關於 call me at anytime ，我們在網路上蒐集到這些相關的討論、資訊與評價

Pahit untuk di telan..kisah rumahtangga

Saya nak kongsi cerita ex client rakan. Mana yang boleh ambil pengajaran tu, ambil sebagai teladan.

Hari ni wife pada exclient saya call. Dia nak tanya pasal claim insurans polisi suami (exclient) dia.
...Continue ReadingBitter to swallow.. story of household

I want to share the story of my ex-client friend. Whoever can take the lesson, take it as a role model.

Today my wife called my exclient. He wants to ask about claiming his husband's (exclient) policy insurance.

Apparently her husband only died 5 days. Big motor accident. Died at the scene of injury.

What his wife told me about, the late wallet and phone were found, but there was no cash in the wallet. There are probably people who took advantage of stealing in busy condition when they were to help the late accident.

Because his late husband died in an accident, so the police took the corpse sent to the hospital to post mortem.

His wife is very confused because she couldn't unlock the late phone. Because I don't know the pincode of the late So he couldn't tell the late friends who are in contact with his phone.

Exacerbate the wife's condition, not just that she doesn't know the pinc Even the wife doesn't know the number of late ATM cards to spend money to take care of the corpse back to the village of my late husband. Fortunately the help of the family charity can help while financial affairs.

Today is already 5 days the deceased died, the late brother has started asking about the house and property of the late (EPF). The wife is really afraid that the house that she sits becomes the grab of the late siblings. Because there's no place to go if you have to get out of the house.

Turned around to the reason why the late wife called me, the point of seeing a takaful certificate with my businesscard on certificate skin. He really hopes that there is good news he can hear from the takaful certificate book he found.

Bitter to accept, I'm telling you that you can't claim anything at all. Because the late takaful certificate is almost a year lapse. And I still remember the cause of lapse of the late certificate, he wanted to stop because of the loss of paying, so he stopped paying until he became hungry. I reminded the late before I lost my coverage after lapse, but he gave me blue tick.

As I expected, the late wife couldn't accept my answer. Tell him to say

′′ Why didn't you inform me that he didn't pay."

After I cool him, then his voice is like surrender. I gave him some suggestions to help him

1. Went to EPF to claim the late EPF
2. Call socso check what can be claimed
3. Collecting investment book documents, bank cards

And I heard the answers that are not very good...

′′ I don't know how to drive a car. Wanting to go there with 2 small children. If I can settle it quickly but that's it..."

I really don't know what to say anymore. Apparently the late wife is not working, all matters during this time her late husband did it.

Almost 15 minutes of saying, the call ended with the wife as a surrender to the misfortune that happened.

I want to order to you guys

1. We will all die. Just don't know when. Suddenly coming.

2. Pincode phone, ATM pin should be known to the nearest family member.

3. Family members need to know where the savings of our important documents are.

4. If there is takaful, tell the family members.

5. If you stop takaful, you need to tell your family members.

6. There's a problem with takaful payment, tell agent, if you leave bluetick, you won't solve the

7. Wives need to be ready to lose their husbands. Certainly wives need to learn to be independent of driving example.

Dead comes anytime.
What are our supplies?

Credit to Mohd Helmi & Kak SueTranslated

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【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
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AL ROCCO

没错，我是最纯正的亚洲人
I’M AN ASIAN I’M ORIGINAL
(做好我自己)
BE MYSELF

赚钱赚到手断
AND WE GETTING MONEY COAST 2 COAST
(靠自己努力)
HUSTLING BY MYSELF

但不忘我是亚洲人
I’M AN ASIAN I’M ORIGINAL
(做好我自己)
BE MYSELF

靠自己努力
HUSTLING BY MYSELF //
做好我自己
GOTTA BE MYSELF

X2

不断努力，从底层做起，别满足现在，我离成功还差的远
STARTED FROM THE BOTTOM NOW WE HALF WAY TO THE TOP
中国力
CHINA POWER
中国说唱正在崛起但他们都在等着你落井
CHINAMEN ON THE RISE AND THEY WAITING FOR THAT DROP
中国力
CHINA POWER

