關於 drifting apart ，我們在網路上蒐集到這些相關的討論、資訊與評價

Pelapor : Pai Syahira

JAIP GUNA KAEDAH RELAU LUPUS NASKAH AL-QURAN ROSAK

PEKAN, 20 Okt - Biarpun perkembangan dunia di arus era konvergens, ayat-ayat cinta Allah kepada hambanya tidak pernah dimamah usia dan kekal dijadikan panduan hidup kepada manusia sepanjang zaman.

Adab membaca dan memegang Al-Quran dalam keadaan berwuduk serta kaedah melupuskan mashaf yang rosak melambangkan ketelitian Islam menterjemah isi kandungan dalam kitab diturunkan kepada Nabi Muhammad s.a.w agar terus terpelihara kepada umat Islam.

Kewajipan memelihara kesucian dan kemuliaan Al-Quran bukan sahaja ketika fizikalnya sempurna bahkan tanggungjawab sebagai muslim tergalas dalam proses perlupusan Al-Quran yang tertib.

Krew Berita Pahang berpeluang mendalami proses perlupusan Al-Quran bersama kakitangan Unit Penapisan Media Bahagian Penyelidikan Agama Islam Pahang (JAIP) di Pusat Pemuliaan Al-Quran di Pekan, Pahang.

Terdahulu prosesnya diselanggara oleh pihak swasta namun perjuangan memartabatkan tatacara pelupusan kitab suci ini diteruskan oleh empat pegawai JAIP sejak empat tahun lalu menggunakan kaedah relau atau pembakaran.

Proses asas pengumpulan bahan Al-Quran dimulakan di semua 11 Pejabat Agama Islam Daerah di seluruh Negeri Pahang dan dihantar ke Pusat Pemuliaan Al-Quran.

Lazimnya pernerimaan dan rekod daripada agensi, institusi pendidikan dan masjid secara pukal dikumpulkan di pusat. Setelah ditimbang naskah yang diterima akan disimpan dalam stor kontena.

Kemudian proses pelupusan dimulakan dengan membakar Al-Quran yang rosak ataupun terkoyak termasuk bahan cetakan pendidikan yang mengandung teks ayat Al-Quran melalui kaedah pembakaran secara relau.

Proses relau mampu memuatkan sehingga 100 kilogram bahan dengan kadar suhu 1000 darjah celsius selama 60 minit sehingga menjadi abu.

Kebiasaannya berat 10 kilogram abu akan terhasil daripada proses relau setiap Kali pembakaran, dan sejurus itu fasa penyejukkan dilakukan lebih kurang 24 jam.

Proses ini bagi menghilangkan haba yang menggunakan mesin relau bernilai RM 35,000 ini dilihat mampu menjimatkan kos pelupusan.

Kemudian abu dibancuh bersama air mengikut kelikatan yang sesuai di dalam tong dan dimasukkan ke dalam blok acuan.

Ia akan menjadi adunan seberat lima kilogram serta dijemur selama seminggu di mana proses pengeringan di bawah cahaya matahari bergantung keadaan cuaca supaya menjadi keras, padat dan tidak mudah berderai.

Manakala proses pengurusan abu dilakukan secara teliti dengan membungkus blok abu ke dalam plastik dan disimpan di dalam stor sebelum diangkut ke kapal bagi menghanyutkan abu.

Setelah abu diangkut ke kapal dengan bantuan anggota Polis Marin dan Angkatan Penguatkuasaan Maritim Malaysia, proses terakhir melupuskan abu Al-Quran selesai apabila abu dihanyutkan ke laut.

Sehingga kini sejumlah empat tan abu Al-Quran berjaya dilupuskan ke laut oleh pihak JAIP semenjak tahun 2017 termasuk menerima sebanyak 40 tan keseluruhan bahan mengandungi kalimah ayat Al-Quran daripada pelanggan.

