關於 a new day has come lyrics ，我們在網路上蒐集到這些相關的討論、資訊與評價

📣照過來！照過來！為了造福首次來台的外國旅客，『北北基好玩卡x愛玩客』聯名企劃，破天荒加入「中英字幕」版本單元！
趕快揪你的外國朋友一起看節目、留言抽北北基好玩卡，讓你免費體驗，暢遊16個景點、交通無限搭乘，還有特約店家獨享優惠，一起玩瘋北北基！
-
活動辦法：
1. Tag一位你的外國朋友
2. 留言你們最想使用【北北基好玩卡Taipei Fun Pass】去的北北基景點
華人範例1：@Aubery, 一起來用【北北基好玩卡Taipei Fun Pass】來去故宮博物院～
英文範例2：@Tony Let’s travel National Palace Museum with【北北基好玩卡 Taipei Fun Pass】
（小編提醒：請用他看的懂的語言、且確定他是外國人喔！）
-
👉活動期間：即日起～至108/4/26（五） 23:59止。
👉活動獎項：北北基好玩卡 l 無限暢遊三日券 x1張，共2名。
👉得獎公布：108/4/29（一） 將會以電腦抽選的方式在這篇貼文底下公布2名幸運兒。
⚠請獲獎者於公佈得獎名單24小時回覆個人資料，否則視同放棄，
⚠本節目保有活動解釋及變更的權力，每位只允許領取一張喔！
-
-了解更多🔎北北基好玩卡官網：https://bit.ly/2FudJLG
-吳鳳艾美好愛玩客好玩卡🌠試玩全集：https://www.youtube.com/watch?v=1zk-3RoIzOI

Check it out! To benefit travelers who come to Taiwan for the first time, Taipei Fun Pass has crossover iWalker and launch the new edition’s program with English-Chinese lyrics.
Please have the program with your friends and join the lucky draw activity by leaving message.Let you enjoy your travel with 16 top attractions, unlimited rides for the public transportation and special discounts at authorized stores by Taipei Fun Pass.
-
How to participate the lucky draw to get Taipei Fun Pass for free?
#Step1-choose the place you want to travel with “Taipei Fun Pass”
#Step2-Tag one of your foreign friend in your sentence
#Example: @Jessica, let’s travel National Palace Museum with “Taipei Fun Pass”
-
👉 Deadline: before April 26th 23:59
👉 Award: Taipei Fun Pass | Unlimited Version – 3 Day x 1，a totally of 2
👉 Announcement: 2019 April 29th, list below this post.
⚠ If you win the ticket, please reply your information with messenger within 24 hours. Otherwise it would be waived.
⚠ This program retains the power to explain and change the event, and each person can only receive one ticket.
-
More info 🔎 https://bit.ly/2FudJLG
See all the video 🌠 https://www.youtube.com/watch?v=1zk-3RoIzOI

#TaipeiFunPass #free #gift #travel #Taiwan

ประภาส ชลศรานนท์ ที่ผมแอบมอง
---
1
จำไม่ได้ว่าผมหยิบหนังสือ "เพลงเขียนคน ดนตรีเขียนโลก" มาจากหิ้งหนังสือของห้องสมุดแห่งไหนในจุฬาฯ แต่จำได้แม่นว่า นี่คือหนังสือเล่มหนึ่งที่เติมสารประกอบสำคัญเข้ามาในสมอง และหล่อหลอมให้เกิดความคิดแบบหนึ่งขึ้นในหัว กระทั่งวันนี้ความคิดนั้นยังคงอวลอยู่ไม่ไปไหน
...Continue ReadingPrapha sachon saranon that I sneak peek at
---
1
I don't remember which library I picked up "music writing" from which library in chula, but I remember this is a book that added an important compound into my brain and forged. One thought in my head until today, that thought is still going anywhere.

The idea that is " many more

Along with the feeling that our little hands can write the world.

I have been listening to "Chaliang" since elementary school. Milk hasn't set (now). I still). I understand. When I was in University, the band disband disband has left just a story on the wood sheet for me. A lot of music never old. Those are written from the end of brother chik's pen - prapha chon Sara non

Reading this book makes you see the idea behind each song, and even more you see the author.

For me, whether brother chik wrote a song, wrote a book or made a movie, all he tried to do is ask people to try to look at the corner with more than just the corner.

See the world and your heart will be expansive.

Many more (many more that we don't know. We see it. Just in case we haven't seen it yet), Hibiscus Tree and blind (blind, but the mind is still bonded beauty), if there are only two of us in this world (time I'm hungry. Two of us will eat sticky rice with chicken noodles. Who to buy), it's up to who (it's up to who sees it, who can hear it, who decides), calm down bro (where are you going to fight with? I don't have time. Search for mind) etc.