兄弟我穿着三道杠，百炼成金
MAM I’M SWAG AS F**K THEY KNOW I GOT THE TRIPLE STRIPS

连领口都是名牌，却和黑夜做朋友
AND ON THE COLLAT WITH THE DOLLAR SHORTY HOLLA FOR THE NIGHT

快看我有多厉害，但他们只能是废柴
LOOK AT THE SWAG NOW AY, LOOK AT THEM RACKS NOW AY

夺走他们的一切，让他们明白什么是现实
GETTING THEM BAGS NOW AY, SPITTING THEM FACTS NOW

全部／看到／我的力
SHOWING THEM ALL MY POWER

他们／感觉／我的力
THEY FEEL ALL MY POWER

代表／我的／中国力
REPRESENTING MY CHINA POWER

黄的 / 皮肤 / 中国力
YELLOW SKIN CHINA POWER

ANGEL MO

若你有正经事找我 请打声招呼
HOLLA IF YOU GOT REAL BUSINESS FOR ME TO DEAL WITH

不然就趁早闪开做个可悲无知的年轻一代
OR DIE FAST, LIVE YOUNG AND STAY PATHETIC


这不是我的问题
IT AIN’T MY PROBLEM

如果你的罩杯没我大
IF YOUR BRA SIZE AIN’T TOPPING MINE

我的性格耿直也不是我的错
AIN’T MY FAULT FOR BEING HONEST

不过是拒绝当个骗子
REFUSE TO BE A FRAUD

我的世界观 简单
THE WAY I SEE THE WORLD, SIMPLE

真实的灵魂都特别难对付
HARD TO DEAL WITH THE REAL SOULS

把自己的双耳都塞住 不被外界洗脑
WITH MY EARS ALL PLUGGED

不被外界洗脑
HEAR NO PROPAGANDA

用更深层的角度 更自主地对待事情
SEEING THINGS WITH MY PINEAL GLAND

所以你骗不了我， 我忠于自己的声音
NOW FOOL ME NOT STAYING FAITHFUL TO MY OWN VOICE

我每个角度都是ORIGINAL
I’M ORIGINAL IN ANY VIEW POINT

而你不过是老把戏里的新玩具
YOU’ARE JUST AN OLD GAME NEW TOY

PQ

荧光面具下的忍者
NEON MASK LIKE A NINJA

还没打就赢了都给我听着
WINNING WITH NO FIGHT SO LISTEN TO ME

犹如彩虹围绕烟火
LIKE RAINBOW WITH FIREWORK

因为经历过的太多
CUZ I’VE BEEN THROUGH TOO MUCH

我的计划非常明确
MY PLAN IS CRYSTAL CLEAR

用我的音乐向主流侵略
INVADING MAIN STREAM WITH MY MUSIC

下一句话也不会太亲切
MY WORDS AIN’T GONNA BE NICE

听完以后你价值观会倾斜
LISTEN AND I’LL CHANGE YOUR WORLD

让那些可疑的刻意的不合理的都没法再得意
SHUTTING UP THE SUSPICOUS AND UNRESONABLE

从来不客气，当局者迷，
NEVER BEEN TOO NICE, FOOLING THE DICTATORS

旁观者可望而不可及
TOO ELUSIVE FOR BYSTANDERS

UHH本帮的腔调我随便怎么来就是这么爽，
UHH IT’S SO SWAG MY ORIGINAL TONE


他们都叫我SWAG Q, AKA MASTER P
THEY CALL ME SWAG Q, AKA MASTER P

M80

换一个FLOW 让你“WOW”别太嫉妒我
CHANGING MY FLOW, MAKING YOU WOW, DON’T ENVY ME

把你的手借给我别害羞低着头
GIVE ME YOUR HAND, DON’T BE SHY AND RAISE YOUR HEAD
我的新链 新SWAG 新态度
MY NEW CHAINS NEW SWAG NEW ATTITUDE

我的新车 新鞋 和我的新哥们
MY NEW CAR NEW SHOES AND MY NEW CREW

BOO我要把它拿下
BOO I’M GONNA TAKE IT

你知道我准备好了
YA KNOW I’M READY

靠自己靠能力为了赢不会输从来都义无反顾
HUSTLING FIGHTING FOR MYSELF, NO HESITATION

BOO我要把它拿下
BOO I’M GONNA TAKE IT

你知道我准备好了
YA KNOW I’M READY

现在我充满了ENERGY
NOW I’M FULL OF ENERGY

不在乎所谓的ENEMY
DON’T CARE ABOUT MY ENEMY

DOUBLE X2

生在92年
BORN IN 92

不用你夸奖我太酷
I’M SO COOL I DON’T NEED YOUR COMPLIMENT

也别怕攀不起的态度
DON’T BE AFRAID OF MY ATTITUDE

比珠峰还高的脉路
MY VEINS ARE HIGHER THAN EVEREST
（胡旭 是谁）
（胡旭 WHO）
是我
ME ~
跟着我的团队CHILL
CHILLING WITH MY CREW