Berdasarkan keputusan Muzakarah Fatwa Kebangsaan ke-30 pada 22 Ogos 1992, memutuskan kaedah pembakaran dan menghanyutkan abu ke laut selain daripada penanaman abu.

#habis.
Reporter: @[279106405462987:274:Pai Syahira]

JAIP USES THE FURNITY METHOD OF THE FURNITY OF THE AL-QURAN IS BROK

PEKAN, Oct 20 - Although the development of the world in the current of the convergens era, the verses of God's love for his servants are never aged and remain a life guide to humans all the time.

The manners of reading and holding the Quran in ablution and the method of forgetting damaged mashaf symbolizing the precision of Islam translates content in the book sent down to Prophet Muhammad s.a.w so that it will continue to be preserved to Muslims.

The obligation to preserve the purity and glory of the Quran is not only when its physical is perfect, even the responsibility as a Muslim is relieved in the process of the orderly Al-Quran.

Pahang News Crew had the opportunity to study the process of Al-Quran with the staff of the Media Filter Unit of the Islamic Religion Division of Pahang (JAIP) at the Al-Quran Glory Center in Pekan, Pa

Earlier the process was held by private parties but the struggle to repress the prostitute of this holy scripture was continued by four JAIP officers since four years ago using the furnace or burning method.

The basic process of gathering of Al-Quran materials begins in all 11 District Islamic Religious Offices across the State of Pahang and is sent to the Al-Quran Glory Center.

Usually acceptance and records from agencies, education institutions and mosques are bulk collected at the center. After weighed the accepted script will be stored in the container store.

Then the extinction process begins by burning the damaged or torn Quran including educational print materials containing the text of Al-Quran verse through the burning method of furnace.

The furnace process can load up to 100 kilograms of material with a temperature rate of 1000 degrees Celsius for 60 minutes until it becomes ashes.

Usually the weight of 10 kilograms of grey will result from the furnace process every time of burning, and immediately the cooling phase is done about 24 hours.

This process to remove heat that uses RM 35,000 worth of furnace machine can save the cost of removal.

Then the ashes are built together with water according to the suitable visibility in the barrel and put in the mold block.

It will be a five-kilogram mix and dried for a week where the drying process in the sun depends on the weather so that it becomes hard, dense and not easily apart.

While the ash management process is thoroughly done by wrapping the grey blocks into plastic and stored in store before being transported to ship to drifting the ashes.

After the ashes were transported to the ship with the help of Marine Police and the Malaysian Maritime Enforcement Forces, the final process of releasing Al-Quran ashes completed when the ashes were drowned into the

Until now a total of four tonnes of Al-Quran has been successfully released into the sea by the JAIP since 2017 including receiving 40 tonnes of overall ingredients containing the word of Al-Quran verse from customers.

Based on the 30th National Fatwa Muzakarah results on August 22, 1992, decided to burn and drift ashes into the sea apart from the ash planting.

#habis.Translated

《Just Friends 》
有關於失戀症候群的一首歌😏😏😏

好啦
真的很愛這首作品
不管是弦律或著是歌詞💕

每個人的生命中，
都有最艱難的一年，
但那一年也可能教你將人生變得美好而遼闊。

—加布瑞埃拉·澤文《島上書店》 ​

Guitar-廖志銘
Voice-張心綺

Just friends,lovers no more.
Just friends, but not like before.

To think of what we've been,
And not to kiss again.
Seems like pretending,
It isn't the ending.

Two friends , drifting apart.
Two friends , but one broken heart.

We loved, we laughed, we cried
Then suddenly love died.
The story ends,and we're just friends.

