Daily advice for HK immigrants to the West:
Regarding work, if you get a promotion, your salary should go up accordingly. If you’re not getting compensated, you’re within your right to ask for the reason. Do so privately and respectfully. Weigh your options. If your boss doesn’t look like he’ll compensate you in the long run, you’re well within your rights to look elsewhere. You have no obligation to be loyal to your work. Your loyalty should only lie with your family. Don't let anyone trick you into dividing that loyalty. There're lots of American employers who love to hire Asians because in their (deluded) minds, they think the model minority Asians will work twice as hard for the same pay (aka underpayment). Don't let other take advantage of you like that simply because of racial stereotypes.
同時也有14部Youtube影片,追蹤數超過20萬的網紅許靖韻「小背心」Angela Hui,也在其Youtube影片中提到,今集唱嘅歌全部都又Sad又Hurt? 但希望我嘅歌聲可以比返力量大家? 而自己超鍾意祖兒首《煙霞》? 《今晚唱飲歌2》EP4:https://youtu.be/59qzWG2juDM #許靖韻 #AngelaHui #傷心情歌 #小背心 #今晚唱飲歌2 #今晚唱飲歌 #AngeLad...
no reason to lie 在 Facebook 的最讚貼文
Yeah..... Me too.
We all expected it. For the sake of bringing down cases, it is necessary.
I do feel weary, tired, frustrated about the situation at times which seems to look like its never ending series of mco. Not going to lie. The thought of certain plans going off to no plan land or "freedoms" ripped from you, can mess with your head space. Making one think things aren't OK, we are stuck where we are, we aren't permitted to move, that we can't do stuff, we maybe lonely. Such a lie, the evil one tells us in whispers 😤
When those thoughts enter, that is when it is most crucial to stay close to our Creator. Speak with Him, remember the truths from the Word and being thankful for the multiple blessings that one already has in life. There is a reason for this season and my hope is you can see beyond it. Its a reminder for me too. 🙏
There's no such thing as impossible. I believe in Christ that makes all things possible and even in this time of lockdown yet again. There is always hope and always something we can do. God already has everything planned out, have faith. ❤️
Just my thoughts for this Sat. There's good & possibilities through this time, do check up on others where you can. Stay safe my beloved Malaysians.
Shot by @allisamazing
no reason to lie 在 半瓶醋 Facebook 的最佳貼文
【水世界】的前製設定與現場劇照
WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD
The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.
Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.
This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.
The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.
Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.
Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,
“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.
He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.
As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.
Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.
The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.
The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.
The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.
Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,
“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”
The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.
During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.
They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.
Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.
The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.
Shooting out on the open sea presented a series of logistical problem as Reynolds describes,
“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.
And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.
Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.
And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”
The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.
Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.
During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.
The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!
Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.
sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.
There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.
This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.
Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.
In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.
Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.
Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.
Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.
As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,
“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.
And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.
Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.
And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,
“Well, it didn’t suck.”
It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.
During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.
As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.
The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,
“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.
When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,
“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.
Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,
“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”
Written by John Abbitt | Follow John on twitter @UKFilmNerd
If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share
no reason to lie 在 許靖韻「小背心」Angela Hui Youtube 的精選貼文
今集唱嘅歌全部都又Sad又Hurt?
但希望我嘅歌聲可以比返力量大家?
而自己超鍾意祖兒首《煙霞》?