敢小瞧我 他们被帅哭
I’M SO COOL DON’T YOU DARE ME

排队给我赞助
LINING UP TO GIVE ME SPONSORS

行事单独 全能当做战术
FIGHTING SOLO, ALL-ROUND USING MY TATICS

天生带SWAG（病毒 ）SG
BORN WITH SWAG (VIRAL)

做运动潮流的（例如 ）YA
LEADING THE SPORTS TREND YA

不做过客 不需伯乐 乘 风 破 浪 做自己金主
ALWAYS STAYING, DON’T NEED HELP, BREAKING THE WIND, BEING MY OWN BOSS

我知道你从来不知道的东西
I KNOW WHAT YOU NEVER EVER KNEW

我自己主导自己的秀 掌控自己秀
I AM WRITING N DIRECTING MY ONW SHOW

完美实力 （就是比你溜）
PERFECTION (ALWAYS BETTER THAN YOU)

沉淀深度 （可以比地球）
MY DEPTH (AS DEEP AS THE EARTH)



S W A G 你早知道了我的能力
S W A G MY SKILLS YOU ALREADY KNOW

命运被我掌握在手里没几个比我们ORIGINAL
HAVING FAITH IN MY HAND, NO ONE IS MORE ORIGINAL

算一算清楚
GET DOWN TO THE FLOOR
不像他们装的酷
MY COOL AIN’T LIKE OTHERS

脚下路自己走没理由被束缚 哥们别傻了
WALK MY OWN PATH NO NEED TO BE CONTROLED MAN DON’T BE A FOOL

意识到 还想要 出人头地
REALIZE I’M STILL TRYING TO HIT THE HIT THE GROUND

你迟早 还是要 跟的 跟得上
YOU HAVE TO CATCH UP AT LAST

三个臭皮匠 顶个诸葛亮
TWO HEADS ARE BETTER THAN ONE

日日夜夜都要继续跑
AM TO THE PM PM TO THE AM RUN



随时暴走 这盘口我接手
RUNAWAY ANYTIME, I’LL TAKEOVER

就算把 整条街 翻起来 BATTLE
WE CAN TURN THE WHOLE STREET OVER TO BATTLE

D O U B L E 翻倍
D O U B L E DOUBLE

DOUBLE 从不栽 跟头（跟头）
DOUBLE NEVER TRIP OVER

我才不管你 谁 谁 谁
I DON’T CARE WHO YOU ARE

碰到我你倒 霉 霉 霉
SUCKS FOR YOU TO MEET ME

没空跟你 喂 喂 喂
AIN’T GOT NO TIME WITH YOU

今天让你 赔 赔 赔
I’M GONNA MAKE YOU LOSE

SWAG SWAG SWAG SWAG 我有数不完的钱
SWAG SWAG SWAG SWAG I GOT THE MONEY BANK

RAP RAP RAP RAP 乱世英雄不断
RAP RAP RAP RAP CHAOS MAKES HEROS

TRAP TRAP TRAP TRAP 脑子不停的转
TRAP TRAP TRAP TRAP MY BRAIN KEEPS SPINNING

BANG BANG BANG BANG 努力地向钱看
BANG BANG BANG BANG HUSTLING EVERYDAY

AL ROCCO

没错，我是最纯正的亚洲人
I’M AN ASIAN I’M ORIGINAL
(做好我自己)
BE MYSELF

赚钱赚到手断
AND WE GETTING MONEY COAST 2 COAST
(靠自己努力)
HUSTLING BY MYSELF

但不忘我是亚洲人
I’M AN ASIAN I’M ORIGINAL
(做好我自己)
BE MYSELF

靠自己努力
HUSTLING BY MYSELF //
做好我自己
GOTTA BE MYSELF

X2

13週リレー先行配信 https://avex.lnk.to/CREAM_13weeks_release

▼▼▼LYRICS & INFORMATION▼▼▼
CREAM new album BLACK in stores 4.26!!

