Wednesday, 31 October 2007

Maria - Kim Ah Joong

Maria - Kim Ah Joong




Korean Lyric:

김아중 - Maria (미녀는 괴로워 ost)


자 지금 시작해 조금씩 뜨겁게
우 두려워하지마
펼쳐진 눈앞에 저 태양이 길을 비춰
우 절대 멈추지마
Maria Ave Maria
저 흰 구름 끝까지 날아
Maria Ave Maria
거친 파도 따윈 상관없지

기적은 이렇게 내 눈앞에 펼쳐있어
우 절대 멈추지마
Maria Ave Maria
저 흰 구름 끝까지 날아
Maria Ave Maria
거친 파도 따윈 상관없지
(Maria)

멈춰버린 심장전체가
걷잡을 수 없이 뛰어와
Maria Ave Maria
저 흰 구름 끝까지 날아
Maria Ave Maria
거친 파도 따윈 상관없지
Maria Ave Maria
저 흰 구름 끝까지 날아
Maria Ave Maria
거친 파도 따윈 상관없지

----------

ja chigeum shijakhae jogeumsshik tteukeop ke
u duryeowohajima
gwelchyeo nunape jeo taeyangi kileul bichwo
u jeoldae meomchujima
Maria Ave Maria
jeo hwin gureum kkeutddaji nala
Maria Ave Maria
keochin pado ttawin sanggwan eopji

ki jeokeun ireohke nae nunipe gwelcheoisseo
u jeoldae meomchujima
Maria Ave Maria
jeo hwin kureum kkeut ttaji nala
Maria Ave Maria
keochin pado ttahwin sang gwan eopsji
(Maria)

meomchwobeorin shimjangjeoncheka
keotjapeut su eopshi ttwieowa
Maria Ave Maria
cheo hwim kureum kkeutkkaji nala
Maria Ave Maria
keochin pado ttahwin sang gwan eopji
Maria Ave Maria
cheo hwim kureum kkeutkkaji nala
Maria Ave Maria
keochin pado ttahwin sang gwan eopji

-----------

(translated from Korean lyric)

Let's start now..getting hotter a little bit at a time
Ooh...Don't be scared
The sun that is spread out in my sight brightens up the road
Ooh...Don't ever stop
Maria Ave Maria
I'll fly all the way up to those white clouds
Maria Ave Maria
Without minding those strong waves

Miracles spread out like this in front of my sight
Ooh..Don't ever stop
Maria Ave Maria
I'll fly all the way up to those white clouds
Maria Ave Maria
Without minding those strong waves
(Maria)



My stopped heart
It thumps to the extend that I can't hold it
Maria Ave Maria
I'll fly all the way up to those white clouds
Maria Ave Maria
Without minding those strong waves
Maria Ave Maria
I'll fly all the way up to those white clouds
Maria Ave Maria
Without minding those strong waves


Maria by (Loveholic)



Lyric:


She moves like she dont care.
Smooth as silk, cool as air.
Ooh, it makes you wanna cry.

She doesnt know your name and your heart beats like a subway train.
Ooh, it makes you wanna die.

Ooh, dont you wanna take her?
Wanna make her all your own?

Maria.
Youve gotta see her!
Go insane and out of your mind.
Medina.
Ave maria.
A million and one candlelights.

Ive seen this thing before.
In my best friend and the boy next door.
Fool for love and fool of fire.

Wont come in from the rain.
Sees oceans running down the drain.
Blue as ice and desire.

Dont you wanna make her?
Ooh, dont you wanna take her home?

Maria.
Youve gotta see her!
Go insane and out of your mind.
Regina.
Ave maria.
A million and one candlelights.

Ooh, dont you wanna break her?
Ooh, dont you wanna take her home?

She walks like she dont care.
You wanna take her everywhere.
Ooh, it makes you wanna cry.

Shes like a millionaire.
Walking on imported air.
Ooh, it makes you wanna die.

Maria.
Youve gotta see her!
Go insane and out of your mind.
Medina.
Ave maria.
A million and one candlelights.

Maria.
Youve gotta see her!
Go insane and out of your mind.
Regina.
Ave maria.
A million and one candlelights.

Maria.
Youve gotta see her!
Go insane and out of your mind.
Regina.
Ave maria.
A million and one candlelights.

Maria.
Youve gotta see her!
Go insane and out of your mind.
Regina.
Ave maria.
A million and one candlelights.

Alone with you

The night
Relieves the day
When the night
Relieves the day

You fill my days with laughter
You take away the strain
Theres a smile Id forgotten
But youve put it there again

No I dont wanna lose you
Never wanna see you cry
I dont wanna lose you child
Ill never say goodbye

All I need is to be with you
Somewhere somewhere we call home

Now you said that I hurt you
And left you far behind
But you knew Id come running
I just hope that Im in time

No I dont wanna lose you
Never wanna see you cry
I dont wanna lose you child
Ill never say goodbye



All I need is to be with you
Somewhere somewhere we call home

No I dont wanna lose you
Never wanna see you cry
I dont wanna lose you child
Ill never say goodbye

All I need is to be with you
Somewhere somewhere we call home



Alone with you by The Outfield





I see your face across a crowded room

I hear you say that you’ll be leaving soon

I know it’s late but all that I can do

Is close my eyes and dream that I’m alone with you
I’d like to talk to you so much but I don’t know your name

I bet there’s not a man in here that doesn’t feel the same

As you’re walking out the door there’s nothing I can do

I close my eyes and dream that I’m alone with you
Yeah it’s once in my life

Wish that I wasn’t alone with myself

I feel like a child

Seems that I can’t think of anyone else
The night is over an’ I guess you’re gone

I try and tell myself forget it and just carry on

But as I walk these lonely streets with nothing else to do

I close my eyes and dream that I’m alone with you

I close my eyes and dream that I’m alone with you

I close my eyes and dream that I’m alone with you

Tuesday, 30 October 2007

15 miljoen mensen





15 miljoen mensen
Land van duizend meningen
Het land van nuchterheid
Met z’n allen op het strand
Beschuit bij het ontbijt
Het land waar niemand zich laat gaan
Behalve als we winnen
Dan breekt acuut de passie los
Dan blijft geen mens meer binnen

Het land wars van betutteling
Geen uniform is heilig
Een zoon die noemt z’n vader Piet
Een fiets staat nergens veilig

refren’:
Vijftien miljoen mensen
Op dat hele kleine stukje aarde
Die schrijf je niet de wetten voor
Die laat je in hun waarde
Vijftien miljoen mensen
Op dat hele kleine stukje aarde
Die moeten niet ‘t keurslijf in
Die laat je in hun waarde



Het land vol groepen van protest
Geen chef die echt de baas is
Gordijnen altijd open zijn
Lunch een broodje kaas is
Het land vol van verdraagzaamheid
Alleen niet voor de buurman
De grote vraag die blijft altijd
Waar betaalt ‘ie nou z’n huur van

‘t Land dat zorgt voor iedereen
Geen hond die van een goot weet
Met nasiballen in de muur
En niemand die droog brood eet

Geef Mij Je Angst by Guus Meeuwis

Geef Mij Je Angst by Guus Meeuwis





Je zegt ik ben vrij maar jij bedoelt ik ben zo eenzaam
Je voelt je te gek zeg jij maar ik zit niet te dromen
Want die blikken in je ogen zegen alles tegen mij
Ik voel me precies als jij dus jij kan eerlijk zijn
Je voelt je heel goed zeg jij je mond begint te trillen
Ik weet dat ik jou kan helpen maar je moet zelf willen
Elkaar nu een dienst bewijzen dat is alles wat ik vraag
Zet weg nu die angst ik wist het al het is mijn dag vandaag

Geef mij nu je angst ik geef je er hoop voor terug
Geef mij nu de nacht ik geef je hem morgen terug
Zolang ik je niet verlies vind ik heus wel de weg met jou

Kijk mij nu eens aan nee zeg maar niets je mag best zwijgen
Het valt nu nog zwaar maar ik weet dat ik jou kan krijgen
Dit hoeft nooit meer te gebeuren als je bij me blijft vannacht
Want dan zal je zien als jij straks wakker wordt dat jij weer lacht

Geef mij het gevoel dat ik er weer bij hoor voortaan
Ik ga met je mee want ik laat je nu nooit meer gaan
Geef mij nu je angst ik geef je er hoop voor terug
Geef mij nu de nacht ik geef je hem morgen terug
Zolang ik je niet verlies vind ik heus wel de weg met jou

Geef mij het gevoel dat ik er weer bij hoor voortaan
Ik ga met je mee want ik laat je nu nooit meer gaan
Geef mij nu je angst ik geef je er hoop voor terug
Geef mij nu de nacht ik geef je hem morgen terug
Zolang ik je niet verlies vind ik heus wel de weg met jou