Many songs of the lyrics are annoying. Such as when a lot of love songs say, " there are only us in this world brother chik asked me. Who will you want to eat noodles, who do you buy from? During a loud song If you don't love me, tell me. Tell me a word. " brother chik also wrote a song. Calm down. Where are you going? Let's see.

Khun Prapha Somchai cuddle will see the world in the drone corner. It's flying up to see the wide picture and spread out that there may be a corner that we forget to look at. The world could be something else.

...

2
"many more" in the meaning of brother chik doesn't eat just one thing. There are hundreds of thousands of possible sources, but it also means looking at everyone. Everything is equally important. Equally beautiful. Not comparing to take it to take the beams, but look beautiful. Of that person then pull out that potential to create value

" Classic, don't insult jazz
Jazz don't watch clan pop
Pop, don't mind the country.
Don't be sulking with doctor lam.
Doctor Lam, don't think more than classic. It's high "

This is a message on the screen in the concert. The song makes me think of what brother chik told me in this book. "people are like fingers. It's not equal but fingers too and have different duties" is a teacher's speech. Teaching kids in the young movie of piak posters.

To this day, the " finger is not equal " has been interpreted and wittalion. But in the meaning that I understand that brother chik wants to press, the " difference " rather than " inequality " is thumb is different from Index Finger and pinky and brother chik says " you could be a pinky finger which is more important than the index finger in some things read and think that our round fingers are valuable in our way.

"Tao" which sees the value of the nature of things like this. Often seen in the work of brother chik.

...

3
Mr. Prapha is not a big person. If there are two sides, brother chik will not stand on one side. Maybe because of the eyes that sees the beauty of each thing, each mind and an open view. I don't believe that anyone is all right. Or all wrong. Everything is good or bad.

Most importantly, this kind of thought resilience is believed that the people or the extreme thoughts we see are not eternal, but it can always change. The Extreme can also be adjusted, divided, exchange. New ingredients in themselves.

Once I had an opportunity to sit and talk with brother chik. Then we went to consult about making tv show. Our team is interested in a program that focuses on content. Easy, I want to pass knowledge to the audience. When I tell you the pattern and content to you. Listen to the brother ask, " is knowledge necessary that it must not be fun stop thinking and continue asking " is entertainment necessary to be ridiculous "

Just these two questions expand our view. We can see a new area that there is still space in the middle that combines what we thought were irrelevant. Different Worlds. and if we could, we could, we wouldn't cut off any kind of value.

...

4
That's another feature of brother chik that I secretly look at. This guy doesn't teach straight away, doesn't comment, but he likes to ask questions. Let the partner to consider it himself. This technique is used in writing as well.

The question that brother chik throws at can make us think " can it be something else " or " can it really see one way

This kind of conversation is like a kind adult who doesn't block. It doesn't draw the line what it should be. But let us choose by ourselves. This is how to tease you think with the question that khun prapha can use this kind of weapon. Praew praew praw praw praw praw The more and more.

If anyone has worked with brother chik, maybe it feels why I came up with this idea! I'm really good! But in fact, we can think because we are triggered by his brother's questions, but we will feel good because no one has ordered us to do that. We make our own decisions.

So it's not just creative work, but the way of working is also creative.

...

5
The Picture of brother chik that I remember when I was looking at the idol in the conference room is a picture of a playful executive like a little boy who had the big one who had the power to make any decision.

I saw his brother spinning pen, drawing a picture, and poke him out while everyone was meeting seriously thinking about it.

Good ideas often come up during our relaxing time -- I've heard many good thinking people say that. Many people say that if we don't lose our children, we will always keep the potential to imagine and creative.

Photo of Mr. Prapha in the conference room for me like a playful kid.

Another picture that I remember is in the conference room and dining table of the group who often meet each other. Brother Chik will tease the scared by putting a glass of water. The Edge of the table. It seems to fall to test if that person can endure enough. That person keeps moving deep. Mr. Prapha will laugh and says, " can't you stand it? Can't you stand this kind of thing

A Writer, a creative thinker that we have been following for a long time. Admired and thought that he would be quiet. But when he met the real one, he became a playful little boy, fast talking, Pear, praw and questioning. A very fun conversation.

...

6
If I would write about "the" from the eyes that I would have written many pages of paper because I have been looking at brother chik since the work behind my thoughts to read every interview that I saw until I had a chance to meet on the occasion. I'm always looking at verbs, symptoms and thoughts of brother chik. Teacher's Melody.