《今晚唱飲歌2》EP4:https://youtu.be/59qzWG2juDM
#許靖韻 #AngelaHui #傷心情歌
#小背心 #今晚唱飲歌2 #今晚唱飲歌 #AngeLadys
Lyrics 歌詞
《 #心甘命抵 #容祖兒 》
還未看到木村 離別當初的隊員
如你我這就算 風光真的太短
還未說到木村 何日變節再熱戀
與你一起給他算算 也許可呃多幾天寒暄
你最初答應過我什麼 我最終錯過了什麼
不見得 曾討好過我 起碼也要憎恨我
你至少怪責我什麼 才清楚你當我什麼
紀念留到夠多 才能甘心將錯就錯
眼淚還有很多 何必要急於背叛我
《 #來互相傷害 #八三夭831 feat. #ALin 》
出去玩 跟誰幾點回來 對寶貝 沒報備像罪犯
點誰讚 滑誰即時動態 夠了沒 控制慾太氾濫
每一次 說的謊 劇情都超展開
我要的 不過是安全感 (有多難)
當被愛 都走歪成悲哀 有一種 悲傷叫做心軟
我們之間 回不去 (回不去)
也沒未來 (沒未來) 沒有愛只剩友善
害怕什麼 愛就愛 (愛就愛)
該散就散 (散就散) 不愛那不如滾開
來互相傷害 來互相傷害 不再痛苦來 死個痛快
來互相傷害 來互相傷害 逝去的擁抱 怎麼取暖
含淚不捨 也不 委婉 狠心無視 你的 哭喊
愛過怎麼 好聚 好散 來互相傷害
當一切 不再依然 當相愛 變成相害
最後一站 是宣戰 誰回頭 誰混蛋
該刪的 都刪一刪 該斷的 肝腸寸斷
傷疤有天 總會淡
來互相傷害 來互相傷害 不再痛苦來 死個痛快
來互相傷害 來互相傷害 逝去的擁抱 怎麼取暖
痛把回憶 燒成 遺憾 重生之後 會更 勇敢
愛過怎麼 好聚 好散 來互相傷害 來互相傷害
《 #說謊 #林宥嘉 》
是有過幾個不錯對象 說起來並不寂寞孤單
可能我浪蕩 讓人家不安 才會結果都陣亡
我沒有什麼陰影魔障 妳千萬不要放在心上
我又不脆弱 何況那算什麼傷 反正愛情不就都這樣
我沒有說謊 我何必說謊
妳懂我的 我對妳從來就不會假裝
我哪有說謊 請別以為妳有多難忘
笑是真的不是我逞強
我好久沒來這間餐廳 沒想到已經換了裝潢
角落那窗口 聞得到玫瑰花香 被妳一說是有些印象
我沒有說謊 我何必說謊
妳知道的 我缺點之一就是很健忘
我哪有說謊 是很感謝今晚的相伴
但我竟然有些不習慣
我沒有說謊 我何必說謊
愛一個人 沒愛到難道就會怎麼樣
別說我說謊 人生已經如此的艱難
有些事情就不要拆穿
我沒有說謊 是愛情說謊
它帶妳來 騙我說 渴望的有可能有希望
我沒有說謊 祝妳做個幸福的新娘
我的心事請妳就遺忘
《 #煙霞 #容祖兒 》
你怎麼會陪著我 被你跑車再挾持我
心跳逐秒逐秒掠過 竟想到最初
我也差半點認錯 被你分手開車接我
可笑是我們忘了 你們座駕
不應再輕率給我坐
遊遍了天下 前路的風景
蓋著了煙霞 蒙閉的雙眼
未明白拈上你是何代價
彼此亦另有他
神秘的煙霞 誰認清真假
你別要用我受不住的鼻音跟我說話
令我的心軟化
證實我真心想有火花
難道我別無異心 完全沒好感
都可以跟你散心 裝作假天真
當我伴侶為我等 我便會憎
憎多心的我太懂累人
難怪我越來越憎 遺忘自尊心
因一個放下良心 三個也傷心
假設若有人求婚 我亦要等
等親多一次你體溫
若你敢挨到極近 原諒我不敢去忍
有幾多苦惱也自甘 前度要再為難我
難道我受不起這個熱吻
遊遍了天下 前路的風景
蓋著了煙霞 蒙閉的雙眼
未明白拈上你是何代價
彼此亦另有他
神秘的煙霞 誰認清真假
你別要用我受不住的鼻音跟我說話
令我的心軟化
證實我真心想有火花
難道我別無異心 完全沒好感
都可以跟你散心 裝作假天真
當我伴侶為我等 我便會憎
憎多心的我太懂累人
難怪我越來越憎 遺忘自尊心
因一個放下良心 三個也傷心
假設若有人求婚 我亦要等
等親多一次你體溫
若你敢挨到極近 原諒我不敢去忍
有幾多苦惱也自甘 前度要再為難我
難道我受不起這個熱吻
若你仍然明白我 若你的車快放下我
因我是這樣傻 回憶比愛戀多
《 #Unfaithful #Rihanna》
story of my life
searching for the right
but it keeps avoiding me
sorrow in my soul
cause it seems that wrong
really loves my company
hes more than a man
and this is more than love
the reason that the sky is blue
the clouds are rolling in
because i'm gone again
and to him i just can't be true
and i know that he knows i'm unfaithful
and it kills him inside
to know that i am happy with some other guy
i can see him dying
i don't wanna do this anymore
i don't wanna be the reason why
everytime i walk out the door
i see him die a little more inside
i don't wanna hurt him anymore
i don't wanna take away his life
i don't wanna be...