De zee _ Trijntje Oosterhuis





Soms zijn de zee en ik alleen
En is zij net als iedereen
Als ik onder haar golven wil
Dan laat ze mij er niet doorheen
Dat is de zee
En eigenlijk zijn wij allemaal net zo
Dat we ver onder de spiegel willen gaan
Naar daar waar alle liefde zit
Maar we zijn te bang om ‘t toe te staan
Wie neemt me mee
Wie durft te beginnen
Wie laat mij zien hoe mooi een mens kan zijn van binnen
Wie leidt de weg
Wie durft te voelen
Ik draag het licht en jij hebt ‘t zicht
Kom met me mee en hou van de zee
Heeyah
Oh hee
Hee yeah


Heehee yeah
Nananana
Nananana
Huuhu
Kom met me mee
Ahahaahaa
Ahahaahaa
Ahahaahaahahaahahaa
Ahahaa
Ah yeah

jay chou - 退后 by jay chou




Jay’s 退后 ---

天空灰得像哭过
tian kong hui de xiang ku guo
The sky is so gray that it looks like it just cried

离开你以后
li kai ni yi hou
After leaving you

並沒有更自由
bing mei you geng zi you
I did not gain more freedom

酸酸的空氣
suan suan de kong qi
The sourness from the air

嗅出我们的距离
xiu chu wo men de ju li
Smelling out our distance

一幕锥心的结局
yi mu chui xin de jie ju
A scene of of heartbreaking ending

像呼吸般无法停息
xiang hu xi ban wu fa ting xi
Like breathing, unable to stop.

抽屉泛黄的日记
chou ti fan huang de ri ji
The yellowed diary in the drawer

榨乾了回憶
zha gan le hui yi
pressed dry our memories

那笑容是夏季
na xiao rong shi xia ji
That smile is summer


你我的过去
ni wo de guo qu
Our past

被順時針的忘记
bei shun shi zhen de wang ji
Has been forgotten as time goes by

缺氧过后的爱情
que yang guo hou de ai qing
A love that lacked oxygen.

粗心的眼泪是多余
cu xin de yan lei shi duo yu
Careless tears are unnecessary


我知道你我都没有错
wo zhi dao ni wo dou mei you cuo
I know that it is not your fault or mine.

只是忘了怎么退后
zhi shi wang le zen me tui hou
We just forgot how to step back

信誓旦旦给了承诺
xin shi dan dan gei le cheng nuo
We made promises to each other with confidence

却被时间扑了空
que bei shi jian pu le kong
Yet it has been emptied by time


我知道我们都没有错
wo zhi dao wo men dou mei you cuo
I know that it is not your fault or mine

只是放手会比较好过
zhi shi fang shou hui bi jiao hao guo
It's just that letting go would make things easier

最美的爱情回忆里待續
zui mei de ai qing hui yi li dai xu
The most beautiful love is to be continued in [my] memory




天空灰得像哭过
离开你以后
并没有更自由
酸酸的空气
嗅出我们的距离
一幕最新的结局
像呼吸般无法停息
抽屉泛黄的日记
找到了回忆
那笑容是夏季
你我的过去
被算是真的忘记
缺氧过后的爱情
如星的眼泪是多余
我知道你我都没有错
只是忘了怎么退后
信誓旦旦给了承诺
却被时间扑了空
我知道我们都没有错
只是放手会比较好过
最美的爱情回忆里待续

Jij Bent Zo by Jeroen Van Der Boom





Jij Bent Zo by Jeroen Van Der Boom

Zeg ik nee, zeg jij ja.
En wil ik gaan slapen,
wil jij ineens graag en oh
Zeg ik stop ga jij toch,
Nog even door
En ik krijg geen gehoor.

Stroomt het bier uit de kraan,
wil jij naar huis.
Zeg ik later we gaan,
geef jij niet thuis .
Maar het kan me niet schelen, want

Jij bent zo
Ik heb je dan ** nooit anders gekend, en zo
zou ?k jou ?t liefste houden.
Je bent zo
Met jou verveel ik me geen moment,*en* oh
Ook al doe je *echt* geen moeite
Je bent zo
Ik raak gewoon nooit aan je gewend, zo
Wil ik verder leven samen met jou

Zal ik jou ooit begrijpen
Ik zou het niet willen
Ik hou van je grillen
Jij maakt dat ik nooit een dag
niet heb geleefd
Dus verras me maar weer
Ook al doet het soms zeer

En is wit in de mode
draag jij zwart
Weet je ?t zeker
dan nog volg jij je hart
Iedereen zou zich schamen, maar



Jij bent zo
Ik heb je dan nooit anders gekend, en zo
zou ik jou ?t liefste houden
Je bent zo
Met jou verveel ik me geen moment, en oh
Ook al doe je *echt* geen moeite
Je bent zo
Ik raak gewoon nooit aan je gewend, zo
wil ik verder leven samen met jou

*En ik* wil je echt niet anders
Ook al wil je meer tijd voor jou alleen
Toch voel ik me met jou zo samen een
Want ik weet dat je van me houdt

Jij bent zo
Ik heb je dan ** nooit anders gekend, en zo
Zou ?k jou t liefste houden
Je bent zo
Met jou verveel ik me geen moment,*en* oh
Ook al doe je *echt* geen moeite
Je bent zo
Ik raak gewoon nooit aan je gewend zo
Wil ik verder leven samen met jou

Jij bent zo
Met jou verveel ik me geen moment,*en* oh
Je bent zo
Ik raak gewoon nooit aan je gewend zo
Wil ik verder leven samen

Beautiful Girl by Sean Kingston




Chorus:]
You're way too beautiful girl
That's why it'll never work
You'll have me suicidal, suicidal
When you say it's over
Damn all these beautiful girls
They only wanna do your dirt
They'll have you suicidal, suicidal
When they say it's over



[Verse 1:]
See it started at the park
Used to chill at the dark
Oh when you took my heart
That's when we fell apart
Coz we both thought
That love lasts forever (lasts forever)
They say we're too young
To get ourselves sprung
Oh we didn't care
We made it very clear
And they also said
That we couldn't last together (last together)

[Refrain:]
See it's very define, girl
One of a kind
But you mush up my mind
You walk to get declined
Oh Lord...
My baby is driving me crazy

[Chorus]

[Verse 2:]
It was back in '99
Watchin' movies all the time
Oh when I went away
For doin' my first crime
And I never thought
That we was gonna see each other (see each other)
And then I came out
Mami moved me down South
Oh I'm with my girl
Who I thought was my world
It came out to be
That she wasn't the girl for me (girl for me)

[Refrain and Chorus]

[Verse 3:]
Now we're fussin'
And now we're fightin'
Please tell me why
I'm feelin' slightin'
And I don't know
How to make it better (make it better)
You're datin' other guys
You're tellin' me lies
Oh I can't believe
What I'm seein' with my eyes
I'm losin' my mind
And I don't think it's clever (think it's clever)

You're way too beautiful girl
That's why it'll never work
You'll have me suicidal, suicidal, suicidal


Beautiful Girl by Sean Kingston


Nick & Simon - Kijk omhoog





Dutch song

Kijk Omhoog
– Nick & Simon

Na een lange val
Klim jij weer uit het dal
Kijk naar de tijd die komen zal
Hoe vul jij die in
Je weet het even min
Je krijgt niet alles naar je zin

En je hoofd vol zorgen
Houd je lichaam in z?n macht
Er komt altijd een morgen
Ook na de langste nacht



Kijk omhoog naar de zon
Zoek niet naar een antwoord
Laat het los hou je vast aan mij
Deze weg wijst zichzelf
Hij leid je naar de toekomst
Deze wolk drijft snel voorbij

Er word een keerpunt aan geduid
Je kunt nu weer vooruit
Je voelt de zon op je gezicht
Het word de hoogste tijd
Dat jij je zelf bevrijd
Zie het in een ander licht

Maar je hoofd vol zorgen
Houd je lichaam in z?n macht
Er komt altijd een morgen
Ook na de langste nacht

Kijk omhoog naar de zon
Zoek niet naar een antwoord
Laat het los hou je vast aan mij

Kijk omhoog naar de zon
Zoek niet naar een antwoord
Laat het los hou je vast aan mij
Deze weg wijst zichzelf
Hij leidt je naar de toekomst
Deze wolk drijft snel voorbij

Want deze wolk drijft snel voorbij
Want deze wolk drijft snel voorbij

— lyric

Sunday, 28 October 2007

Canaval in Westervoort- Netherlands 2005



Canaval o moi noi tren dat nuoc Halan rat thu vi. O Westervoort Canaval dien ra kha hoanh trang va vui nhon. Day la lan dau tien toi xem Canaval nen chup that nhieu hinh. hihihi

