's meditation on the historical breaking point that was 1939, as well as a reflection on the ending of an entire era for literature and culture in Poland and in Europe as a whole. Writing of the film, Wajda states that it "held great hopes for him, perhaps more than any other." Sadly, Wajda came to think of Lotna "a failure as a film."
The film remains highly controversial, as Wajda includes a mythical scene in which Polish horsemen suicidally charge a unit of German tanks, an event that never actually happened.
"Speed" is a song written by Jeffrey Steele and Chris Wallin, and recorded by American country music duo Montgomery Gentry. It was released in December 2002 as the second single from their album My Town. The title from the cover of this single borrows its font from Speed Racer.
"She Couldn't Change Me" was included as a B-side.
The music video was directed by Trey Fanjoy. A young man trades his old truck for a car with speed as his truck just brings back memories of his ex-lover. He buys the car, then he drives the car really fast, but as he keeps seeing the memory of his ex-lover on the road, he jumps out of the car, and then he heads out running into the field. The duo is performing the song in the middle of a two-lane road at a night time setting.
"Speed" debuted at #57 on the U.S. Billboard Hot Country Songs for the week of December 28, 2002.
INTRO:
Call it love…
You’re alone if you try to follow…
Call it hate…
You’re alone if you try to…
VER1:
I’ll never declare you a deity,
(even though I want it to be reality)
I’ll never idolize you, cuz your flesh and blood.
(even though I feel more than just sympathy)
Sometimes I wanna follow someone to the edge of the
earth
(even though I know that I will never do that)
Bring me to the brim; bring me to the verge,
Take me to the brink, take me to the edge
Till we’re out of line.
VER2:
Sometimes I wish I could be your goddess,
(even though I’ll never ever lead you somewhere)
Sometimes I feel like you can become my demon.
(even though I’ll never follow you to nowhere)
We push our lives forwatill da moment we die
(you can walk beside me, but don’t step in my way)
I’ll bring you to the brim; bring you to the verge,
Take you to the brink, take you to the edge
Till we’re out of line.
BRIDGE:
Catch up with me
If you wanna speed up with me,
Hold on with me,
You got no time to hesitate
I slow down with you
If you want to become a part of me,
And I stop with you
If we speed up together.
CHOR1:
Call it love
(or any other romantic stuff)
Call it hate.
(if you have nothing to tell me)
Anyway
(no matter what you pretend to be)
You are alone if you try to follow.
Walk beside
(If you want to be with me)
Or curse your fate
(I won’t regret if you leave)
Never stop
(closing in equals death)
You are alone if you try to conduct me.
BRIDGE:
Don’t give up
no matter what you pretend to be
Don’t give up
no matter what you want to be
Don’t give up
no matter what you really are
Don’t give up
cuz I’ll turn my back on you.
VER3:
I know the way that it happens
(Close up your illusions, I need reality)
Second after second and day after day
(even though you fill more than just sympathy)
You’ll claim my freedom, but I’ll refuse
(even though I’d feel like I would give it you).
Somewhere on the brim; somewhere on the verge,
Somewhere on the brink, somewhere on the edge
When we’re out of line.
VER4:
Perhaps I could love you more than anyone else…
(Second after second and day after day)
Perhaps I could share some time with you…
(Minute after minute and year after year)
But I’ll never exchange my way for you
(sure I do it if you try to steal me away)
Somewhere on the brim; somewhere on the verge,
Somewhere on the brink, somewhere on the edge
When we’re out of line.
BRIDGE:
Catch up with me
If you wanna speed up with me,
Hold on with me,
You got no time to hesitate
I slow down with you
If you want to become a part of me,
And I stop with you
If we speed up together.
CHOR2:
Call it love
(or any other romantic stuff)
Call it hate.
(if you have nothing to tell me)
Anyway
(no matter what you pretend to be)
You are alone if you try to follow.
Walk beside
(If you want to be with me)
Or curse your fate
(I won’t regret if you leave)
Never stop
(closing in equals death)
You are alone if you try to conduct me.
JOINT:
Perhaps I could love you more
Don’t give up! Don’t! Don’t give up!
If we speed up together…
Don’t give up! Don’t! Don’t give up!
Perhaps I could love you more
Don’t give up! Don’t! Don’t give up!
If we slow down together…
Don’t give up! Don’t! Don’t give up!
CHOR3,4:
Call it love
(or any other romantic stuff)
Call it hate.
(if you have nothing to tell me)
Anyway
(no matter what you pretend to be)
You are alone if you try to follow me.
Walk beside
(If you want to be with me)
Or curse your fate
(I won’t regret if you leave)
Never stop
(closing in equals death)
You are alone if you try to conduct me. X2
BRIDGE:
Call it love…
You’re alone if you try to follow…
Call it hate…
You’re alone if you try to follow…
JOINT:
Perhaps I could love you more
Don’t give up! Don’t! Don’t give up!
If we speed up together…
Don’t give up! Don’t! Don’t give up!
Perhaps I could love you more
Don’t give up! Don’t! Don’t give up!
If we slow down together…
Don’t give up! Don’t! Don’t give up! X2
CODA:
Perhaps I could love you (don’t!),
Perhaps I could love you (don’t!),
Perhaps I could love you (don’t!),
More… x2
OUTRO:
Call it love…
You’re alone if you try to follow…
Call it hate…