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

One Song a Day - The Affair of the Mirror and the Flower 鏡花緣. Translation and song link in the bottom.
•
I like reconstructing Chinese literature and present them in my own lyrics. I even wrote a whole album this way - ‘Requiem for Flowers’. Ancient heartache and longing are universal, some nuances just cannot be presented in a few words in English though. There are a lot of love related objects we keep using to reflect the depth of love. I have to confess, it is a fine line between indirect and passive aggressive. This is one of my personal favorites.
•
The Affair of the Mirror and the Flower
(Chet Lam)
•
Before the Spring flowers and autumn moon are gone
The flower in the mirror has waken up and fallen into the water
Faces will grow old, deepest heartaches will fade
Somehow someone never wants to forget
•
The affairs of the heart have finally died off
It only takes one more second for me to throw it all away
Butterflies desire to soar in pairs
Yet happiness could not take them across the ocean
They have to part after all
•
Life goes on
Flower has already fallen for someone
Death goes on
Dawn has come before the heart snow melts
I watch the skies fall, flowers reappear
The warm wind blows again
Who will still care about what happened in the past
•
My heart has come down after the wind left
The flower in the mirror has waken up and fallen into the water
The evening frost climbs up my hair
Dyeing the dark hair white
Your laughters still linger in the air, but you are nowhere to the found
All has to come to an end
You must have forgotten all of this already
I should too forget all of this already
•
我喜歡把古詩詞拆散再重組，更用這個方法創作了一整張專輯《花訣》。氣象，物件，自然現象，所有本身沒有情的東西，一旦用某種角度排序，就極具指向性，描述最遠古的情感與企盼；一個「愛」字都沒有的情詩，會更顯情感的濃烈，溫婉細膩，這也是我的創作一直奉行的信念。跟你分享我其中一首最愛的創作：《鏡花緣》。
•
鏡花緣
（曲詞：林一峰）
•
春花秋月何時了
鏡花醒覺水裏凋
容顏會蒼老
椎心刺骨的一切亦退消
卻跨不過奈何橋
•
幾番心事都已平復了
只差一秒便忘掉
蝴蝶盼雙飛
一次幸福怎可以敵過滄海
始終告別了
•
生的生 花已為誰落過了
死的死 心雪未溶又天曉
空見天地流轉曇花再現了
樓台又東風 往事（故人）知多少
•
風吹心動 都已平靜了
鏡花醒覺水裏凋
暮雪染青絲 不見舊人的歡笑
這一切應該已完了
你應該已忘了
我應該也忘了
•
#chetlam #林一峰 #一日一首林一歌 #花訣 #RequiemForFlowers
•
https://instabio.cc/ChetLamMirrorFlower

It was all about ice, snow, snowflakes and everything Frozen for this girl yesterday.

It's amazing how everything turned out so wonderfully. We watched Frozen II in the cinema, which she has been looking forward to months ago ever since she knew the movie was going to be released on her birthday. She dressed up as Elsa and was excited to wear her cape out, which is finally just nice for her height and she can truly feel like the queen all day. She received an Olaf plushie as a gift and couldn't let it go all day.

We got a chocolate cake for her and the Daddy managed to join us, much to her delight. She even received a hot chocolate on the house at Chocolate Origin and it had the cutest Olaf foam drawing on it, how thoughtful! We also stumbled into Frozen Wonderland by chance and realised it was the perfect backdrop for this birthday girl who ended her special night in the simplest yet happiest way. Awww, so blessed she is. And so are we to have her.

Oh, how was the movie? It is magical and just exceeded all our expectations. I didn't think I would feel so much for it but ended up my girls said they didn't cry while I did, and more than once lor. Aiyo,why we so emo one ah, @mmlittlee. This was despite the fact that we were in Dreamers Theatre and there were kids laughing, shouting and playing all around us. Haha. The girls said they wanna watch it again and I think we might just do so because it is that good. Go watch it and see if you love it as much too!

P.S. We are already learning the lyrics of the new songs already because they are so awesome and catchy, especially "Into the Unkown". Yup, guess I'll be hearing the song over and over again for the next few weeks in our home!