From Wikipedia, the free encyclopedia

Netherlands
In the Netherlands where it is called 'Karnaval', 'Carnaval', 'Vastenavond' or 'Vastelaovend' the last day of Carnival, the day before Ash Wednesday, is held exactly 40 days (not counting Sundays) before Easter. Dutch Carnival is most celebrated in Catholic regions, mostly the southern provinces Noord Brabant and Limburg, where it is also known as Vastenavond or Vastelaovend (literally "Fasting evening", although that strictly refers only to the last day, whereas Carnaval in the Netherlands usually begins on the Sunday before Ash Wednesday). The most popular places where Carnival is held (although every city, town or village celebrates it) are Maastricht, Roermond, Venlo, 's-Hertogenbosch, Bergen op Zoom, Eindhoven and Breda. Carnival here has been celebrated ever since mediaeval times and was modernised after WW II, when Bergen op Zoom even continued to celebrate it indoors. However, it is the most southern province of The Netherlands, Limburg, where many Dutch go to celebrate it. During the event, every town is one big party.
During Dutch Carnival, many traditions are kept alive. First of all is the parade with dressed-up groups, musicians and elaborately built floats. Also traditions include a fake prince plus cortège ('Council of 11'), the boerenbruiloft (farmer's wedding) and the haring happen (eating herring) on Ash Wednesday. However, the traditions vary from town to town.
There are several types of Carnival celebrated in The Netherlands. The best known variant is known as the Rijnlandsche Carnival which can be experienced in the province of Limburg.. It shares many folklore traditions with its German and Belgian counterparts. Maastricht is famous not so much for its parades but for its street carnival, with elaborate costumes that people work on all year, a bit like the South American style, but with a strong accent on humour, and bearing resemblance to Italian, mostly Venician, traditions, culture and costumes. Another variety can be found in the province of Noord-Brabant, e.g. in 's-Hertogenbosch, Breda, Steenbergen and Bergen op Zoom. The Carnival in 's-Hertogenbosch is known as the oldest in the Netherlands. Several paintings of the world famous Jheronimus Bosch, who lived in the city in the 15th century, are based on the carnival festivities in the city during the Middle Ages. The oldest known Carnival festivities in 's-Hertogenbosch date from 1385. In 1882 De Oeteldonksche Club was founded to secure the future of Carnival in 's-Hertogenbosch. The Carnival of Bergen op Zoom shares most traditions with 's Hertogenbosch and very few traditions and folklore with the rest of the Netherlands and they have celebrated it in their specific way ever since 1839.
Summer Carnival
Rotterdam (since 1984) and Arnhem (since 2001) celebrate every year Brazilian carnival at the end of July. With 900,000 (2006) and 120,000 (2006) visitors, both events increase in popularity. The Rotterdam carnival includes a yearly Queen and best brass band election in the week before the event.

My Girl OST - Never Say Goodbye





Yea, whats going on, 2006, mario and nasty,
brand new classic,
ride with us, its about two guys and hot girls,
yo keep it up keep it up,
two step with me, come on,
lets do it do it do it like this



1,2 baby clap ur hands
Everybody lets go ha ha ha ha
I want yall ladies clap again
Let me hear u say wut wut

우리 단둘이 its my story
Wori danduli its my story

또 너의 맘이 흠이 내 눈가의 눈물이
To noe mami humi nae nungae nunmuli

너와의 시간은 너무나도 길어 너무 길어
Nowae siganun nomunado gilo nomu gilo

따뜻한 나의 맘으로 돌아오길 빌어
Tatuthan nae mamuro dolaogil bilo

the ghetto 너의 맘이 끌리는 대로 넌 그대로
the ghetto noe mami gullinun daero nun gudaero

never say goodbye so get up

if you go away
you will see me cry
don't you let me go
baby don't you let me down

늘 함께 있어도 더 가깝지 않은
Nul hamke it-o-do do gakapzi annnun

어떤 의미도 없는 진부한 사랑
Otun emido upnun zinbuhan sarang

don't you let me go

baby don't you let me down

you never say good bye

한동안 멍하니 우두커니 앉아
Handongann monghani u-do-ku-ni annza

다시 생각했지만 멈출 순 없겠어
Dasi sanggathatziman mumchul sun up-ut-o

온통 그대 생각 할 수밖에 없는
Ontong kudae sanggat hal su bake upnun

내 자신이 미워
Nae zasini miwar

don't you let me go

baby don't you let me down

(Mario) And we the best aint no need to stress
Mario and nasty aint no need to impress
(보람)Yo! 너의 맘을 받아 나의 맘은 변치 않아
허나 맘 텅 빈 채로 비워 두진 않아
(Mario)Call it a fling or a love thing
I don't care I can handle any drama that you bring.
밤 꼭 세워 맘 꼭 사랑으로 채워
(Mario)with out u im better no one could do it better
hello cute nasty best mc
Mario right tight errnight that's right.

I am still in love with you hey
내 맘을 절대 이해 못한다고
I'm still in love with you hey
Let me hear you say hey hey hey

Yo check it 니가 나를 떠난다고
오직 이 세상에 너란 여자 하나라고
꿋꿋이 남자답게 포기하진 않아
only u 오직하나 only u 잊진
않아 baby 1,2,3,4 I got the mic check

if you go away
you will see me cry
don't you let me go
baby don't you let me down

늘 함께 있어도 더 가깝지 않은
Nul hamke it-o-do the gakapzi annun

어떤 의미도 없는 진부한 사랑
o-tun emido upnun zinbuhan sarang

don't you let me go
baby don't you let me down
you never say good bye

한동안 멍하니 우두커니 앉아
Handongann monghani udokuni annza

다시 생각했지만 멈출 순 없겠어
Dasi sanggathatziman mul chul chun up-get-o

온통 그대 생각 할 수밖에 없는
On-tong ku-dae sang-gat hal su-bak-e up-nun

내 자신이 미워
Nae za-sin-I mi-war

you never say good bye (come on come on)
한동안 멍하니(wana ride with the homie right?)
Han-dong-ann mong-ha-ni (wana ride with the homie right?)

우두커니 앉아 (Wana get right then get high )
oo-do-kir-ni ann-za (Wana get right then get high )

다시 생각했지만 (ride with me ill ride with you)
Da-si sang-gat-hat-zi-man (ride with me ill ride with you)

멈출 순 없겠어 (you go down on me ill go down on you)
Mum-chuil sun up-get-o (you go down on me ill go down on you)

온통 네 생각만 (yeah~)
On-tong ne sang-kak-man (yeah~)

할 수 밖에 없는 (just me and you come on)
Hal su bak-e up-nun (just me and you come on)

내 자신이 미워 (One more time now)
Nae za-sin-I me-war (One more time now)
don't you let me go (Say what)
don't you let me down (One more time now)

1,2 baby clap ur hands
Everybody lets go ha ha ha ha
I want yall ladies clap again
Let me hear u say hey hey hey

사랑도 변치 않아 나의 맘도 변치 않아
Sa-rang-do bun-ha-zi ann-a na-e mam do bun-chi ann-a

나의 꿈을 잃진 않아 절대 포긴 없다
Na-e chum-ul il-zin ann-a zul-dae po-gin up-daI



ll logic real toxic switch quicker than tiptonic
hetero sexual the kids flow is incredible
사랑도 변치 않아 나의 맘도 변치 않아
Sa-rang-do bun-ha-zi ann-a na-e mam do bun-chi ann-a

나의 꿈을 잃진 않아 절대 포긴 없다 yea
Na-e chum-ul il-zin ann-a zul-dae po-gin up-da






Yea, Whats going on, 2006 Mario and Nesty
brand new classic
ride with us its about two guys and hot girls
yo keep it up keep it up
two step with me come on
lets do it do it do it like this

1,2 baby clap ur hands
Everybody lets go ha ha ha
I want yall ledies clap again
Let me hear u say wut wut

Uri Danduli its my story
Ddo Neoeui Mami Heumi Nae Nungaeui Nunmuli
Neowaeui Siganeun Neomunado Gileo Neomu Gileo
Ddaddeithan Naeui Mameuro Dolaogil Bileo
the ghetto Neoeui Mami Kkeullineun Daero Neon
Geudaero
Never say goodbye so get up

* If you go away
You will see me cry
Don?t you let me go
baby Don?t you let me down
Neul Hamgge Isseodo Deo Gaggapji Anheun
Eoddeon Euimido Eopsneun Jinbuhan Sarang
Don?t you let me go
baby Don?t you let me down

** You never say goodbye
Handongan Meonghani Udukeoni Anja
Dasi Saenggakhaessjiman
Meomchulsun Eopsgesseo
Ontong Geudae Saenggak
Halsu Bakke Eopsneun Nae Jasini Miuo
Don?t you let me go
baby don?t you let me down

