The Greatest Mobile Legends Music Video Ever! 😜
Comment down Which team has the best dance?
Will be giving away 300 Diamonds to a random person that shared the video 💎
My motivation behind this was solely YOU. Yes, after making the "What does the Johnson Say?" Music video, you gave me the greatest response. You guys kept asking for more, and so one night I sat down and re-wrote the lyrics of Drake's Hotline Bling to a Mobile Legends scenario.
The story of the video is about how you help carry your friends when they call you at night even though you might be busy. However when they rank up and get better, they leave you for other squads and teams, leaving you lonely. SHAME ON THOSE FRIENDS! SHAME!
Lastly a BIG Thanks to all the teams who joined and was awesome enough to be part of it:
1. Team Bosskur
2. Geek Fam
3. ICON MY
4. EVOS Mobile eSports
5. Resurgence
6. Nara Esports
7. Xpax X-Assins
8. Reborn
9. MysteriousAssassin
10. Bigetron Esports Singapore
同時也有9部Youtube影片,追蹤數超過2萬的網紅lol-エルオーエル-,也在其Youtube影片中提到,Listen and download on your favorite platform♡ https://lol-JP.lnk.to/honoka-futureID Honoka is a member of the Japanese dance and vocal group“lol -エル...
「i will be one call away lyrics」的推薦目錄:
- 關於i will be one call away lyrics 在 Faraz Facebook 的最佳貼文
- 關於i will be one call away lyrics 在 Charis Chua 蔡佳靈 Facebook 的最佳貼文
- 關於i will be one call away lyrics 在 YOSHITOMO NARA Facebook 的最讚貼文
- 關於i will be one call away lyrics 在 lol-エルオーエル- Youtube 的精選貼文
- 關於i will be one call away lyrics 在 ToNy_GospeL Youtube 的最讚貼文
- 關於i will be one call away lyrics 在 大象體操Elephant Gym Youtube 的最讚貼文
i will be one call away lyrics 在 Charis Chua 蔡佳靈 Facebook 的最佳貼文
http://youtu.be/e1U3Ldx_LQg
Saw the lyrics of this song on FB adapted by Suetyoong Leong on FB, and it warmed my heart.I immediately roped my little sister to sing it with me.
It's a rough video recorded with a little Canon ixus. Hope to record some proper audio/visuals for it later, but couldn't wait till then. Bursting with too much emotion inside :D So, I'll just upload the demo version first :D
In the words of the writer, Suetyoong Leong:
"In the aftermath of GE13, there has been a lot of anger, confusion, and hopelessness. I think a lot of us are pretty much exhausted both physically and emotionally, but I just want to encourage each and every one of you to keep fighting the good fight -- To paraphrase a quote from one of my favorite scenes from The Sound of Music: 'My fellow Malaysians, we may not be seeing justice again, perhaps for a very long time. I would like to sing for you now... a love song. I know you share this love. I pray that you will never let it die.'
I haven't done song parodies in awhile, but this song snuck into my head and then very stubbornly refused to leave :) Please sing it to the tune of 'I Won't Give Up' by Jason Mraz haha
Call me idealistic if you must, but I'd like to dedicate this love song to Malaysia, and Malaysians everywhere"
Title: "I Won't Give Up a.k.a. Lawan Tetap Lawan"
Today Malaysians may sigh and cry
Say the stakes have been too high
That the elections are all a lie
But there are stories untold
About the healing of wounds and scars
People coming from near and far
To enter the ring for a spar
With the government of old
And I won't give up on us
Even when the times get tough
I'm giving You all my love
I'm still looking up
And though injustice has 'won' the race
Through cheating and manipulating
Our future is still in the making
It's too soon to be resigned
'Cause the government has been spurned
We know what their 'promises' are worth
Malaysians still have a lot to learn
but God knows it's worth it
No, I won't give up
[this part is unchanged]
I don't wanna be someone who walks away so easily
I'm here to stay and make the difference that I can make
Our differences they do a lot to teach us how to use
The tools and gifts we got,
Yeah, we got a lot at stake
And in the end, you're still my friend at least we did intend
For us to work we didn't break, we didn't burn
We had to learn how to bend without the world caving in
I had to learn what I've got, and what I'm not, and who I am
I won't give up on us
Even when the Government gets rough
We'll overwhelm them with love
We're still looking up, still looking up.