a murderer
i feel it in the air
as i'm doing my hair
preparing for another day
a kiss up on my cheek
he's here reluctantly
as if i'm gonna be out late
i say i won't be long
just hanging with the girls
a lie i didn't have to tell
because we both know
where i'm about to go
and we know it very well
cause i know that he knows i'm unfaithful
and it kills him inside
to know that i am happy with some other guy
i can see him dying
i don't wanna do this anymore
i don't wanna be the reason why
everytime i walk out the door
i see him die a little more inside
i don't wanna hurt him anymore
i don't wanna take away his life
i don't wanna be...
a murderer
our love, his trust
i might as well take a gun and put it to his head
get it over with
i don't wanna do this
anymore (anymore)
i don't wanna do this anymore
i don't wanna be the reason why
everytime i walk out the door
i see him die a little more inside
i don't wanna hurt him anymore
i don't wanna take away his life
i don't wanna be...
a murderer (a murderer)
no no no no
yeah yeah yeah
![post-title](https://i.ytimg.com/vi/7fEvKHLCExk/hqdefault.jpg)
no reason to lie 在 ROOFTOPMOB Youtube 的最佳貼文
ROOFTOPMOB -【Lie】(Official Audio)
-
ROOFTOPMOB首張團體完整專輯【REEF】Officially Out Now !!
Available on iTunes, Apple Music : https://music.apple.com/tw/album/reef/1544228717?l=en
Listen on Spotify : https://open.spotify.com/track/4S4gEufYrFmeP5PPSNkaHB
KKBOX : https://kkbox.fm/dshh2t?utm_source=share&utm_medium=song&utm_campaign=RooftopMob+-+LIE
|
Presented by | ROOFTOPMOB
Artist | Zashō / LICKONE / Lil $tummy
Beat Arranger | Zac Rao / Zashō / Lil $tummy
Composer & Lyricist | Zashō / LICKONE / Lil $tummy
Producer | Zashō / LICKONE / Lil $tummy / Zac Rao
Recording x Mixing | Zac Rao
Mastering | Zac Rao
Mastering Studio | 金剛門大樹林工作室
Photographer | Kenalwayscan
Album Art Designer | LICKONE
;
[ROOFTOPMOB]
Instagram : https://www.instagram.com/rooftopmob_official/
Soundcloud : https://soundcloud.com/rooftopmob
StreetVoice : https://streetvoice.com/Rooftopmob/
[Follow Members]
Zashō : https://www.instagram.com/rooftopmob_zasho/
LICKONE : https://www.instagram.com/rooftopmob_lickone/
Lil $tummy : https://www.instagram.com/rooftopmob_lilstummy/
Zac Rao : https://www.instagram.com/rooftopmob_zac_rao/
Ken : https://www.instagram.com/kenalwayscan/
-
Copyrights 2020 ⓒ ROOFTOPMOB. All Rights Reserved
/
Lyrics:
[Chorus: Zashō]
哎呀哎呀我的媽
到底哪裡來的誰阿
塞給我的糖
噢哎呀哎呀我的媽
妳的花言巧語
是送給我的嗎
噢哎呀哎呀哎呀我的天吶
可不能收 這千萬可不能收
噢哎呀哎呀因為我的媽
Tell me that’s no no
That’s no no
[Post-chorus: Lil $tummy]
Bitch don’t tell me lie
You gotta tell me something true
Bad things on my mind
Suicide thought coming through
女孩why you cry
人們對妳太殘酷
讓他說就讓他說
看好自己走的路
Bitch don’t tell me lie
You gotta tell me something true
Bad things on my mind
Suicide thought coming through
女孩why you cry
人們對妳太殘酷
讓他說就讓他說
看好自己走的路
[Verse 1: Lil $tummy]
看好每個腳步保持前進
太多誘惑我只聽妳聲音
妳是有毒的蜜 差點中妳的計
演著冗長的戲 最後還是各奔東西
妳要說我夾著尾巴逃也好
從不面對只會跑 怒火在她心中燒
But I don’t even fuck about
妳恨得多但愛得少 什麼才對彼此好
不說不代表看不到 我只是不想跟著吵
[Chorus: Zashō]
哎呀哎呀我的媽