And we the best aint no need to stress
Mario and nasty aint on need to impress
Yo! Neoeui Mamuel Bada Naeui Mameun
Byeonchianha
Heona Mam Teong Binchaero Biuodujin Anha
Call it a fling or a love thing
I don?t care I can handle any drama that you bring
Bam Kkok Seuo Mam Kkok Sarangeuro Chaeuo
with out u im etter no one could do it better
Mario right tight errnight that?s right

I am still in love with you hey
Nae Mameul Jeoldae Ihae Mothandago
I am still in love with you hey
Let me hear you say hey hey hey

Yo check it Niga Nareul Ddeonandago
Ojik Isesange Neoran Yeoja Hanarago
Kkotkkoti Namjadapge Pogihajin Anha
only u Ojikhana only u Ijjinanha
baby 1,2,3,4 I got the mic check

[Repeat * , **]

1,2 baby clap ur hands
Everybody lets go ha ha ha
I want yall ladies clap again
Let me hear u say hey hey hey



Sarangdo Byeonchianha Naeui Meomdo
Byeonchianha
Naeui Kkumeul Irhjin Anha Jeoldae Pogin Eopsda
Ill logic real toxic switch quicker than tiptonic
hetero sexual the kids flow is incredible
Sarangdo Byeonchianha Naeui Meomdo
Byeonchianha
Naeui Kkumeul Irhjin Anha Jeoldae Pogin Eopsda
Yea-

Korean singers



Korean music-Stairway To Heaven OST - Bo Go Ship Da (I miss u) by Kim Bum Soo




amuri kidar-yodo nan mot ka

pabo-chorom ulgo in-nun noye gyote

sangchorom chu-nun narul wae morugo

kida-rini tto-nakaran malya

bogo-shipda bogo-shipda

iron nae-ga miwochil man-kum

ulgo shipda nae-ge murup kkulh-ko

modu optdo-ni-ri twel su it-damyon

michil dut sarang-haet-don kiyogi

chu-ok-duri norul chatgo it-ji-man

to isang sara-ngiran pyon-myonge

norul kadul su opso

iromyo-nan dwe-jiman

chugul mankum bogo-shipda



bogo-shipda bogo-shipda

iron nae-ga miwochil mankum

midko shipda orun kirirago

norul wi-hyae tto nayaman handago

michil dut sarang-haet-don kiyogi

chu-ok-duri norul chatgo it-jiman

to isang sara-ngiran pyon-myonge

norul kadul su opso

iromyo-nan dwe-jiman

chugul mankum bogo-shipda

chugul mankum it-ko-shipda

Friday, 26 October 2007

Đàm Vĩnh Hưng

HANH PHUC LANG THANG



Not only Mr. Dam refuses to go away, but he also returns with a double album. Ideally, he would like to offer two separate styles, one on each disc, but they ended up sounding the same. No matter how hard he tries, he still can’t get rid of his “sen”-ness.

On the first disc, he turns every romantic ballad into a doleful hymn. Even Ngo Thuy Mien’s “Niem Khuc Cuoi,” which could be a wedding’s first dance, he transforms it into a funeral ode with his over-sentimental delivery. His rendition of Tu Cong Phung’s “Mat Le Cho Nguoi” is more pejorative than Che Linh doing Tuan Ngoc in “Rieng Mot Goc Troi.” Worst is the title track in which he sounds as if he’s suffering from tuberculosis. His tone is fucked up badly.

The second disc, however, is where Mr. Dam hits home. The way he caramelizes Ngan Giang’s “Em Ve Keo Troi Mua” you could make a clay pot fish (ca kho to) with it. All you need is a bowl of room-temperature rice and a cucumber to complete a country-style meal. To Thanh Tung’s “Gia Tu” is also a perfect fit for his maudlin gloss, and I am not even trying to deny the fact that I don’t dislike this campy shit. Just give me a bowl of “bun mam” to complement it.

Even though Mr. Dam is far far away from being the king of “sen” (Che Linh is still holding on to the title), everything he touches gets depressingly contagious. Like AIDS, once you’re caught with the “sen” virus, you’re infected for life. Mr. Dam is incurable anyway.





Xin lỗi tình yêu Đàm Vĩnh Hưng


Sáng tác: Minh Nhiên

Anh nói sẽ đưa em đi suốt cuộc đời, mà sao không đưa được đoạn đường em đi ?

Anh nói sẽ ôm em khi gió đông về, mà giờ đây một mình em đứng trong mưa.

Anh nhớ lần đầu tiên trông thấy nụ cười, mà em trao cho người lạc đường yêu đương.

Anh biết từ đây anh sẽ dối em, dù con tim thật lòng với người anh yêu.



Tình yêu hỡi, ngàn lần xin tha thứ .

Xin lỗi em, ngàn lời xin lỗi em

Xin em quên đi những lời yêu, anh đã trao cho em trong tận đáy lòng .

Mưa ướt vai em hay nước mắt em?

Anh muốn ôm em lau hết ưu phiền .

Xin hãy quên đi, một giấc mơ buồn .

Xin hãy quên anh, một kẻ đa tình, chìm trong say đắm lạc lối yêu đương.






Đánh Mất

Sáng tác: Hoàng Hiệp.

Ngày xưa em như chiếc bóng
Chiếc bóng bên anh thầm lặng
Từ lâu em tan thành tia nắng
Gió thốc lên chỉ còn đám bụi mờ
Từ lâu em như là mây trắng
Gió cuốn mây về chốn mịt mờ

Mười năm trôi qua, trôi qua
Anh như không ra đi, không ra đi mà như người trở lại
Ướt đẫm tim anh, ướt đẫm tim anh
Nước mắt em chiều ấy
Dù rằng em, dấu mặt vào tay
Bỗng ngỡ ngàng đôi mắt đó chiều nay

Mười năm trôi qua, trôi qua
Anh như không ra đi, không ra đi mà như người trở lại
Em vẫn thơ ngây, như lúc chia tay
Vẫn tươi xanh màu lá xưa anh hái
Một nhánh lan chưa kịp nở hoa
Lối hẹn xưa cỏ phố nhạt nhòa....



Em trở lại... hay thời gian trở lại
Hỡi cô bé thơ ngây ngày ấy
Hỡi đôi mắt năm xưa nhìn anh
Hỡi đôi môi với nụ cười lặng lẽ
Em đang nghĩ gì?.....đang nghĩ gì?.....đang nghĩ gì?.....
Anh van em..... van em... nói ra đi....

Dam Vinh Hung Vol.10-Lạc mất em


Thursday, 25 October 2007

June Pona




Movie Name: Unnaale Unnaale (2006)

Singer: Arun, Krish

Music Director: Harris Jeyaraj

Year: 2006

Producer: Oscar Ravi Chandran

Director: Jeeva

Actors: Sada, Tanisha, Vinay


june pOnaa july kaattrae

kaN paarththaa kaadhal kaatrae

poo pooththaa thaen varumae

peN paarththaa thee varumae

ennaachchu thONaliyae

(check it up, check it up..)

aedhaachchu theriyaliyae


natpaachchu love illaiyae

love aachchu natpillaiyae


naetru enbadhum kaiyyil illai

naaLai enbadhum paiyyil illai

indru mattumae nenjil michcham uNdu

thOzhaa..


moththa kooththukkaL yaarukkaaga

moththa bhoomiyum kooththukkaaga thaan

anbae..


naetru enbadhum kaiyyil illai

naaLai enbadhum paiyyil illai

indru mattumae nenjil michcham uNdu

thOzhaa..


moththa kooththukkaL yaarukkaaga

moththa bhoomiyum kooththukkaaga thaan

ada an..bae..en an.b..ae..


june pOnaa july kaattrae

kaN paarththaa kaadhal kaattrae

poo pooththaa thaen varumae

peN paarththaa thee varumae..aae..


araikkuLLae mazhai varumaa

veLiyae vaa kudhukalamaa

indha bhoomi pandhu

engaL koodai pandhu

andha vaanam vandhu

koorai seidhadhindru

karai irukkum nilavinai salavai sei

sirai irukkum manangaLai paravai sei

endha malargaLum kaNNeer sindhi kaNdadhillai


june pOnaa july kaattrae

kaN paarththaa kaadhal kaattrae

poo pooththaa thaen varumae

peN paarththaa thee varumae


ennaachchu thONaliyae

aedhaachchu theriyaliyae

natpaachchu love illaiyae

love aachchu natpillaiyae





uala coumostas ...baieng grastias

o trama treyuma....


iruppOmaa veLippaadaiyaai

ah..sirippOmaa malar kudaiyaai

sirpi viralgaLO silai sedhukkumae

peNNin vizhigaLO nammai sedhukkumae

romba kaadhalai indha bhoomi kaNdirukkum

pala maattrangaL vandhu vandhu pOiyirukkum

indha ulagaththil evarumae raaman illai


june pOnaa july kaatrae

kaN paarththaa kaadhal kaatrae

poo pooththaa thaen varumae

peN paarththaa thee varumae

ennaachchu thONaliyae

aedhaachchu theriyaliyae

natpaachchu love illaiyae (love illaiyae)

love aachchu natpillaiyae (natpillaiyae)

naetru enbadhum kaiyyil illai

naaLai enbadhum paiyyil illai

indru mattumae nenjil michcham uNdu

thOzhaa..

moththa kooththukkaL yaarukkaaga

moththa bhoomiyum kooththukkaaga thaan

naetru enbadhum kaiyyil illai

naaLai enbadhum paiyyil illai

indru mattumae nenjil michcham uNdu

thOzhaa..

moththa kooththukkaL yaarukkaaga

moththa bhoomiyum kooththukkaaga thaan

ada an..bae..en an.b..ae..