#ahappymum #frozenfeverreturns #frozen2 #queenelsa #turning10 #happy10thbirthday #birthdaygirl #happy #familytime #intotheunknown

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

====
全米1位獲得の世界的アカペラグループ「ペンタトニックス」と夢のコラボが実現！
作詞・作曲に亀田誠治氏を迎え制作され、閉塞感のある現在の情勢にもそっと寄り添えるような「友のことを想う気持ち」が込められたLittle Glee Monster17枚目のシングル「「Dear My Friend feat. Pentatonix」」。
日本の往年のスタンダードナンバーのような魅力を持つ楽曲にペンタトニックスのボーカルワークが加わり、人と人の心を繋ぐような温かい楽曲が完成！


配信はこちらから！
https://lgm.lnk.to/Dear_My_Friend_AY
====

＝＝＝
A dream collaboration project with No.1 US acapella group PENTATONIX!
Seiji Kameda wrote the lyrics and song for this collaboration of Little Glee Monster's 17th single "Dear My Friend feat. Pentatonix" where this song expresses the feelings of “caring for friends” especially in this current closed situation. Little Glee Monster's and Pentatonix's vocals combined to the standard Japanese melody, makes it a heartwarming song that connects people with each other.

Download and Streaming here!
https://lgm.lnk.to/Dear_My_Friend_AY

◇17th Single
Little Glee Monster
「Dear My Friend feat. Pentatonix」
2020.12.16 Release
http://lgm.lnk.to/hVGoXQMM
Limited Edition (CD+DVD)｜￥1,545+tax｜SRCL-11597～11598
Regular Edition (CD only)｜￥1.200+tax｜SRCL-11599
◆CD
1, Dear My Friend feat. Pentatonix
2, Christmas a cappella medley
3, Magic Snow -Sing 2020-
4, 愛しさにリボンをかけて -Studio Live ver.-
◆DVD
1, Dear My Friend feat. Pentatonix
2, Little Glee Monster Behind Scenes
＝＝＝

＜lyric＞

What I can do for you
I’ve always, always been
Thinking about it

Days of sharing laughs
I’ve gently and gently
Embraced them in my heart

I look up in the sky and there’s a shooting star
And wonder if you can see it too

Dear my friend
If you’re almost
Losing your smile
Call for me

I’ll be there
You’re not alone, no matter when
I am here for you
It will be alright
Dear my friend

In this moment, somewhere
Someone’s life just comes to an end
And another one starts

Beyond the sorrow
A sweeter future is
hopefully waiting for us

So happy to see the blue sky

I wish I could see you now

Dear my friend
If my wish could come true
May everything that embraces you
Stay happy to keep you within

I’ll be there
You’re not alone, no matter when
I am here for you
It will be alright
Dear my friend
Have my word; let’s meet again
Dear my friend

Heyyo! Super in love with this cheeky song and here's my rendition hope u like it xx

Follow me for more at:
Instagram - https://www.instagram.com/meernash/?hl=en
Twitter - https://mobile.twitter.com/MeerNash?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor
Tiktok - https://t.tiktok.com/i18n/share/user/6759021806563230722
Facebook - https://m.facebook.com/meernashMN/
Yippi ID - meernash13

Lyrics:
I'm mad at Disney, Disney
They tricked me, tricked me
Had me wishing on a shooting star
But now I'm twenty-something
I still know nothing
About who I am or what I'm not
So call me a pessimist
But I don't believe in it
Finding a true love's kiss is bullsh-
'Cause I felt sad love
I felt bad love
Sometimes happy love (happy love)
Turns into giving up (giving up)
I felt hurt love
About the word love
What the hell is love supposed to feel like?
What the hell is love? What the hell is love?
What the hell is love supposed to feel like?
My fairy grandma warned me
Cinderella's story
Only ended in a bad divorce
The prince ain't sleeping when he
Takes his sleeping beauty
To the motel on his snow-white horse
So call me a pessimist
But I don't believe in it
Finding a true love's kiss is bullsh-
'Cause I felt sad love
I felt bad love
Sometimes happy love (happy love)
Turns into giving up (giving up)
I felt hurt love
About the word love (word love)
What the hell is love supposed to feel like?
What the hell is love? What the hell is love?
What the hell is love supposed to feel like?
What the hell is love? What the hell is love?
What the hell is love supposed to feel like?
I'm mad at Disney, Disney
They tricked me, tricked me
No more wishing on a shooting star