Well, I won't give up on us
God knows we're strong enough
We've got a lot to learn
God knows we're worth it
Please don't give up on Us
Especially now that times are tough
We all need to spread the love
And keep looking up
i will be one call away lyrics 在 YOSHITOMO NARA Facebook 的最讚貼文
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….
i will be one call away lyrics 在 lol-エルオーエル- Youtube 的精選貼文
Listen and download on your favorite platform♡
https://lol-JP.lnk.to/honoka-futureID
Honoka is a member of the Japanese dance and vocal group“lol -エルオーエル-”.
This song was produced by KM, one of the most talented producers in Japan today.
The song is about love that hasn’t been erased from memories yet.
This piece is about an important love and the feelings that you can’t forget even though you know that you have to move on because it’s for you and your future.
This work carries a message that only a woman can send to the worldview of Alternative Pop.
◆Official web site
http://avex.jp/lol/
◆YouTube
lol -エルオーエル-Official Channel:https://www.youtube.com/channel/UCTAs...
Playlist:https://www.youtube.com/playlist?list...
◆Twitter
honoka:https://twitter.com/lol_honoka
lol-エルオーエル-:https://twitter.com/lol_avex
◆Instagram
lol-エルオーエル-:https://www.instagram.com/lol_official/
honoka:https://www.instagram.com/honoka_lol/
◆TikTok
https://www.tiktok.com/@lol_avex
Produced by KM
Music & Lyrics : KM & Lil'Leise But Gold
Music Video Credits
Director : Nickey Rourke
Producer : Kento Shinozaki
Production : 蔵屋
Stylist : Keita Uchida
Costume : SUPPLIER
@supplier_official
https://www.supplier-tokyo.com
Lyrics♡
Now remember, Falling Falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine
1.2.3 call, not answering my phone
4.5.6 move out from your room, change into a dress, redraw the rouge, pressing down my temples
Narrowing my eyes. Do you like pure girls wearing fur? Unfortunately, I don’t have it in me to balance the scales of Love & Money. After I lose and realize, I can’t do anything about it later.
Memories still stacked not erasable
I miss you but I can’t hate you. You are my special. Frustrated feelings
I’m in love, I still hear you
Now remember, falling falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine
A sunny sky
Wobbly and
Soft determination, cloudy vision, dragging an umbrella that I don’t even use.
The heart flies away. Thoughts of that day, pretend to not know. Falling tears thinking that I might have forgotten something.
One after another, memories become glorified, I hear voice from the heavens saying, stop doing that.
A gulf that cannot be filled even if I pick up all the love and open doors. Sadness is transparent, I feel like I’ve lost my smile. I can’t go back to that place.
I’m sure someday, the memories of my feelings will melt, far and far away.
Soar high, I’m letting the wind carry my body and mind
Memories still stacked not erasable
I miss you but I can’t hate you. You are my special, frustrated feelings
I’m in love, I still hear you
Now remember, falling falling is inevitable
Going Going I wanna start walking
Never ever stop, a big 1step
Future is mine
I remember you
Sorry
I didn’t hear that
Lonely, I want to forget just that day, big 1step
Future is mine
i will be one call away lyrics 在 ToNy_GospeL Youtube 的最讚貼文
=============== Set It Off - Medley 11 Songs =================
Vocal : ToNy_GospeL
All Music : ToNy_GospeL
Illust : Nutgie
Special Thanks : JayVounter
Animator : ToNy_GospeL
Mix & Masterings : ToNy_GospeL
================ Original Song by Set It Off ==================
Medley first version : https://youtu.be/evZh79yp1c8
"Merry Christmas 2020" and Hello everybody and say my name ToNy_GospeL
This video is an extension of the medley that has been done before, according to this clip in 2018. To be honest, I'm a huge fan of Set it off.I'm still listening Duality ,Cinematic ,Up side Down albums.
I used to cover the songs of "Set it off" 3 songs on my YouTube channel.
I hope you enjoy this medley and stay awesome dude.
Lyrics
(I'LL SLEEP WHEN I'M DEAD) : shorturl.at/bfrX6
I’m stuck self torturing
My meds are failing me
Internal clock in smithereens
Can’t fix this, I’m hopeless
My eyes are stapled open wide
As I lay down on my side
I am bouncing off these walls
As I focus on the clock
Time stands still but I cannot
I should strap myself in bed
I guess I'll sleep when I am dead...
(I'D RATHER DROWN) : shorturl.at/cnOU9
Thanks for treating me like every boy you meet
So please, come in and take a seat
Here's the part where I learn and you will teach
On how to treat people like a piece of meat
(HORRIBLE KIDS) : shorturl.at/cinFW
Why is it me they're after?