Tuesday, 23 October 2007

Gotta Go My Own Way by Vanessa Hudgens







GABRIELLA:

Troy – listen...

I gotta say what’s on my mind.

Something about us, doesn’t seem right... these days.

Life keeps getting in the way.

Whenever we try,

somehow the plan is always rearranged.

It’s so hard to say,

but I gotta do what’s best for me.

You’ll be okay...

I’ve got to move on, and be who I am.

I just don’t belong here,

I hope you understand.

We might find our place in this world someday,

but at least for now,

I gotta go my own way.

Don’t wanna leave it all behind.

But I get my hopes up and I watch them fall every time.





Another color turns to grey.

And it’s just too hard... to watch it all... slowly fade away.

I'm leaving today

cause I gotta do what’s best for me.

You’ll be okay...

I’ve got to move on, and be who I am.

I just don’t belong here,

I hope you understand.

We might find our place in this world someday,

but at least for now,

I gotta go my own way.

TROY:

What about us?

What about everything we’ve been through?

GABRIELLA:

What about trust?

TROY:

You know I never wanted to hurt you.

GABRIELLA:

What about me?

TROY:

What am I supposed to do.......

GABRIELLA:

I gotta leave but I’ll miss you

TROY:

...miss you.

GABRIELLA LEAD, TROY AD-LIBS

So I’ve got to move on, and be who I am.

(Troy: why do you have to go)

I just don’t belong here,I hope you understand.

(Troy: trying to understand)

We might find our place in this world someday,

but at least for now,

(Troy: I want you to stay)

I gotta go my own way.

I’ve got to move on, and be who I am.

(Troy: what about us?)

I just don’t belong here,

I hope you understand.

(Troy: trying to understand)

We might find our place in this world someday.

but at least for now,

I gotta go my own way.

I've gotta go my own way,

I've gotta go my own way.

You Are The Music In Me by Olesya Rulin, Vanessa Hudgens, Zac Efron




Na na na na
Na na na na yeah
You are the music in me

You know the words "Once Upon A Time"
Make you listen? There's a reason.

When you dream there's a chance you'll find
A little laughter or a happy ever after

Your harmony to the melody
It's echoing inside my head

A single voice (Single voice)
Above the noise

And like a common thread
Hmm, you're pulling me

When I hear my favorite song
I know that we belong
Oh, you are the music in me

Yeah it's living in all of us
And it's brought us here because
Because you are the music in me

Na na na na (Ohh)
Na na na na na
Yeah yeah yeah (Na na na na)
You are the music in me

It's like I knew you before we met (Before we met)
Can't explain it (Ohh ohh)
There's no name for it (No name for it)

I'm saying words I never said
And it was easy (So easy)
Because you see the real me (I see)
As I am
You understand
And that's more than I've ever known

To hear your voice (Hear your voice)
Above the noise (Ohh ohh)

And no, I'm not alone
Oh you're singing to me (Ohh yeah)

When I hear my favorite song
I know that we belong (Yeah ohh)
You are the music in me

It's living in all of us
And it's brought us here because
You are the music in me

Together we're gonna sing (Yeah)
We got the power to sing what we feel (What we feel)
Connected and real

Can't keep it all inside (Ohh)

Na na na na (Ohh yeah)
Na na na na (Ohh yeah)
Yeah yeah yeah (Na na na na)
You are the music in me (In me)

Na na na na (Ohh yeah)
Na na na na (Ohh yeah)
Na na na na
You are the music in me

When I hear my favorite song (Favorite song)
I know that we belong (We belong)
You are the music in me

Yeah it's living in all of us
It's brought us here because (Here because)
You are the music in me

Na na na na (Ohh yeah)
Na na na na (Ohh yeah)
Na na na na
You are the music in me (Yeah)

Monday, 22 October 2007

Sweet Baby by George Duke



SWEET BABY-George Duke



When I think about your lovin'

The Sunday evenings, the fun we used to share

Looking through the memories in my mind

Since I've laughed and cried and thought it over

Now I realize that it's never over, it's only set aside

Oh, it's you, sweet baby

I will never be free from your embrace, sweet baby

Only hoping it's not too late to try again It's true, sweet baby

Ever lost and captured by your smile, sweet baby

I will always be right there by your side

Right by your side

Lying here alone

I'm dreaming

My mind keeps wandering, my thoughts are only you

Wandering through the memories in my mind

How could love so real have turned so empty

I just keep wondering why

Will I ever find the love we shared together, you and I

Oh, it's you, sweet baby

Though we had such a long hard road to climb, sweet baby

Only hoping it's not too late to try again

It's you, sweet baby

Won't u try belivin wat i say, sweet baby

I will always be right there by your side

Right by your side

Oh, it's you, sweet baby

I will never be free from your embrace, sweet baby

Only hoping it's not too late to try again

It's you, sweet baby

Ever lost and captured by your smile, sweet baby

I will always be right there by your side

Right by your side

Friday, 19 October 2007

My Heart Will Go On



Every night in my dreams
I see you, I feel you,
That is how I know you go on

Far across the distance
And spaces between us
You have come to show you go on

Near, far, wherever you are
I believe that the heart does go on
Once more you open the door
And youre here in my heart
And my heart will go on and on

Love can touch us one time
And last for a lifetime
And never let go till were gone

Love was when I loved you
One true time I hold to
In my life well always go on

Near, far, wherever you are
I believe that the heart does go on
Once more you open the door
And youre here in my heart
And my heart will go on and on

Youre here, theres nothing I fear,
And I know that my heart will go on
Well stay forever this way
You are safe in my heart
And my heart will go on and on



My Heart Will Go On
Every night in my dreams, I see you, I feel you.
That is how I know you go on.
Far across the distance and spaces between us,
you have come to show you go on.
Near, far, wherever you are,
I believe that the heart does go on.
Once more you open the door and you're
here in my heart and my heart will go on and on.
Love can touch us one time and last for a
lifetime and never let go till we're gone.
Love, was when I loved you, one true time
I had to, in my life we'll always go on.
Near, far, wherever you are,
I believe that the heart does go on.
Once more you open the door and you're
here in my heart and my heart will go on and on.
You're here, there's nothing I fear, and I know
that my heart will go on.
We'll stay forever this way,
you are safe in my heart and my heart will go on
and on.
My Heart Will Go On





Video clip: Celine Dion-My heart will go on
Có những lúc, nói một lời yêu thương thật là khó khăn phải không? Nếu bạn yêu thương ai thật lòng, bạn hãy thể hiện cho họ biết đi, bởi vì có thể sẽ có một ngày mai không bao giờ tới, và bạn sẽ không còn cơ hội thứ hai để cho mọi người biết được tình cảm thật của mình. Nếu bạn yêu, hãy nói rằng mình yêu, nếu bạn ghét, hãy nói rằng mình ghét, đừng bỏ phí những yêu thương và cả hờn giận của mình, hãy nói đi, trước khi sẽ muộn…



You are doing an easy thing, yet the thing you think that is so hard to say, it is to Love! Why keep things in your heart unrevealed? why not try to show your loved ones how much you care for them? and you’ll learn, that you are loved too, so do it, before it is late… Listen, the lyric says it all!


"If Tomorrow Never Comes"
RONAN KEATING

Sometimes late at night
I lie awake and watch her sleeping
She's lost in peaceful dreams
So I turn out the lights and lay there in the dark
And the thought crosses my mind
If I never wake up in the morning
Would she ever doubt the way I feel
About her in my heart
If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes '
Cause I've lost loved ones in my life
Who never knew how much I loved them
Now I live with the regret
That my true feelings for them never were revealed
So I made a promise to myself
To say each day how much she means to me
And avoid that circumstance
Where there's no second chance to tell her how I feel
If tomorrow never comes
Will she know how much I loved her
Did I try in every way to show her every day
That she's my only one
And if my time on earth were through
And she must face this world without me
Is the love I gave her in the past
Gonna be enough to last
If tomorrow never comes
So tell that someone that you love
Just what you're thinking of
If tomorrow never comes

"Nếu ngày mai không bao giờ tới"
Ronan Keating

Có những lúc về khuya, tôi nằm đó và ngắm em ngủ,
Khi em đã chìm vào những giấc mơ bình yên, là lúc tôi tắt đèn và trằn trọc trong bóng đêm
Rồi một ý nghĩ chợt vụt qua
Lỡ như sáng mai tôi sẽ không bao giờ tỉnh dậy nữa
Có khi nào em nghi ngờ tình yêu tôi dành cho em
Từ trái tim này?