Finally, brother chik is not crazy. People may see the work, but they don't have to see his own. We know the song. Scream and laugh with brothers and musicians. We love the program of work. Point or many other creative works caused by this brother's mind, but often we don't even know or don't even think there is him behind it.

This is another thing that brother chik taught me. We can make a change or create something without letting people see us. in some cases, it's more powerful than having better cuddle results.

We have seen Mr. Prapha through some work, but I believe there are many pieces of this sharp and round anchor that we didn't know was his work.

The fit of being seen is something that brother chik manages to learn and nan cuddle baht.

Prapha Chon Saranon is a teacher with many lessons to sneak peek and learn.

Thank you brother chik for being an inspiration, an open thought perspective. He ignites the dream of writing books and giving "many more" tips in my heart since I was in teenagers through your work.

Congratulations to brother chik for the National Artist Award in performing arts as the creator of International Thai entertainment and music event this year.

I really want to tell brother chik that "music writing music"

At least one of me is the productivity from your song.

With love and thanks

Ehhh (round finger)Translated

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

Official Music Video 04/13/2021
https://youtu.be/7oXGX4mx2KM

Listen Now https://venice.lnk.to/Faith
Spotify http://spoti.fi/3aVj3XV
Apple Music http://apple.co/37RESG6
QQ Music http://bit.ly/3aWjHEQ
Netease Music http://bit.ly/2NJSnR7
More http://www.alrocco.com/music

"All I gotta have is Faith, all I gotta believe is me."

Faith, a force beyond the physical. Believing in the intangibles of hope, believing in the unlocked powers within. Having the acceptance, the patience, the grit to be aware, honest, to overcome, and to learn to truly trust the core energy of our truest selves, by letting everything else go.

The 2020 pandemic has taken a big part from all of us, yet it has also given us the gift of awareness and the time to better ourselves. Produced by Yung DZA, Al Rocco speaks on his recent spiritual transformation in his newest 2021 single “Faith”, to support and encourage those feeling lost or presently struggling a new perspective to trust everything thatʼs happening right now is exactly where we need to be and everything we need for us to make the changes we desire comes from the power within us. Take your leap of Faith.

@alrocco
http://instagram.com/alrocco
http://weibo.com/alrocco
http://facebook.com/alrocco
http://twitter.com/alrocco_
http://tiktok.com/@a1rocco

“我要拥有的就是信仰，我要相信的就是我⾃己。”

信仰是⼀种超越物质的⼒量。相信希望的无形，相信内在还未发掘的能量。 去除⼼心中杂念，变得包容、耐⼼心、真诚，拥有自我意识觉醒的勇气，去克 服，去学会真正信任来⾃自内在真我的核⼼能量。

2020年我们的生活被疫情所占据，但同时也给了我们更多时间去思考，去成为更好的自己。由Yung DZA制作伴奏，Al Rocco在他2021年最新单曲 “Faith” 中讲述了了他近期精神世界的转变，以⽀持和鼓励那些迷失方向或是正处于自我挣扎的人们—帮助他们以一种新的角度去思考，去相信目前发生的一切正是我们所需要的，去相信是我们内在的力量使得我们作出改变。让信仰带领你⻜跃。

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
All I gotta believe is me
我要相信的就是我⾃己

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
Now watch me push this weight
现在看我突破极限

Give it everything
付出⼀一切
Feel it everything
感受一切
Feel it in the pain
感受痛苦
When the pain gains
当痛苦加剧
Let the motherfucker ache
就让它痛吧
Let the motherfucker break
让它破碎吧
Give it up
放弃⼀切
Fuck it up
去它们的吧
Got no love
不需要爱
Push it till you motherfuckin' great
不断努⼒直到做⼤
Till there’s no more pain
直到再也没有痛
No more hate no more fake
没有恨 没有虚假
Till there’s no more lies
直到再也没有谎言
No more cries no more ache
没有眼泪 没有痛苦
Man I'm tired of the devil
我早已厌倦了那些恶魔
And I'm tired being a rebel
也厌倦了做一个反叛者
Man I'm tired and I've cried
我厌倦了 我哭泣过
And I've died to a level
我已死过一次 现在重生了
Super Saiyan God flexing yah
像超级赛亚人⼀样
I got my God blessings yah
我有上帝的庇佑
Thankful for the hard lessons yah
感谢曾经的磨难
Giving me what I've been asking for
让我得到现在的所有
What’s the main game mane aim for the change
重头戏是什么? 兄弟 是为了改变
What’s the main game ain’t the money or the fame
重头戏是什么? 不是金钱也不是名誉
But the growth from the pain and the chill from the rain
疼痛让人成长 ⻛雨让人冷静
From the dirt of the grain to the skies of the great-ness
始于尘埃 终⾄天际
If you wanna be the best you gotta beat the best at fighting yourself
战胜自己 你才可以成为最好的那个
Look yourself in the mirror
看镜子里的人
You your own competition ain't nobody else
最大的对手不是别人 正是⾃己
And I know I will win when all my sins and my ego are no longer felt
当感受不到罪恶和自负的时候 我就知道我赢了
I pray to God every night to give me strength
每晚我向上帝祈祷 给我⼒量
I couldn’t have done it without his help Faith
如果没有信仰 我做不到这⼀切