Couldn't they pick another one?
One day I'll spit their laughter
And bite their tongue
Horrible kids, would you look what you did?
It was your ignorance that formed a beast with your wit
Ba-da-da-da-bum-
(NIGHTMARE) : shorturl.at/zU049
I hear it creeping from the corner
And all I know is that I don't feel safe
I feel the tapping on my shoulder
I turn around in an alarming state
But am I losing my mind? I really think so
Not a creature in sight
But what you don't know...
(KILL THE LIGHTS) : shorturl.at/wABT1
So we all stand enthralled by this bland curtain call
And the truth we pursue as we all, we all beg you to
Kill the lights, kill the actor, kill the actress
I'm afraid that the spotlight dried you up, whoa, whoa oh
Don't even think about it
Don't even think about it, no
We're begging you
To kill the lights, kill the actor, kill the actress
Or kill us all
(N.M.E.) : shorturl.at/huCIS
Remove the gag and step away he's suffocating!
You pull the strings day after day, that's why he needs a-
-break! From you! Bid your ass adieu!
A break! From you! Bitch, your ass is through!
Oh I hope he hears these words
Maybe next time he will learn
(PLASTIC PROMISES) : shorturl.at/jGHPY
Please, don't tell me that we're fine
I've got too much on my mind!
Isn't this too plain to see? Maybe, yeah!
'Cause we lost too much to gain
We were dancing in the rain
Tell me what am I to do?
With a double dose of
(PARTNERS IN CRIME) : shorturl.at/gjNS3
You'll never take us alive
We swore that death would do us part
They'll call our crimes a work of art
You'll never take us alive
We'll live like spoiled royalty
Lovers and partners...
Partners in crime!
(Wolf in Sheep's Clothing) : shorturl.at/swNP1
So could you
Tell me how you're sleeping easy
How you're only thinking of yourself
Show me how you justify
Telling all your lies like second nature
Listen, mark my words, one day (one day)
You will pay, you will pay
Karma's gonna come collect your debt
(Bleak December) : shorturl.at/djvC5
Watch you pretend, you know it all
Shift any blame aside
Vending the victim when it sells
How do you even sleep at night?
As I drive and drive
In that bleak December, you're just too cold
But I need the answer, before you'd fold
You would hold your cards inside your chest
I think I drove too far for that bleak December
And how full of shit you are
(The Haunting) : shorturl.at/aftLN
No one will love you like I did,
Will treat you like I did,
So go on wear that scarlet letter.
No one will love you like I did,
Will touch you like I did,
So good luck finding something better.
Playlist ที่น่าสนจายยย
- (All TEASER) บทเพลงของฆาตกร IdentityV : https://bit.ly/2WNy2sw
- รวมคลิปเกม Identity V (อัดเกม) : https://bit.ly/2FcgzEb
- HigH LigHT | (จับภาพตาดูฉากนี้!?) IdentityV : https://bit.ly/31DtFnN
สมัครสมาชิก Youtube Member : https://bit.ly/2ZgMOMD
อันนี้ช่องใหม่ TG GameCaster (LIVE เกมยาวๆ) : https://bit.ly/31FvmRG
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#Setitoff #Medley #TG
i will be one call away lyrics 在 大象體操Elephant Gym Youtube 的最讚貼文
這樣的2020年,我們寫了一首這樣的歌——〈敬啟者 Dear Humans〉。
給所有活著、並期待或害怕末日來臨的人們。人們鑄下大錯、人們後悔、人們領悟、人們乞求著被世界原諒。但何不從現在開始?好好愛著那些該愛的,好好珍惜地球上的每一個生命、每一方土地。
這封信,給末日來臨時逃離地球的人類們。我們是當初曾與你們相伴,卻被獨自留下的寵物,是狗、是貓、是烏龜、是一株盆栽。
這次,請換你們聽聽我們說。
In a time like 2020, this is the song we wrote —— “Dear Humans”.
To all the living humans who expect or are afraid of the coming of apocalypse: People made big mistakes. People regretted making them. People admitted the wrongs. Now, people are begging to be forgiven by the world. But why not start making amends right away? Love those who deserve to be loved. Cherish every form of life and every inch of land.
This letter is written to the humans who left the Earth when the apocalypse came. We are the pets that accompanied you in the past, but then you left us here alone. We are dogs, cats, turtles and potted plants.
And now, please listen to what we have to say.