Nếu như ngày mai sẽ không bao giờ tới
Có bao giờ em biết được tôi yêu em đến thế nào không?
Có biết được từng giờ phút, tôi đã luôn muốn cho em thấy
Rằng em là người duy nhất
Và nếu thời gian của tôi trên trái đất này không còn nữa
Em sẽ phải đối mặt với cả thế gian này mà không có tôi…
Liệu tình yêu tôi đã từng dành cho em
Sẽ che chở cho em được đến hết cuộc đời này?
Nếu như ngày mai sẽ không bao giờ tới….

Bởi tôi đã từng mất đi những người yêu thương của cuộc đời mình
Những người đã không bao giờ biết được tôi yêu họ đến thế nào
Giờ đây tôi đang sống trong sự hối tiếc
Vì những tình yêu ấy họ đã không bao giờ được biết
Và tôi đã tự hứa với lòng mình
Mỗi ngày qua đi sẽ nói với em rằng,
Em có ý nghĩa như thế nào đối với tôi

Và tôi sẽ mãi làm thế, bởi có thể sẽ không có được cơ hội thứ hai
Để cho em biết những tình cảm của tôi

Bạn hãy nói với ai đó yêu thương của mình rằng
Bạn yêu họ,
Bởi vì,
Có thể ngày mai sẽ không bao giờ tới…

Tuesday, 16 October 2007

梅艷芳 Anita Mui - Song of Sunset 夕陽之歌



From Wikipedia, the free encyclopedia

Sunset Song is a 1932 novel by the Scottish writer Lewis Grassic Gibbon. It is widely regarded as one of the most important Scottish novels of the 20th century, if not the most important. It is the first part of a trilogy A Scots Quair.

Plot introduction
The central character is a young woman, Chris Guthrie, growing up in a farming family in the fictional Estate of Kinraddie in "The Mearns" (Kincardineshire) in the north east of Scotland at the start of the 20th century. Life is hard, and her family is dysfunctional.

Plot summary
Her mother, broken by repeated childbirths, commits suicide and poisons two young twins she has. Two younger children go to live with relatives, leaving Chris, her older brother Will and her father to run the farm on their own. Will and her father have a stormy relationship and Will emigrates to Argentina with his young bride. Chris is left to do all the work around the house. Soon after this, her father suffers a stroke, leaving him bedridden. For a time he tries to persuade her to commit incest with him, but as he is badly hurt he is not able to force her. He dies shortly afterwards. At his funeral, Chris realises what happened to her father and breaks down in tears as she never knew the hardship he has endured for them.
Chris, who has had some education, considers leaving for a job as a teacher in the towns, but realises she loves the land and cannot leave it, instead marries a young farmer called Ewan Tavendale and carries on farming. For a time they are happily married, and they have a son, who they also call Ewan. However when the First Wold War breaks out Ewan senior and many other young men join up. When he comes home on leave he treats Chris badly, evidently brutalised by his experiences in the army. Later she hears that he was killed in the war. Shortly after this she finds out the true story from another soldier from the area on leave: Ewan was shot as a deserter, but he died thinking of her. She begins a relationship with the new minister and she watches as he dedicated the War Memorial at the Standing Stones above her home. The Sun sets to the Flowers of the Forest, bringing an end to their way of life, forever.

Major themes
The novel touches on several issues, including the nature of Scottish national identity, and the "peasant crisis" i.e. the coming of modernisation to traditional farming communities. The author also has some political opinions reflected in the characters of Chae Strachan, the Socialist, and Long Rob, the pacifist, and he shows how they react to the coming of the war. The dilemma Chris faces over whether to continue her education or commit to a life in the land is also featured.

Literary significance & criticism


When it was first published, some readers were shocked by its realistic treatment of sex and childbirth, and its sometimes negative portrayals of family life. Some wondered if it had been written by a woman using a male pseudonym. Even now, some women have been known to refuse to believe that the description of childbirth at one point was written by a man.
The novel is written in an essentially artificial form of Scots intended to capture the colloquial speech of the Mearns peasants without being inaccessible to English speakers. Many readers find it strange at first, but get into it after a few pages.
It is told in the form of flashbacks.

Friday, 12 October 2007

Donna donna




Tiec Thuong(Donna Donna)
Ánh đèn vàng hiu hắt
Khói trần cay đôi mắt
Em nằm đó sao không cười không nói?
Dáng buồn còn vương nét
Mắt huyền giờ đã khépEm nào đó như đang mơ mộng gì
Em theo mây mây bay quên cuộc đời
Đời đầy nghĩa thương đauMây đưa em bay đi tìm trời
Và nơi đó em có nhớ tôi
Em ơi em ơi! em hỡi người yêu dấu
Sao em yêu vội sớm ra đi
Em ơi em ơi! em hỡi người yêu dấu
Đau lòng thay phút giây chia lìa
Tiếng đàn ai buông lơi
Tiếng đàn như tiếng khóc
Ru từng phím tơ não nùng ai oán
Khiến lòng tôi thổn thức
Khiến lòng tôi ray rứt
Môi mặn đắng nước mắt thơ tiếng kèn
Em theo mây bay quên tình người
Người đầy những dối gian
Mây đưa em bay đi về trờiVà nơi đó em có nhớ tôi
Em ơi em ơi! em hỡi người yêu dấuS
ao đôi ta vội sờm chia lyEm ơi em ơi! em hỡi người yêu dấu
Biết rồi tôi mất em suốt đời
DONNA DONNA



Il était une fois un petit garçon
Qui vivait dans une grande maison
Sa vie n’était que joie et bonheur
Et pourtant au fond de son cœur
Il voulait devenir grand
Rêvait d’être un homme.
Chaque soir il y pensait
Quand sa maman le berçait
Chorus :Donna Donna Donna Donna
Tu regretteras le temps
Donna Donna Donna Donna
Où tu étais un enfant
Puis il a grandi, puis il est parti
Et il a découvert la vie
Les amours déçues, la faim et la peur
Et souvent au fond de son cœur
Il revoyait son enfance
Rêvait d’autrefois
Tristement il y pensait
Et il se souvenai

Thursday, 11 October 2007

El Bimbo (Claude Ciari)



Claude Ciari Biography

French guitarist Claude Ciari has the rare distinction of being the first Caucasian to run for a seat in the upper house of the government of Japan. While he was not elected, he used the opportunity to publicly challenge what he felt was a stupid law for foreigners, a stance that only furthered his popularity in Japan. Ciari was born in Nice on the French Riviera in 1944. He started to play guitar when he was 11, and by 16 he was proficient enough to join a rock group, Les Champions, featuring himself on lead guitar along with Jean-Claude Chane (singer), Alain Santamaria (guitar), Daniel Kaufman (bass guitar), and Willy Lewis (drums). Les Champions, with a sound closer to the Jordanaires than the more popular instrumental groups of the era, recorded several singles, and even toured France with Gene Vincent in October 1962. Les Champions were not very original, and Ciari became frustrated when the band decided to become the support band for French singer Danyel Gerard.