#kiki #張心綺kiki
#古典 #爵士 #跨界 #女高音 #生活 #日常 #歌手
#音樂 #現場 #演出

#classical #jazz #music #crossover #soprano #life #lifestyle #diary #live #singer #vocal

【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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▶ Download / Stream link :https://open.spotify.com/track/65w3V6eFz6XCsrRl9eifUY

👑Sleeping Wolf
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Lyrics:

We were drifting all night
我們徹夜漂泊
Losing hold of the light
迷失了方向
But I saw in your eyes
當我凝望你的眼眸
I was never alone
卻從未感到孤獨
Even when it got hard
即使身陷囹圄
When the shore was too far
離岸漸遠
Even there your arms
你的懷抱
I've always been home
就是我溫暖的家

Ooh...Ooh...Ooh...

So sing while we're falling apart
所以當我們分離的時我會吟唱
I'll take you dancing
我會帶你起舞
We lived through the wreck of our hearts
我們經歷了心靈的破碎
And now we're just picking up the pieces
現在我們只是在撿拾散落的碎片
Learning how to see when
學習如何在黑暗中
Love is in the dark
感受到愛

There's a cold empty room
一間冰冷的空房
There's a windowless view
一片無窗的視野
There's a me without you
而我也失去了你
But that's not where I belong
但這不是我的歸屬
Through the waves of the deep
穿越波峰浪穀
And the storms of the sea
穿越疾風驟雨
I have you and you me
我和你相擁
We're not too far gone
還好我們還未漸行漸遠
So sing while we're falling apart
所以當我們分離的時我會吟唱
I'll take you dancing
我會帶你起舞
We lived through the wreck of our hearts
我們經歷了心靈的創傷
And now we're just picking up the pieces
現在我們只是在撿拾散落的碎片
Learning how to see when
學習如何在黑暗中
Love is in the dark
感受到愛

Ooh...Ooh...Ooh...
Love is in the dark
愛就在深處中
Ooh...Ooh...Ooh...
Love is in the dark
生活如何 我都愛你
Ooh...Ooh...Ooh...

So sing while we're falling apart
所以當我們分離的時我會吟唱
I'll take you dancing
我會帶你起舞
We lived through the wreck of our hearts
我們經歷了心靈的破碎
And now we're just picking up the pieces
現在我們只是在撿拾散落的碎片
Learning how to see when
學習如何在黑暗中
Love is in the dark
感受到愛
Love is in the dark
生活如何 我都愛你

#SleepingWolf #TheWreckofOurHearts #ginamusic

Here's a 1-minute English cover of "心亂如麻 (Utterly Confused)" by Janice Vidal 衛蘭.

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"Utterly Confused" Lyrics:


When we kissed, everything felt so right
But then you pulled back away, from me
Please tell me, did I do something wrong?
Otherwise, why would you go? (Oh no!)

I felt you drifting away from me
If I had asked, would you stay? (Say yes please)

Well, I’m no stranger to the dark
You’ve left me here with a broken heart
And all this time, we’ve risked this for nothing

You’re done away with me
You’ve torn down all my dreams
It’s only been 3 days, forever scarred with this pain
Why did you have to get way too close
Just to break us apart
If you don’t want me, just speak the truth, I’ll move on

Hey guys, just felt like singing this song. It is really nice . Wish you all the best guys.

Lyrics meaning:

Today I saw snow drifting through the cold night

With the cold, my heart and mind drift off to faraway places

Trying to catch up in the wind and rain,

In the fog you can't tell the shadows apart

Vast sky wide ocean, you and I,

Who would change? (Who wouldn’t change?)


Many times I've faced the cold shoulder and ridicule

Never have I gave up my heart’s hopes and ideals

A moment of absentmindedness,

There’s also the feeling of loss

Without realization, it faded,

The love in my heart (Who understands me?)

 

**Forgive me this life of uninhibited love and indulgence of freedom

Although I'm still afraid that one day I might fall, oh no

Abandon your hopes and ideals, anyone also can do

I’m not afraid if someday there’s only you and me

Still I am free, still I am independent. Always loudly singing my song, Traveling thousands of miles
 

Abandon your hopes and ideals, anyone also can do

I’m not afraid if someday there’s only you and me