Instrumental by - https://www.youtube.com/watch?v=GOFxPxTQUvY

❖訂閱頻道收聽更多好聽的歌：https://www.youtube.com/c/EHPMusicChannelII
❖Facebook臉書專頁：https://www.facebook.com/EHPMC/
❖IG：ehpmusicchannel
❖微信公眾號：ehpmusicchannel
----------------------------------------------------------------------------------------------------------
♫ 一鍵收聽你想聽的歌 ♫
❖ 抖音/TikTok專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRwduBTjBHknz5U4_ZM4n6qm
❖ 華語歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRz5t_T2v2iuW1pqnj89kY4F
❖ 廣東歌/粵語歌專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRxBtfYS-CM3UXto2VbUL8hA
❖ RAP/說唱專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRyD5qKNqumkTXqtPiYj3mlr
❖ 古風歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRy9uWRObrUifsgJBdpBEq-y
❖ 翻唱/改編/Remix/EDM 歌曲專區 ♪：https://www.youtube.com/playlist?list=PLtAw-mgfCzRz9-257u_Eknjf0sjW6HDjH
❖ 更多分類歌單：https://www.youtube.com/channel/UC345x_D7DgK5313D3ftM_EQ/playlists?view=50&sort=dd&shelf_id=17
----------------------------------------------------------------------------------------------------------
❖歌詞在下面❖

演唱：XMASwu
作曲：XMASwu
作詞：XMASwu
編曲：source music

My babe my treasure I swear my forever
我的寶貝我的寶藏我發誓你是我的永遠
My babe my treasure I love you forever
我的寶貝我的寶藏我永遠愛你
My babe my treasure I really don’t wanna leave 想和你在一起
我的寶貝我的寶藏我不想讓你離開我
Oh, gonna Forever be with you I’m here waiting for you
永遠會等你直到你跟我在一起

他們都說我還能談幾年
我盡量放手不去看以前
19年錯過的畫面 想每天陪在你身邊
Toronto pure white snow

I know this road is gonna to be tough and strenuous
我知道我們的這條路很難走
but I’m not afraid of it cuz I want you baby
但我絲毫不會去怕 因為我想要的是你
I wanna travel along the sea with you , to eat all the meat
還想和你去海邊旅行 吃遍世界美食
Sunshine on the beach and let me feed you a piece of sweet
躺在沙灘上面 喂你吃糖

My babe my treasure I swear my forever
我的寶貝我的寶藏我發誓你是我的永遠
My babe my treasure I love you forever
我的寶貝我的寶藏我永遠愛你
My babe my treasure I really don’t wanna leave 想和你在一起
我的寶貝我的寶藏我不想讓你離開我
Oh, gonna Forever be with you I’m here waiting for you
永遠會等你直到你跟我在一起

到底是吩咐還是豐富
前後鼻音是你沒掌握的聲部
搞不清紅參 亦或是渾身
小孩子都知道的東西你不會區分
只知道纏著我 堅信我不會躲
摘下桃花結你說愛情終於輪到我
我說 上天的安排 命中就註定
你說 頭髮到斑白 愛我到任性

I need you happy every second
我需要你每時每刻都開心
Never my Baby see u cry
你不許哭
我不會再讓你流淚
我會和你遇見的 會遇見的

My babe my treasure I swear my forever
我的寶貝我的寶藏我發誓你是我的永遠
My babe my treasure I love you forever
我的寶貝我的寶藏我永遠愛你
My babe my treasure I really don’t wanna leave 想和你在一起
我的寶貝我的寶藏我不想讓你離開我
Oh, gonna Forever be with you I’m here waiting for you
永遠會等你直到你跟我在一起

藍紫色的天空 冰島南極夢
780分鐘 每天都心動
電話還能接通 對我就足夠
你操縱我的時空 撲入我懷中

藍紫色的天空 冰島南極夢 my baby
780分鐘 每天都心動 my treasure
電話還能接通 對我就足夠 forever be with you
你操縱我的時空 撲入我懷中 I’m here waiting for you
----------------------------------------------------------------------------------------------------------
❖歌手資料 About Singer
➸ 微博 | http://weibo.com/u/7337483677

❖歌曲上架平台
➸ 網易云音樂 | http://music.163.com/song?id=1423241987&userid=1450149887
----------------------------------------------------------------------------------------------------------
❖ 合作郵箱：ehpmusicchannelhk@gmail.com
❖ 微信：EHPMusicChannel（id：xy-z1315）
（歡迎查詢合作/投稿音樂/攝影作品等等）

❖Original Photo by Alberico Bartoccini

❖歌曲版權為歌手本人及其音樂公司所有，本頻道只作推廣及宣傳之用，若喜歡他們的音樂請到以上平台鏈接購買歌曲支持。

❖Like, Comment, Share & Subscribe❖
❖喜歡的請分享及訂閱本頻道❖