Ciari left the group in 1964, and began his career as a solo artist. Solo success was immediate -- his first album included an instrumental rhumba, "La Playa," which caught on in the bossa nova fervor of the time and became a big hit in France and over 40 other countries. At 20 years old, Ciari had sold several million records, and began a prolific and acclaimed career. The first Batacuda's Seven LP, recorded in 1970, was his first dedicated to exploring Latin music, and gained him many more devoted followers in Latin America. He recorded many charting albums and singles, and toured extensively. In 1974 he decided to move to Tahiti, exploring Polynesian music while performing throughout Southeast Asia. Ciari fell in love with a fashion model while touring Japan, and subsequently moved to that country and married her. Ciari and his new wife started a family immediately, having two children within a few years of their wedding.
Japanese law at the time stipulated that children of a Japanese father automatically became Japanese citizens, while children of a foreign father were deemed foreign nationals. This archaic rule and the labyrinthine Japanese bureaucracy regarding children's rights outraged Ciari, and he decided the best way he could change things was to run for political office. He took Japanese citizenship, then campaigned to enter the upper house of government -- somewhat akin to running for the U.S. Senate -- and used the opportunity to, in his words, "make a big fuss using newspaper, magazines, radio, and TV." He received a solid 300,000 votes, but did not win the seat; however, his case became a cause célèbre, and eventually the offending law was removed. Claude Ciari has recorded more than 50 albums, and has contributed to many film and television soundtracks, working multiple times with composers Francis Lai and Bernard Gérard, and he continues to appear on television shows in Japan. He has not performed in France in almost 30 years, but hopes to return in the near future. ~ Laurie Mercer, All Music Guide


© Copyright 2007 AOL, LLC All Rights Reserved

Tuesday, 9 October 2007

The promise- Anita Mui



Y Lan

Kiep ngheo- Y Lan






Tien anh trong mua- Y Lan


Love Story



Love Story (1970) is a sentimental, romantic tearjerker film from director Arthur Hiller about a tragic couple. [Hiller had passed up the opportunity to work on The Godfather(1972) to make this film.] The melodramatic soap-opera, tremendously popular and a financial success (the top-earning film of the year) but panned by critics for its sappy content, was based upon Erich Segal's best-selling short novel of the same name. The film's tagline, "Love means never having to say you're sorry," appeared slightly differently in Segal's novelization: "Love means not ever having to say you're sorry."

The catchy, haunting, piano-plinking score won the Best Original Score Oscar (the film's sole award) for Francis Lai from its seven Academy Awards nominations: Best Picture, Best Actor (Ryan O'Neal), Best Supporting Actor (John Marley), Best Actress (Ali MacGraw), Best Director (Arthur Hiller), and Best Original Story and Screenplay (Erich Segal). Beau Bridges, Michael York, Michael Douglas, Jon Voight, Michael Sarrazin and Peter Fonda all turned down the part of Oliver - which ultimately went to Ryan O'Neal.

This film rescued Paramount from total bankruptcy (it was the 9th most profitable studio at the time), and began an incredible streak of major successes under Paramount VP of development Robert Evans' stewardship, including Harold and Maude (1971), The Godfather (1972), Play it again, Sam (1972), The Getaway (1972), Serpico (1973), The Great Gatsby (1974), Chinatown (1974), Marathon Man (1976) and Black Sunday (1977). An inferior sequel was produced later in the decade - Oliver's Story (1978) pairing a still-grieving Ryan O'Neal with Candice Bergen.

Told as a flashback, this is an uncomplicated love story between two star-crossed lovers-students, Harvard pre-law hockey player Oliver Barrett IV (Ryan O'Neal) and Radcliffe music student Jenny Cavilleri (Ali MacGraw). Oliver narrates the opening line of the film, looking back:


What can you say about a twenty-five-year-old girl who died? That she was beautiful and brilliant? That she loved Mozart and Bach, the Beatles, and me?


Their love triumphs over different economic-class backgrounds (he is a "preppie millionaire," she a smart-mouthed "social zero" from a blue-collar Italian/American family). Their main obstacle to romance is that his rich, powerful and snobbish father, Oliver Barrett III (Ray Milland) objects and threatens to cut off funding: "Oliver, if you marry her now, I'll not give you the time of day." To which the younger, bull-headed Oliver defiantly asks: "What offends you more, Father, that she's Catholic, or poor?" He ultimately responds: "Father, you don't know the time of day." The two young lovers marry anyway and first move into a small apartment in Cambridge before Oliver is hired by a New York law firm and they move to the city.

The film's two most touching and remembered scenes are their prolonged kissing scene and the montage of the couple tossing snowballs at each other. After meeting many obstacles and making sacrifices, she is diagnosed as terminally ill when she is tested for pregnancy, and dies in his arms at the hospital in a tear-inducing closing. She makes a last request of him: "You, after all - you're going to be a merry widower." "I won't be merry," he responds. She replies: "Yes, you will be. I want you to be merry. You'll be merry, okay?"


In the final scene, Oliver quotes his late wife, when speaking to his father about their past misunderstandings. After his father tells him he's sorry that she has died, Oliver responds in the last memorable line of the film, quoting an earlier remark of Jenny's:

Love means never having to say you're sorry.

He then walks out into a snowy Central Park to contemplate what life might have been in a touching finale, as the award-winning musical score builds in the background.

Created in 1996-2007 © by Tim Dirks



Love Story by Fan Yi Chen




爱的故事有很多 你一定听过
ai de gu shi you hen duo ni yi ding ting guo
她们说 最美的爱情像湖泊
ta men shuo zui mei de ai qing xiang hu bo
美的忍不住停留 而任性的风
mei de ren bu zhu ting liu er ren xing de feng
吹过了 却飘下一片片叶落
chui guo le que piao xia yi pian pian ye luo

放~开手往北方走留下伤心的树独自忍受
fang~kai shou wang bei fang zou liu xia shang xin de shu du zi ren shou
你离开我连一句话都不说
ni li kai wo lian yi ju hua duo bu shuo
只默默看着今晚天空星光闪烁
zhi mo mo kan zhe jin wan xing guang shan shuo

看今夜的流星 划过了天际 笑我的心
kan jin yeh de liu xin hua guo le tian ji xiao wo de xin
我无法再冷静请你要倾听你是我的唯一
wo wu fa zai leng jing qing ni yao qing ting ni shi wo de wei yi
我不愿去相信我们之间隔著海洋的距离
wo bu yuan qu xiang xin wo men zhi jian ge zhe hai yang de ju li
我的爱 已融化在空气里
wo de ai yi rong hua zai kong qi li

爱的故事有很多 你一定听过
ai de gu shi you hen duo ni yi ding ting guo
她们说 最美的爱情像湖泊
ta men shuo zui mei de ai qing xiang hu bo
美的忍不住停留 而任性的风
mei de ren bu zhu ting liu er ren xing de feng
吹过了 却飘下一片片叶落
chui guo le que piao xia yi pian pian ye luo

放~开手往北方走留下伤心的树独自忍受
fang~kai shou wang bei fang zou liu xia shang xin de shu du zi ren shou
你离开我连一句话都不说
ni li kai wo lian yi ju hua duo bu shuo
只默默看着今晚天空星光闪烁
zhi mo mo kan zhe jin wan xing guang shan shuo

看今夜的流星 划过了天际 笑我的心
kan jin yeh de liu xin hua guo le tian ji xiao wo de xin
我无法再冷静请你要倾听你是我的唯一
wo wu fa zai leng jing qing ni yao qing ting ni shi wo de wei yi
我不愿去相信我们之间隔著海洋的距离
wo bu yuan qu xiang xin wo men zhi jian ge zhe hai yang de ju li
我的爱 已融化在空气里
wo de ai yi rong hua zai kong qi li

Hindi song - Dholna



The Talkie Era (Until 1935)

The year 1931 not only marked the beginning of the "talkie" age, but it also naturally became the starting point for movie composers and singers. The playing field became instantly dominated by a handful of strong production studios most of which had their legacy firmly rooted in the silent era. Ardeshir Irani and R.S. Choudhury (Mehboob Khan's mentors) carried forward the Imperial Studios banner. Himansu Rai, the consummate English nobleman leveraged his experience with British and German moviemakers, Shantaram and Master Vinayak joined forces to further foster Prabhat Films, B.N. Sarkar moved his silent movie gear to South Calcutta where New Theatres was founded, Homi Wadia instituted Wadia Movietone, Sohrab Modi joined his mentors at Minerva, and Chandulal Shah deftly moved his Ranjit Studios banner into the age of sound. There were others like Madan Theatres (also Calcutta), but the names mentioned here would provide the bedrock foundation on which the future would grow and prosper.
The attitudes of that age were interesting. Capital was tight and only a handful of privileged and monied gentry could invest in movie studios. Most of them were carryovers from the silent era anyway. Movie-watchers were still the upper echelons of society. The production studio was the feudal lord. Employees of the company would not dream of quitting or moonlighting. And girls from "good families" would not even dream of having anything to do with the performing arts, least of all the cinema.
All that changed when two daring and beautiful young ladies broke the rules. Devika Rani Choudhury married Himansu Rai and stepped firmly in to moviedom. Not far away, a charming Durga Khote joined Shantaram's Prabhat Films in AYODHYECHA RAAJA, their first sound venture. These were still the exception to a rule deeply entrenched in a male-dominated tradition. But a beachhead was now created. Others would follow. Durga Khote can be credited with another first. She could well have been the first freelance heroine of that age. As committed as she was to Prabhat, she also spent some time working with the New Theatres contingent.
Musical tastes round the country were still dominated by the Indian motif - one-dimensional melody that drew almost entirely on classical and folk structures. The performance of music was simple at best. Most of the singers were either from "singing families" with delivery styles set in the tradition of their "gharaana" OR were theatre performers trying hard to get by with simple straight-line approximations of the stated melody. Playback technology was available, but there was no implementation handy for scalable reuse. Out in Bengal, New Theatres tried their first playback experiment as early as 1933. It did not go unnoticed.
This was the state of the early to mid '30s. The alliances were interesting. The East and West were ruled by their respective Holy Trinities. Prabhat was led by Master Govindrao Tembe and his two disciples Keshavrao Bhole and Krishnarao Phulambrikar (with a young Vasant Shantaram Desai still in the pen). Bengal's New Theatres had their answer in Raichand Boral, Pankaj Mullick and later, Timirbaran Bhattacharya. Imperial Studios leaned on their Parsee patrons. Himansu Rai, with his British Production Company, was still dependent on European craftspersons for music among other things. Bombay Talkie, created in the mid-'30s would hire Khorshed Homji and Ramchandra Pal as their constant composers, but that was a few years away. Funded to a degree by Ram Daryani, Sagar and National Studios brought in maestros Pransukh Nayak and Ashok Ghosh. Chandulal Shah's Ranjit Studios flexed its musical muscle through classicists like Jhande Khan, Banne Khan and protege Rewashankar Marwari.
The somewhat negative perception of cinema's musical occupants, pervasive as it was, never quite influenced the classicists of any age, really. In the mid-'30s, grandmasters like Rabindranath Tagore and Kazi Nazrul Islam sought to use the movie medium to further the cause of literature, music, national integration, the independence movement, and on and on.