CREAM - My Buddy
Music & Lyrics By CREAM

Filmed & Edited by HAVIT ART STUDIO

-----------------------------------------------------------------------------

ずっと変わらないでいて
キミのままでいて
You're my buddy, my buddy, my buddy
世界中 探したって
たった1人だけ
Ain't nobody, nobody, nobody

It's been a long time, my buddy
調子はどうだい？ my buddy
連絡取んない間に
山のように問題あったりするだろう？
なんかあれば相談しろ
電波がつないでる 400km
Anytime その display の向こうに
俺はいるから いつでも call me

2人はヤンチャで crazy
授業が終わると
いつも好奇心旺盛なキミと
遊びに出た weekend
思い出せば いつでも
隣にいたね

ずっと変わらないでいて
キミのままでいて
You're my buddy, my buddy, my buddy
世界中 探したって
たった1人だけ
Ain't nobody, nobody, nobody

My buddy, my buddy
Yeah you're my buddy
I love you, I love you
I really really love you

別々の街さ far away
だけど 何にも変わらねぇ
Still young, wild & free ガキじゃねぇ
けど再会すりゃ back in the days
また大人になってく
LIFE なら右に上がってく
消えない悩みも去ってく
でも俺たちまだ繋がってる
ベランダから抜け出した 夜中の公園
金はなくても 毎晩が冒険
あの頃のハートなら当然
今も忘れない 俺ら夢見る少年
どんなに 探しても nobody
他の誰かじゃない you're my buddy
感じる空の向こう
No matter where you at, no matter where you go

ずっと変わらないでいて
キミのままでいて
You're my buddy, my buddy, my buddy
世界中 探したって
たった1人だけ
Ain't nobody, nobody, nobody

時がたっても
大人になっても
まるで昨日のことのよう
ハッキリと覚えてる
大切な 宝物だよ
なにげない思い出も全部

ずっと変わらないでいて
キミのままでいて
You're my buddy, my buddy, my buddy
世界中 探したって
たった1人だけAin't nobody, nobody, nobody

My buddy, my buddy
Yeah you're my buddy
I love you, I love you
I really really love you

-----------------------------------------------------------------------------

CREAM「CREAM THE BEST」

▼iTunes▼
https://itunes.apple.com/jp/album/id1182853539?app=itunes&ls=1

▼Apple Music▼
https://itunes.apple.com/jp/album/id1182853539?app=apple&ls=1

2CD＋DVD＋スマプラミュージック
RZCD-86222〜3/B ¥4,000(税抜)

2CD＋スマプラミュージック
RZCD-86224〜5 ¥3,000(税抜)

----------------------------------------­----------------------------------------­------------
CREAM NEW ALBUM 『CHANGE』
[ CD+DVD ] (初回仕様:紙ジャケット)
RZCD-86023/B　¥4,104(税込)/¥3,800(税抜)
amazon http://www.amazon.co.jp/CHANGE-CD-DVD-CREAM/dp/B018JNU2NO

[ CD ] (初回仕様:紙ジャケット)RZCD-86024　
¥3,240(税込)/¥3,000(税抜)
amazon 　http://www.amazon.co.jp/CHANGE-CREAM/dp/B018JNU2PC/ref=sr_1_2?s=music&ie=UTF8&qid=1451613079&sr=1-2


CREAM 2nd ALBUM 『#nofilter 』
[ CD+DVD ]
amazon　http://www.amazon.co.jp/nofilter-ALBUM-DVD-CREAM/dp/B00ICBT90Q/
[ CD ]
amazon　http://www.amazon.co.jp/nofilter-CREAM/dp/B00ICBT8X4/
iTunes　https://itunes.apple.com/jp/album/id838744818

Debut Album + Single『DREAMIN'+1』
amazon　http://www.amazon.co.jp/DREAMIN-1-CREAM/dp/B00CPHK6WS/
iTunes　https://itunes.apple.com/jp/album/dreamin/id592066862

----------------------------------------­----------------------------------------­------------
DON'T FORGET TO SUBSCRIBE & COMMENT!!!!!!!

Follow CREAM on Twitter
Staxx T - @staxxt_cream
Minami - @minami_cream

Follow CREAM on Instagram
Staxx T @staxxt_cream
Minami @minami_cream

LINE公式アカウント
ラインアプリよりその他＞公式アカウント＞CATEGORY＞アーティスト＞CREAM
で友達追加してください！

CREAM Official Web Site
http://www.creamofficial.com

facebook official fan page
https://www.facebook.com/creamofficial?ref=ts