到底哪裡來的誰阿
塞給我的糖
噢哎呀哎呀我的媽
妳的花言巧語
是送給我的嗎
噢哎呀哎呀哎呀我的天吶
可不能收 這千萬可不能收
噢哎呀哎呀因為我的媽
Tell me that’s no no
That’s no no
[Post-chorus: Lil $tummy]
Bitch don’t tell me lie
You gotta tell me something true
Bad things on my mind
Suicide thought coming through
女孩why you cry
人們對妳太殘酷
讓他說就讓他說
看好自己走的路
Bitch don’t tell me lie
You gotta tell me something true
Bad things on my mind
Suicide thought coming through
女孩why you cry
人們對妳太殘酷
讓他說就讓他說
看好自己走的路
[Verse 2: LICKONE]
I know I didn’t tell you but you see thru all the lies
But I don’t realize you have planned it all the time
We caught you by surprise, you don’t know how to react
Matter fact we are about to expose all the facts
I drowning in those rumors
I can’t breathe all the time
I could be the one who changes
Shine bright, stay alive
Every time I wanna shout it out loud
You better keep your mouth shut right now
Gonna keep my time searching for the Promised land
Never thought about to popping pills, this is my second chance
Sprit from the dead, unholy, rise again
Sick about the future with a fake ass blonde hair
[Verse 3: Lil $tummy]
Shawty so bad let me slap that ass
從她嘴裡講出來的話多香
而她是否確實將 真的事實告訴我
說妳要做我在黑暗中的光
做我的鏡子 反射 我所有的心事
像個信使 傳遞別人樣子
She’s the reason 我心變得冰冷
Jesus, she’s a, I don’t wanna please her anymore
不再接起她的any calls
我和我的團隊將會international
不做typical 偷心criminal
確定妳要招惹一群fucking animals
[Chorus: Zashō]
哎呀哎呀我的媽
到底哪裡來的誰阿
塞給我的糖
噢哎呀哎呀我的媽
妳的花言巧語
是送給我的嗎
噢哎呀哎呀哎呀我的天吶
可不能收 這千萬可不能收
噢哎呀哎呀因為我的媽
Tell me that’s no no
That’s no no
![post-title](https://i.ytimg.com/vi/lyDGwwTc6y4/hqdefault.jpg)
no reason to lie 在 SLSMusic Youtube 的最讚貼文
✨ 300,000 Subscribers Special Video
✨ 30萬訂閱特別影片
✨ チャネル30万登録者記念
Hi, I'm SLS. Here's our 300k special video. I recorded this video for almost a whole afternoon. NG several times, and It's pretty hard for me playing on an unfamiliar piano, especially a heavy one like Steinway. I've tried my best. All the songs you heard in this video are the songs we've done before in this channel. (or in the future LOL) They're the memories for both you and me.
I wanna thank to Sigfrid Art Center for offering the place and the Steinway piano, and thank to my cinematographer Santon.W for helping me with everyone on video. Thanks to Tt and Emma for helping me that day. None of these happen without your help. hope you like this video.
Anyway, thank you all for making this happen. I'll work harder and try to make SLSMusic better and better, bring you more music contents in the future. As always, we'll upload video every Friday, and do live streaming on the weekends. Don't miss it!
嗨我是SLS,30萬影片來了。在這部影片中你所有聽到的30首樂曲都是在這個頻道上我們曾經演奏過的音樂,對我來說這部影片不只是個普通的串燒,也代表著過程與回憶。
這部影片錄了一整個下午,除了直接一口氣彈30首不能停腦袋要轉的過來有點難度以外,因為是不熟悉的(當天第一次碰)史坦威重琴,實在是讓我吃了些苦頭,這次也要特別感謝「齊格飛藝術中心」提供場地,及超強攝影師仙桶Santon.W讓我可以沒有後顧之憂的專心錄音,也要感謝桌球和Emma當天幫我處理很多事情,沒有你們的幫忙這部影片絕對出不來。
一路走到30萬也經歷了許多風風雨雨,想說的話都在影片後面了,這裡就不多說。對了,怕有些人還不知道,我們頻道開啟了會員系統,除了有每週樂譜、音檔、直播檔等福利,最近還新增了Discord會員限定聊天群組,如果想進一步支持SLSMusic的粉絲歡迎加入會員給與我們實質上的支持!感謝大家一路以來的支持,接下來我還是會更加努力去帶給大家新作品。每週都會發佈新影片、隔週會做線上音樂會直播,千萬別錯過。我是SLS,我們下週見!