Emergence of Hindi movie song (Late 30's )

And then it happened. Ram Daryani, a visionary financier, brought a 20 year old tabla player from Calcutta to work with the Sagar Movietone orchestra. It is to the credit of composer Ashok Ghosh that he took young Anil Biswas under his tutelage, and further, gave him enough freedom to create the first real orchestra for a Hindi movie song. In parallel, the Himansu Rai-Devika Rani team launched Bombay Talkie, hired the orchestra-minded Saraswati Devi as their composer, and further strengthened the foundation of a Western outlook, however simplistic it might have been at that time. The groundwork was launched for the Hindi movie song.
The first few songs to hit the nation as a whole may well have been from ACHHUT KANYAA and some contemporary Sagar Movietone productions. The time was 1935-36, and if this is where it started, we might have a candidate here for bringing in the Golden Age.
In the meantime, just out of the blue, New Theatres hit a home run. They augmented their singing talent through Sehgal's voice. A Punjabi singer far away from his native ambience seemed well at home in Tollygunge, South Calcutta.
With all the busy ins and out, Bombay had its weather eye cocked on an already well-established studio out to the North somewhere. Dalsukh Panchholi was an astute businessman. What did this business-oriented Lahori know of music, anyway? Some of life's happiest events hang together by threads of serendipity. Had Panchholi not created GUL-E-BAKAAVLI (1939), Baby Noorjehan may never have become known to the world at large. Had he not hired Master Ghulam Haider to do the very traditional, staid and Punjabi music for it, the songs may never have hit the headlines. And Panchholi might never have hired Master Haider to do KHAZAANCHI in 1941, but for a string of such chance events. And where would the Hindi movie song be today without the pioneering framework provided by KHAZAANCHI? We have fast-forwarded through the latter part of the '30s here, but let us get to 1941 and KHAZAANCHI. Master Haider consciously broke away from the dull and monotonous delivery of the '30s song. It was not without pain or criticism. Every generation has had its maverick. That he was, and knowingly so. KHAZAANCHI has gone down in history as the movie that defined the very structure of the modern Hindi song, much in the style of Von Neumann who, only 5 years later, defined the essence of stored program execution. Neither the structure of the Hindi song, nor the essential sequencial program execution model have changed much or at all since their inception. In that respect, Ghulam Haider hailed the age of modern Hindi music.
To summarize the '30s, the professional scene consisted of salaried employees in a handful of movie studios the vast majority of which were brought forward through profits from the silent age. Noorjehan, Ghulam Haider,and Anil Biswas were the frontline names. Looking at the content, we must examine the constituents - the melody, the orchestration, the singing style and ability, the lyrics, and in some ways also the picturization. The dominant singers of the age were KC Dey, Pankaj Mullick, Shanta Apte, Govindrao Tembe, Ashok Kumar, Devika Rani, Surendra, Wahidan Bai and sister Jyoti, Bibbo, Manju and a few more. In a category all by himself stood the theatrical and Sufiana singer Kundanlal Sehgal. Some of his most famous songs had already been created, and he was just warming up.
More coincidence. The rapid and profitable emergence of the movie during the '30s, while remaining the sole property of a few studios, engaged the entire nation. What had started as the entertainment of the upper crust had trickled down to practically all layers of society - deep enough to threaten the legacy social outing. One such example was the Natak Mandali tradition of Maharashtra. Attendance dropped to all time lows. Mass defections occurred, both in the audience and the performers. Families whose wherewithal was the Natya Sangeet medium felt the most pain. Several went bankrupt. Alcoholism, a very natural companion of the performing arts, only aggravated the suffering. None knew this better than Dinanath Mangeshkar. Five children, a young wife, and nowhere to turn to. Once the darling of the Marathi stage, he now had trouble finding familiar faces in the business. In desperation, he accepted his oldest daughter's insistence upon finding a job for herself. In this quest, 12-year old Lata Mangeshkar was introduced to Vinayakrao Karnataki. But there was something else. She also signed up for a National Level Talent contest that had recently been labelled the KHAZAANCHI competition. The Northwestern frontier shuddered as the typhoon hit home. A Marathi-speaking winner of all things! Master Haider, the man whose runaway success had contributed the name to the contest, would stop to take notice. Seven years from the day, he would fight tooth and nail to permanently change the sound of Hindi music. Some milestone this. The writer must submit here that no matter when the Golden Era is said to begin, its life must include this landmark event of Lata Dinanath Mangeshkar winning the KHAZAANCHI competition. This voice has provided even our best composers with the motivation to produce the very best of melodies.

War and to Indian Independence (The Early 40's)

The war in Europe seemed far enough away, and yet, the movie industry felt its impact in a rather indirect fashion. The Indian scene had its own domestic perturbations. Politically, Quit India was significant as were the down and dirty war profiteers. Not all the sinners were blue-eyed blondes as some history books would have us believe. Ashish Rajyadhyaksha speculates that many Indian businessmen profited unabashedly during the early period of the war and the Bengal famine. The movie studio was a popular front for channelling illegal money. No wonder the early '40s saw an explosion in the number of production companies on both sides of what would be the new India-Pakistan border. But Bombay remained the centre of all capital. With the increase in the number of movie productions, the traditional and feudal studio employer of the '30s could see the walls crumbling around the notion of salaried patronage. The spectre of freelance artists started to become real. The emerging studios, eager to get rid of the blood money that they were bulging with, started to outbid each other for the topmost professionals. This led to "freelancing" by composers and singers. Anil Biswas might have been a pioneer in this regard without realizing it.
A few other facts are interesting. Himansu Rai died in the early '40s leaving the fragile management of Bombay Talkie to its fate. Mehboob Khan decided to part company with his Sagar and National patrons. And playback singing gained momentum as cinema music demanded a better deal than the constriction it met at the hands of limited talents. Oddly enough, one of the first few "pioneers" of playback, Suraiyya Jamaal Sheikh, would essentially spend a career singing mainly for songs filmed on herself.



Anil Biswas, a longtime Mehboob friend, decided to part company, and left Mehboob Studios floundering for a few years in the quest of a stable musical guide and composer. Bombay Talkie stepped into an antithesis phase with a major exodus of some big names. And on a completely different front, Noorjehan, Panchholi, VM Vyas and Ghulam Haider all individually contributed to the invisible skyline connection between the souls of Bombay and Lahore. All of a sudden, the world was smaller, more talented, and utterly competitive.
The '40s witnessed some of the quickest changes in the way the industry operated. Bombay Talkie, once the "big blue" of the industry, could be seen floundering. The days of stable employment were coming to an end. Artists, young and old, high and low profile, from all walks of the industry, were now on their own. New studios emerged notable among them being the one founded by Abdul Rashid Kardar. His musical soulmate, Naushad Ali, injected a new sound into the spirit of the young Indian movie. Mehboob started his productions with a flourish. Bombay Talkie brought in Anil Biswas and brother-in-law Pannalal Ghosh. New singers, better sounding and accomplished than those of the previous decade, suddenly appeared in the recording studio. Parul Ghosh, Kanan Devi, Amirbai Karnataki, Arun Kumar, Snehprabha, Zohrabai Ambaalewaali, and to be complete, Noorjehan, were all household names already.
BASANT and KISMET were big names. The latter is probably still the biggest hit in the history of Indian cinema (normalizing for inflation, population growth etc).

Text by Vish Krishnan, posted on rec.music.indian.misc by Rebala Gopinath (grebal1@umbc.edu)

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