——————
2020 大象體操跨界計劃|
【莎士比亞的妹妹們的劇團 王嘉明作品《物種大樂團》】
▶︎時間:2020.10.23-10.25
▶︎地點:台北國家戲劇院 National Theater
▶︎購票:https://bit.ly/2YPsC4j
——————
〈敬啟者 Dear Humans〉
放棄了的 進化了的
The abandoned, the evolved
你是不是仍然相信著當時的選擇
Do you still believe in the choice you made?
後來的 大象早就 學會遺忘
Before long elephants learned to forget
流浪的 北極熊也 在天上飛翔
Nomadic polar bears now soar in the sky
突然 一艘船 從天而降
A vessel dropped from the clouds all at once
狼狽的 沈重步伐
Plodding, trudging
你是否 就是早已離開的人啊
Are you the one who’s already left?
宇宙中 完美的家 你說那是無聊的謊
“The ideal home in the universe” You call this a tedious lie
眼前的 這片海洋 卻恢復原來的模樣
The ocean before our eyes has renewed, revived
為什麼 人類 渴望遠方
Why do humans thirst for the distance
卻 無法守護 腳下土壤
But fail to protect the soil under their stride?
你問我 該怎麼做 才能被原諒
You asked me what to do
To receive forgiveness
曾相信的 曾心愛的
Once believed, once beloved
現在的我仍然相信著當時的選擇
I still believe in the choice I made
我從來 沒有離開也不想要遺忘
I never left, I don’t forget
一輩子 都在這裡等待 著你回來
Waiting for your return with all my life
好想 告訴你 不用害怕
To tell you that don’t be afraid
放下所有的 後悔悲傷
Lay down all the regrets and sorrow
只要你 願意擁抱我們曾受過的傷
As long as you embrace our woes
偶然的 巧合 已開始流轉
Circumstantial, Coincidental, Circulation
那 隨機的 安排也不斷在變換
Random orders, tireless changes
淘汰的 願望 又回來了嗎
Is the eliminated hope rekindled?
曾 緊緊擁抱的 和深深愛過的
Once caressed, once cherished
未來的 還在 遙遠的未來
The future is still in the far-fetched future
而 過去的已經消失在過去了
Yet the past has vanished in the past
——————
【音樂製作 Music Production】
製作 Producer:大象體操 Elephant Gym
作詞 Lyrics:張凱婷 KT Chang、張凱翔 Tell Chang
作曲 Composer:張凱婷 KT Chang
編曲 Arrangement:大象體操 Elephant Gym
電吉他 Electric Guitar:張凱翔 Tell Chang
鍵盤 Keyboard:張凱翔 Tell Chang
電貝斯 Electric Bass:張凱婷 KT Chang
鼓 Drums:涂嘉欽 Chia-Chin Tu
錄音工程師 Recording Engineer:陳瑩哲 Ying-Che Chen @小白馬音樂工作室 White Pony Music Studio
混音工程師 Mixing Engineer : 邱建鈞 J-Jyun Ciou @玩痛音樂工作室 Playtone Studio
母帶後期處理工程師 Mastering Engineer : 陳陸泰 A-Tai
母帶後期處理錄音室 Mastering Studio : 原艾母帶工程錄音室 Mugwort Mastering
——————
【MV製作 Music Video Production】
監製 Executive Producer:伊晉褕 Eric Yi
導演 Director:許睿庭 RAY
攝影師 Director of Photography:萬又銘 ONE
攝影助理 Camera Assistants:張岳群 Henry Chang
燈光師 Gaffer:萬又銘 ONE
燈光助理 Best Boys:曾鈺展 Yu Zhan Cent、楊鈺銘 Yu Ming Yang、陳宇颿 Yu Fan Chen
美術指導 Production Designer:潘幸均 PAN
小精靈 Elf:馮會元 Hui Yuan Feng
演員 Cast:艾迪 Addy、吳為 Wei Wu、Ray Han、蹦蹦 Bong Bong
後期製作 Post production:萬事屋影像制作 Onezpro Studio
剪接 Editor:朱威 Wei Chu
調光 Color Grading:周采葳 Cai Wei Zhou
合成 FX Artist:江偉 Will Chiang
器材協力 Equipment Support:乒乓影像器材 Ping Pong Film Studio、仙人掌影業器材 Cactus Studio
歌詞翻譯 Lyrics Translation:覃天愛 Tien-Ai Chin
特別感謝 Special Thanks:眉角映像 MEGA Pictures、TheBayStudio、嚴敏 Mia Min Yen