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
All I gotta believe is me
我要相信的就是我⾃己

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
Now watch me push this weight
现在看我突破极限

I ain't gonna be that motherfucker found floating on the lake
我不会成为那些随波逐流的人
Gotta keep on moving gotta keep on moving weight
不断向前 永不停止 突破⾃己
Time is money gotta stay alive stay awake
时间就是⾦钱 保持活⼒保持清醒
Look out for snakes they come in different races different faces
当⼼小人 他们有着各种嘴脸
Different places all around the world they come for you and your girl and your fam and your pearls
他们存在于世上的各个地⽅ 企图接近你、你的爱人、你的家人
以及你的财富
Nothing penetrates whenever I generate
但没有什么能影响到我
Meditate to a higher level while I medicate
通过冥想达到另一个境界
Gotta do my best with my time while the heaven waits
在我所拥有的时间里 尽力做到最好 即便终有⼀天我将去天堂
Only God can judge me waiting at the heaven gates like
只有上帝可以站在天堂门前审判我
Huh huh huh huh
Gotta do my best before the day I gotta rest like
在那一天到来前 必须做到最好的⾃己
Huh huh huh huh
Gotta put the past in the past and the rest don’t matter
让过去留在过去 其他的都不重要
Those who mind don’t matter
不在乎其他⼈的看法
Those who matter don’t mind
只在乎身边支持我的人
Everybody got the same time same day same night same air same light same life
每个人都曾经历过某个同样的时刻，同样的一天，同样的晚上，
呼吸同样的空气，看同样的光，过着同样的生活
And I'm just talking the truth
我只是在陈述事实罢了
Nobody be wanting to hear all that truth
即使没有人想要听到这些实话
Hidden in the pain
他们逃避痛苦
Confusion in the game
迷失在游戏
Fear for the future
对未来充满恐惧
They loot
他们掠夺着
Motherfucker think
好好想清楚
Before you gonna shoot
在你开枪之前

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
All I gotta believe is me
我要相信的就是我⾃己

Faith
信仰
Faith
信仰
Faith
信仰
Faith
信仰
All I gotta have is faith
我要拥有的就是信仰
Now watch me push this weight
现在看我突破极限

❖訂閱頻道收聽更多好聽的歌：https://www.youtube.com/c/EHPMusicChannelII
❖Facebook臉書專頁：https://www.facebook.com/EHPMC/
❖IG：ehpmusicchannel
❖微信公眾號：ehpmusicchannel
----------------------------------------------------------------------------------------------------------
♫ 一鍵收聽你想聽的歌 ♫
❖ 抖音/TikTok專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRwduBTjBHknz5U4_ZM4n6qm
❖ 華語歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRz5t_T2v2iuW1pqnj89kY4F
❖ 廣東歌/粵語歌專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRxBtfYS-CM3UXto2VbUL8hA
❖ RAP/說唱專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRyD5qKNqumkTXqtPiYj3mlr
❖ 古風歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRy9uWRObrUifsgJBdpBEq-y
❖ 翻唱/改編/Remix/EDM 歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRz9-257u_Eknjf0sjW6HDjH
❖ 更多分類歌單：https://www.youtube.com/channel/UC345x_D7DgK5313D3ftM_EQ/playlists?view=50&sort=dd&shelf_id=17
----------------------------------------------------------------------------------------------------------
❖歌詞在下面❖