00:00 Start!
00:11 Hataraku Saibou / CheerS - ClariS / はたらく細胞
00:26 One Piece / One Day - Rootless
00:52 Fate/stay Night / Brave Shine - Aimer
01:13 Nier:Automata / Weight of the World
02:08 No Game No Life Zero / There is a Reason - 鈴木このみ
02:54 Tokyo Ghoul / Katharsis - TK from 凛として時雨
03:28 From the Abyss / Deep in Abyss 來自深淵
04:04 Naruto / Blue Bird - Ikimonogatari いきものがかり
04:25 Your Lie in April / Hikarunara 光るなら - Goose House
04:47 Naruto / Departure to the Frontline 出陣
05:32 Secret Base ~Kimi ga Kureta Mono~ 君がくれたもの
06:30 Mahou Tsukai No Yome 魔法使いの嫁 / Here - Junna
07:01 Violet Evergarden / Sincerely - TRUE
07:34 Kimetsu no Yaiba 鬼滅の刃 / Gurenge 紅蓮華- LiSA
08:09 No Game No Life / This Game - 鈴木このみ
08:45 Fullmetal Alchemist 鋼の錬金術師 / Again - Yui
09:09 Sword Art Online / Swordland
10:15 A Cruel Angel's Thesis 残酷な天使のテーゼ
10:33 My Hero Academia 僕のヒーローアカデミア 我的英雄學院
/ Peace Sign - Kenshi Yonezu 米津玄師
10:59 Karakuri Pierrot - 40mP
11:37 Fairy Tail / Main Theme
11:54 One Piece / Share The World - TVXQ 東方神起
12:16 Guilty Crown / My Dearest - supercell 罪惡皇冠
12:53 Laputa: Castle in the Sky - Joe Hisaishi 天空の城 / 久石讓
13:32 Digimon Adventure デジモン / Brave Heart
14:22 Gun Gale Online / Ryuusei - Eir Aoi 藍井エイル
14:36 Pokemon / XYZ - Matsumoto Rika 松本梨香
14:53 Domestic Girlfriend ドメスティックな彼女 / Kawaki wo Ameku カワキヲアメ
15:02 Detective Conan 名探偵コナン / 渡月橋 - Mai Kuraki 倉木麻衣
15:48 Senbonzakura 千本桜 - Kurousa-P 黒兎P
17:21 BONUS!!!
🎶 每週五上傳影片、隔週有直播音樂會,記得開啟YouTube🔔通知!
🏓加入頻道會員獲得樂譜、支持SLSMusic創作 ► http://www.youtube.com/slsmusic/join
🎁完整樂譜、旋律和弦譜、MIDI檔、直播存檔等福利
🎤Social Media / 社群
🔴WEBSITE / 官方網站
https://www.slsmusic.net
🔵INSTAGRAM
https://www.instagram.com/slsmusictw
🔴TWITTER / 推特
https://twitter.com/slsmusictw
🔵FACEBOOK / 粉專
https://www.facebook.com/slsmusictt
📖Sheet Music 樂譜 ▶︎ https://gumroad.com/slsmusic
🎹Spotify ► http://bit.ly/SLSMusicSpotify
🎻iTunes ► http://bit.ly/SLSiTunes
✅LINE 貼圖 ► https://store.line.me/stickershop/product/7239025
🥁贊助 DONATION
PayPal ► https://www.paypal.me/SLSMusic
歐付寶 ► https://www.bit.ly/DonateSLS
✨Cinematographer / Santon.W
https://www.instagram.com/santon.w/
✨特別感謝「齊格飛藝術中心」提供此次拍攝場地及史坦威鋼琴
齊格飛藝術中心 Sigfrid Artcenter ► https://www.facebook.com/sigfridartcenter/
齊格飛音樂行 Sigfrid Music ► https://www.facebook.com/sigfridmusic/
官方網站 ► https://www.sigfrid.com.tw/
蝦皮賣場 ► https://shopee.tw/sigfridmusic2014
地址 ► 台北市中山區龍江路147號B1
#Anisong #Piano #Medley
![post-title](https://i.ytimg.com/vi/Obfw2O6vNXE/hqdefault.jpg)