演唱：KDrew
作曲：KDrew
作詞：KDrew

My darling you don't
親愛的，你不會

Know a single thing about my past
知道我過去的事

Cause if you did you'd hurt and run away without asking
因為當你知道後，會不問原因的走掉

So what you wanna know you don't wanna know
所以你想知道你不知道的

Cause it will break your heart
因為這會讓你傷心

So do you really wanna go where you know I don't
你真的去了你知道而我不知道的地方

Cause I can't find the means to start thinking bout yesterday
因為我不想回想到過去

I don't wanna hear you say nothing bout yesterday
我不想聽到你說任何關於過去的事

I don't wanna hear you say cause a new day has come
我不想聽你說過去，因為新的一天已經開始

Another day that we've won
現在我們已經在一起

and I don't care about yesterday
我不在乎過去的事

Yesterday is gone
昨天已過去

Girl I don't want to deal
我不想面對

with a past that was left unspoken
不能說的過去

Our love is made of steal with a lock that'll never be broken
我們的愛堅硬如鎖，不會破裂

So don't you cry about the answers I aint given
不用哭泣我沒有告訴你的過去

This is for you and I
這是為了你和我

Cause we don't need to be living for yesterday
因為我們不用活在過去

I don't wanna hear you say nothing bout yesterday
我不想聽到你說任何關於過去的事

I don't wanna hear you say cause a new day has come
我不想聽你說過去，因為新的一天已經開始

Another day that we've won
現在我們已經在一起

and I don't care about yesterday
我不在乎過去的事

Yesterday is gone
昨天已過去

Yesterday is gone
昨天已過去

Yesterday is gone
昨天已過去

You think that I don't love ya
你認為我不愛你

if I don't say every little thing about me
如果我不說關於我的每件小事

That I was doing yesterday
那是我過去所做的事

What's done is done
做了就是做了

Why can't you be the one
你為什麼不能

To love the man that you helped me become
愛現在的我，幫我改變

Yesterday
過去

I don't wanna hear you say nothing bout yesterday
我不想聽到你說任何關於過去的事

I don't wanna hear you say cause a new day has come
我不想聽你說過去，因為新的一天已經開始

Another day that we've won
現在我們已經在一起

and I don't care about yesterday
我不在乎過去的事

Yesterday is gone
昨天已過去

Yesterday is gone
昨天已過去

Yesterday is gone
昨天已過去

Yesterday is gone
昨天已過去
----------------------------------------------------------------------------------------------------------
❖歌曲上架平台
➸ 網易云音樂 | http://music.163.com/song?id=29953681&userid=1450149887
➸ 酷狗音樂 | https://t1.kugou.com/song.html?id=2QR762bwmV2
➸ QQ音樂 | https://c.y.qq.com/base/fcgi-bin/u?__=OEmxNG
----------------------------------------------------------------------------------------------------------
❖ 合作郵箱：ehpmusicchannelhk@gmail.com
❖ 微信：EHPMusicChannel（id：xy-z1315）
（歡迎查詢合作/投稿音樂/攝影作品等等）

❖Original Photo by Paweł Szymankiewicz

❖歌曲版權為歌手本人及其音樂公司所有，本頻道只作推廣及宣傳之用，若喜歡他們的音樂請到以上平台鏈接購買歌曲支持。

❖Like, Comment, Share & Subscribe❖
❖喜歡的請分享及訂閱本頻道❖

In celebration of my 34th birthday I’m releasing my latest song FOREPLAY! Enjoy!!!!! ❤️????

STAY CONNECTED.....

YOUTUBE: https://www.youtube.com/anhminhnet
EMAIL: anhminh@anhminh.net
FACEBOOK: https://www.facebook.com/anhminhfan
INSTAGRAM: https://instagram.com/anhminhledoan
SNAPCHAT ?: anhminhnet
TWITTER: https://twitter.com/anhminhnet

FOREPLAY
Produced by Duong Khac Linh
Music & Lyrics by Anh Minh & Duong Khac Linh

VERSE

Lick it lick it lick it lick it
Suck it suck it suck it suck it
Freak it freak it freak it
Yeah I like it.…. 2ND VERSE You know I like it

Own it own it own it own it
Blow it blow it blow it blow it
Do it do it do it
Yeah I like it….. 2ND VERSE You know I like it

PRE-CHORUS

Do it real slow
Nice and low
Keep it on the low nobody has to know

All the way
Our little secret place
Where we can escape and fade away

2ND PRE-CHORUS

Kiss it, foreplay
Do it all day
Get a little taste lemme blow you away

CHORUS

I wanna take you on a natural high
You know you wanna come a get it
Into my fantasy world you and I tonight
Come get it come get it

Boom boom boom boom yeah
Baby let me
Boom boom boom boom you
I need to hit it
Boom boom boom boom yeah
Show me how you do just like you do..... Suck on this bitch

RAP

You can come and get it lick it lick it suck it freak it hit me real good
Do it how I like it show me how I wish you would
We can it do like this, we can do it like that
I don’t mind long as you can man up come through bae
I don’t care how you do it hold it down hit me good
Got a special spot come put your name on it